27 Dec 2017

December 2017 – That Time for Guitar Lists and Stuff

by | posted in: Observations, Opinion | 0

So, yet another infernal year draws to a close. Why infernal? Well, I was never going to like 2017 on principle, as 2,017 is a prime number. My dislike of prime numbers is one of my weird traits – I have no idea why – at least I’m not primonumerophobic, i.e. fearful of the darned things. At least the next prime year is 2027, which is a whole decade away yet. Fun Trivia: while many people fear the prime number 13 (triskaidekaphobia), many primonumerophobes fear the number 2, it being the only even prime number.

Anyhoo… I digress, as is my wont. In tried and tested (and predictable) fashion, it is time to reflect on the year now departing from platform 2017, re-assess the way things are now, as well as to look forward to new opportunities in the year ahead. One cannot change the past but one may be able to influence both the here and now as well as the future, so it’s a time to take a deep breath, muster up one’s energy and be both positive and forward thinking.

2017 in retrospect

Well, 2017 was certainly a year of major change, that’s for sure, with events during 2017 definitely impacting on CRAVE Guitars.

At the equivalent point last year, the relocation was looming and structural works were underway to make the ‘new’ (90‑year old) place safe, if not fully habitable. The move has now taken place but that is just the start. The structure still needs considerable work before even the basic works can be described as complete. At the time of writing, it is even now only barely habitable with little in the way of what many people expect of basic ‘home’ comforts. Carpets? Nah. Curtains? Nah. Heck, we’ve only just got heating and hot water after 7 months. Getting trustworthy, cost-effective workmen is proving aggravatingly difficult.

However, something about the ‘old’ life had to change and along with that realisation came major risks. After weighing up the cons and the even bigger cons, we embarked on the new venture with our eyes wide open. The two main drivers for change comprised basic economics and quality of life due to family health issues, so it had to be done, as the alternatives were simply unsustainable. So here we are in the south west of the UK.

As a direct result of the relocation, the major part of the vintage guitar ‘collection’ is currently in temporary storage until I can create safe and secure accommodation for them in the new location. This is why I haven’t been able to update all the photos on the web site. I am very, very concerned about the far from ideal environmental conditions at both the old and new places, so there is no easy answer. However, beggars can’t be choosers and, as ‘they’ say, needs must. The precious (to me) guitars will just have to endure their enforced incarceration for a while longer. I can only hope and pray that they aren’t unduly compromised by the interlude. Until they can be retrieved and re-homed, I just won’t know for sure what condition they are in. They are a couple of hundred miles away and I now have to be at this end, so all I can do is hope for the best. At least I have a few modest vintage guitars available here to pluck in the meantime, whenever I get a few rare moments to spare.

CRAVE Guitars – Cases

Also back in December 2016, I declared my hand and stated an ambition to secure two specific vintage instruments during 2017 – a 1970s Fender Starcaster and a 1950s Gibson ES-150. How did that turn out? Regrettably, I have to report that I failed dismally on both counts. In context, it really doesn’t matter a jot. I possibly could have achieved what I set out to do but circumstances and timing didn’t align to make it possible. Now, in the absence of sufficient lucre, I need to reassess and reprioritise my aspirations.

At the start of 2017, I was about to embark on a culling of the (guitar) herd to strengthen the focus on vintage gear. As a consequence of the clear out, I had the rare opportunity to reinvest some of the proceeds in a small number of ‘cheap’ and unusual vintage guitars (see below). I prefer the term ‘cool and rare’ but let’s be honest, there have been some peculiar budget vintage axes that have crossed my path this year. I wanted to use the funds to invest in maybe 1 or 2 great guitars, as mentioned above, but ‘best laid plans’ and all that.

The year hasn’t been without many other significant difficulties, particularly around significantly deteriorating family health. I’m afraid that’s the way our cookies tend to crumble. Don’t expect details; this article is supposed to be about guitars and music!

Still, stepping back and looking at the bigger picture, at least there remains a way forward on a few fronts, albeit experiencing very slow and frustrating progress.

CRAVE Guitars acquisitions in 2017…

On a more positive note, there has been more instruments than I expected to be inducted into the CRAVE Guitars family over these past 12 months. I had anticipated that 2017 was going to be quite a barren year guitar-wise, especially with everything else going on.

There were some interesting acquisitions that were intentionally offbeat and not at all what one might have predicted 365 days ago. This unorthodox approach is now kinda becoming CRAVE Guitars’ raison d’être. As it turned out, there were no ‘classic’ models at all, probably because – to be honest – they would have represented ‘more of the same’. If you have followed these monthly articles, you’ll have picked up the conscious rationale for venturing off the beaten track. I must admit that, on reflection, even I have been surprised by the way things have panned out, which was actually a nice surprise. 2017 purchases included…

Guitars (7):

CRAVE Guitars – 2017 Guitars

Given that seven non-vintage guitars left the fold during 2017, there was a net increase of… zero guitars overall. It also represents more than double the number of vintage guitars purchased in 2016 (only 3).

Amps(1):

1979 Fender Musicmaster Bass

That is an overall net reduction of one (non-vintage) amp on this time last year.

Effects (6):

CRAVE Guitars – 2017 Effect Pedals

This represents an overall reduction of seven effects in the year. Just 6 purchases in 2017 compares to 17 vintage effects bought in 2016. Admittedly, I was on a mission last year and limited funds meant that expenditure tended towards effects rather than guitars.

All in all, I think that is not bad going under circumstances.

Guitarists that departed us in 2017 (9):

As is inevitable, all things come to pass and this year, like every other before it, has seen the demise of some truly inspirational musicians. At this time of year it is customary to take a few moments to contemplate those guitarists that we have lost in 2017 and recall what musical treasures they have left us. Their talents will be sorely missed and it is sad to think that there will be no more distinctive music from these guys (no gals). Rest in Peace ineffable rock dudes and forever rock the big gig in the sky. Sad losses include:

  • Deke Leonard (Man) on 31st January, aged 72
  • Larry Coryell on 19th February, aged 73
  • Chuck Berry on 18th March, aged 90
  • Allan Holdsworth on 15th April, aged 70
  • Gregg Allman (The Allman Brothers Band) on 27th May, aged 69
  • Glen Campbell on 8th August, aged 81
  • Walter Becker (Steely Dan) on 3rd September, aged 67
  • Tom Petty on 2nd October, aged 66
  • Malcolm Young (AC/DC) on 18th November, aged 64

New recorded music in 2017 (18):

One of the things I learnt from the late, great British DJ John Peel is to appreciate fresh new music as well as the respected classics. I had expected that access to new releases would have been a bit limited in 2017 but it seems to have been roughly on a par with previous years. There seems to have been a wealth of good music released this year from both established and new artists covering a broad range of genres. 2017 new music album purchases include (in artist alphabetical order):

  • !!! – Shake the Shudder
  • Bonobo – Migration
  • Cats In Space – Scarecrow
  • The Correspondents – Foolishman
  • Dub Pistols – Crazy Diamonds
  • Eric Gales – Middle Of The Road
  • Hurray For The Riff Raff – The Navigator
  • The Jesus And Mary Chain – Damage And Joy
  • Kasabian – For Crying Out Loud
  • King Creature – Volume One
  • LCD Soundsystem – American Dream
  • London Grammar – Truth Is A Beautiful Thing
  • Imelda May – Life Love Flesh Blood
  • Prophets Of Rage – Prophets Of Rage
  • Royal Blood – How Did We Get So Dark?
  • The War On Drugs – A Deeper Understanding
  • The xx – I See You
  • Neil Young – Hitchhiker

I don’t think that I have a single ‘album of the year’ from this modest but diverse bunch, as my tastes change with mood. One wonders if any of these releases will be considered timeless classics in years to come.

Live Music in 2017 (2)

As you may know, I am also a big fan of live music of all kinds from street entertainers through pub gigs and concerts of all types and sizes, right up to minor and major festivals featuring a broad range of interesting musical experiences. One great thing about live music is that there is always something new and surprising to discover. I am also regularly amazed at the quality of musicianship exhibited across the board, including by artists that one may never hear of again. The talent out there is phenomenal and sadly puts my playing abilities to shame.

Due to constraints imposed by family health, live music attendance has had to be very limited in 2017 with just one major concert (Black Sabbath’s amazing ‘The End’ tour in January) and one boutique festival (Looe Music Festival in September/October, punching well above its weight). Now we are located in the south west of the UK, getting to major music venues is proving more challenging than in previous years.

Social Media

There were a couple of minor achievements during 2017. CRAVE Guitars more than doubled the number of followers it has on Twitter, now standing at over 2,700. The number of followers also now consistently exceeds the number followed, another small landmark. A heck of a lot of hard work went into cultivating this social media audience. Although it earns diddley-squat at precisely £0, it is, I hope, an investment in the brand, at least in terms of time and diligence. Along the way, I have learnt quite a lot, so there is a modicum of knowledge gain. It’s a shame that other social media platforms have proved less successful, so the proportion of effort has to be targeted at Twitter.

2018 in Prospect

Looking forward, it looks like 2018 is going to be a really, really tough year. The family health situation that partly precipitated the move is likely to be life changing and VERY challenging during the year ahead. It is all very sad and the inevitable outcome is beyond my (or anyone else’s) ability to change.

At least there is not another relocation to manage on top of increasing caring duties. It also looks like the renovation works are likely to take most of the year and all my patience, as well as resources. Of course, it isn’t possible to predict what will actually happen and experience suggests that the unexpected is likely to do its best to derail any reasonable plans. It is therefore best to approach the next 12 months with trepidation and no fixed expectations.

As a result of the uncertainties, the operating status of CRAVE Guitars’ is resolutely in ‘ticking over’ mode and I suspect that it is likely to stay that way for the foreseeable future. I intend to maintain a modicum of incremental improvement and will endeavour to keep foundation‑building in the background while I can. The hope is that the venture should be ready to fly, given half a chance.

So… being a bit more specific, what music gear tops CRAVE Guitars’ affordable vintage ‘most wanted’ list for 2018? I have relinquished any hope of acquiring last year’s ambition for a Fender Starcaster and/or Gibson ES-150. This coming year, I will have to set my sights at an altogether different level and go for something on a more realistic budget. I am casting the net a bit wider and shallower this time. If I can get just one guitar, one amp and one effect from the following list this coming year, I’ll be content:

Guitars:

  • 1960s Danelectro (no specific model)
  • 1970s Fender Bronco
  • 1960s Gibson Melody Maker (type 3)
  • 1970s Guild (perhaps a S-100 or S-300D)
  • 1970s Peavey T-60

Amps:

  • 1970s ‘silverface’ Princeton (with or without reverb)
  • 1970s ‘silverface’ Fender Champ

Effect pedals:

  • 1980s BOSS CE-2 Chorus
  • 1970s Electro Harmonix Zipper (envelope follower)
  • 1980s Ibanez PT9 Phaser
  • 1970s MXR Micro Chorus

In order to achieve even 2018’s moderate ambition (just 3 items over 12 months), a lot of penny pinching is still likely to be required. I also don’t have much leeway to ‘trade up’ existing models. For instance, I wouldn’t mind some selective substitution, i.e. replacing a couple of later-year instruments with examples from earlier years, or to swap out a couple of current guitars for ones that are in better condition or are more original. The intention is really not to grow the ‘collection’ but to consolidate and improve it. All this needs funding of course. I also have to keep options open for those unforeseen, unmissable opportunities that might arise from time to time during the year, i.e. when the dreaded irresistible temptation strikes! We’ll just have to wait and see what transpires.

Hopefully, despite constant building setbacks on the residence, I want to try and create a safe home for the majority of the guitar ‘collection’. Currently, while this is top of my personal priorities, it isn’t top priority overall (grrr, argh). The necessity for very basic habitability and adaptation must come first. Finances are either completely used up or committed and now that I’m a full‑time carer, there is no other income on which I can rely, so I really hope there are no (further) unforeseen expensive catastrophes to contend with.

Frustratingly, I actually have the physical space earmarked for on-site guitar storage. Unfortunately, in its present‑day state, it is far from suitable. The space currently comprises a small, dark, dank and musty cellar suitable only for severely vertically challenged troglodytes and the occasional adventurous spelunker. Basically, the cellar is mostly underground (built into a solid rock cliff face) and is pretty much as it was when the house was built 90 years ago (single‑skinned concrete block walls with no damp‑proofing), so it needs some pretty extensive work(!).

The first step is for the walls and floor to be ‘tanked’ and drained to reduce rampant damp. Once dry, insulation, heating and ventilation are needed to keep the relative humidity and temperature within acceptable parameters for storing vintage musical instruments. Due to the adverse environment conditions, it may also require active de‑humidification. In addition, there needs to be suitable interior access to the cellar so all the guitars can be swapped around regularly but this has implications for the rest of the ground floor. The list goes on and on… lighting and power are essential to provide basic utility. Finally, reasonable security is required to keep pesky scoundrels and ne’er‑do‑wells out. I’m not too bothered about prettying it up to make it presentable; it is far more important that it is functional and fit‑for‑purpose. That’s all!!!!!

CRAVE Guitars – Cellar

Considering the current condition of the cellar and what needs to be done to make it usable, this is one heck of a project to take on, especially on a shoestring budget with everything else that needs doing. The trouble is that the works can’t really be broken down into smaller, more manageable chunks – it currently looks like an all‑or‑nothing exercise. If the project could be phased over a longer period, it would certainly help, although it would extend the current storage compromise – it is something worth exploring though. Despite the obstacles, it is an exciting proposition and something I would really like to take on if I can. If nothing else, it would be a welcome distraction from some of the other difficulties.

Even then, because of the adaptations required, it will never be ideal, particularly the limited accessibility and very low headroom. I can only work with what I’ve got. For instance, it isn’t possible to excavate into solid rock and underpin the existing (poor) structure. Financially, it won’t be an investment. If I am going to be making a long‑term success of CRAVE Guitars, it has to be able to work under one roof. It is essentially the only feasible option I have and there is no ‘Plan B’. If I can’t do it, I will have to think again about the viability of CRAVE Guitars and/or its location. If I can embark on this ‘exciting’ venture, I will try to log progress through these regular articles. Wish me luck.

If I can liberate all the stored guitars from their enforced confinement, I am pretty sure that I will need to find a local luthier/guitar tech to work through any conservation work that needs to be done to get/keep them in as good a condition as can be expected after their prolonged period of internment. Most of the remedial work is likely to comprise setups and tweaks but I suspect that a few guitars may require some expert intervention. For instance, a couple could have potential truss rod issues, which may or may not turn out to be complicated, and there are probably also some electrical issues that need investigating (scratchy pots, intermittent switches, dodgy sockets, etc.). There may also be some finish or corrosion problems.

I have to be honest here – I am not one of those tinkerer types; I hate changing guitar strings, let alone anything more involved. I am wise enough to understand that I should leave anything complex to the specialists, especially if it involves a soldering iron! I am pretty certain that, by attempting to do any serious guitar work myself, I would probably make any problems worse. Where vintage guitars are concerned, a cautious approach makes a lot of common sense – leave it to the experts every time.

Changing the subject matter a little bit. Strange as it may seem after 40 years of playing, I would actually like to take some guitar lessons. I am not sure that tuition could do much to improve my technical or theoretical skills (see previous articles) but it might be able to inspire me to make better noises than I do now. It might also motivate me to play with others again and maybe, just maybe, encourage me to play live with a band again. I’m not committing to anything and it looks unlikely that 2018 will be the year that it happens. I’m running out of years though, so perhaps I’d better get a move on if I’m to achieve that particular bucket list item. Even if learning is purely a recreational exercise, my playing could definitely do with significant improvement. Like many musical types, I suffer crippling self‑doubt, so I’d hope that my confidence would benefit greatly as well. If I don’t enjoy the fruits of such hard work, it isn’t worth doing, so I’m a bit dubious. Acquiring skill is as much in the mind as it is in the physical dexterity. The trouble is that I’m very much a loner in my old age and I’m not sure I could collaborate easily with others. I would, however, also like to record some of my guitar music, if only for personal gratification and, perhaps, posterity.

At this particular juncture, it really isn’t possible, or advisable, to look any further forward or to speculate more strategically about what may happen either more generally or to CRAVE Guitars. So, it is probably best to let 2018 play out as it sees fit. I must trust that good things will happen and let fate take its course. They say you make your own luck, so I will try my hardest to influence good fortune. Let’s face it, despite my best endeavours, luck hasn’t been on my side for many years but I persevere and try to do the right thing to the best of my abilities and hope that things will work out alright in the end.

What else is in store for 2018? Well that depends on many other things. If possible, I would like to improve the CRAVE Guitars web site and enhance the social media content on platforms other than Twitter, Google+ and LinkedIn. I would also like to spend a little more time researching and writing seriously about my obsession with guitars and contemporary music. However, being brutally realistic, 2018 will simply be just keeping things going on the back burner. I would dearly like to say that it will be a year of exciting new developments but I think I’d be raising expectations beyond what I’ll physically be able to deliver.

In terms of recorded music, I have to admit that I am a Luddite as far as streaming and download services are concerned. I like to go into retail stores and purchase a tangible product that I can take home and appreciate visually as well as aurally. My tastes are not stuck in any particular period and I am a big fan of both old and new music alike. Who knows what new recorded music will be released in 2018 but I look forward to finding out.

I also don’t think that there is much likelihood of attending many live music events in 2018. However, all other things being equal one of my all‑time favourite bands is playing live in 2018 and tickets are already booked. Indie rock legends Robert Smith and The Cure are celebrating their 40th anniversary by playing London Hyde Park BST concert in July. I also hope to repeat Looe Music Festival in September if I can.

A message of hope for 2018 and the future

Fundamentally, I don’t like to plan things out in great detail for two principal reasons: a) things never seem to work out for me and I would only get downcast when things don’t go as intended and, b) no-one really knows what is going to happen and prescribing a set of immutable circumstances in advance inhibits the potential for the sort of spontaneous opportunity that may make life really worth living (one can hope!).

One thing experience has taught me is that life is too short to get hung up on trivial things and maintaining a positive mental attitude is the only way to deal with life’s harsh realities. Perhaps it is the juddering realisation of one’s mortality that hangs over us all (but some more than others) like the proverbial sword of Damocles that makes me so philosophical. One cannot afford to be laid back about life otherwise precious time will be squandered in the pursuit of idle mundanity. So, I will take one day at a time, aim to do the best one can in every situation, make the most of every moment, and see what transpires. If I can be more profound and fundamental, I shall attempt to do so. I hope that I’ll still be here waffling on interminably this time next year (December 2018).

I am not a religious person. However, the Buddhist philosophy tends to resonate with my own outlook on life, so I will share the following quotes ascribed to Buddha. I reflect on these (and other) words of wisdom from time to time in an attempt to find internal solace, particularly during difficult times. Perhaps, through sharing, they may make a difference for others too:

“The secret of health for both mind and body is not to mourn for the past, nor to worry about the future, but to live the present moment wisely and earnestly.”

“Have compassion for all beings, rich and poor alike; each has their suffering. Some suffer too much, others too little.”

“I do not believe in a fate that falls on men however they act; but I do believe in a fate that falls on them unless they act.”

“To be idle is a short road to death and to be diligent is a way of life; foolish people are idle, wise people are diligent.”

“Better than a thousand hollow words, is one word that brings peace.”

What does all this have to do with vintage guitars, you may well ask? Well, if I can get everything else turning out positively, it may increase the likelihood that CRAVE Guitars could prove to become a success. It is, at least, something on which I can focus. Call me crazy but I remain determined to make something of CRAVE Guitars sooner or later, preferably sooner. It may not become a reality in 2018, but, as long as I can keep things moving forward in the right direction, however slowly, it may just happen… eventually. The following quotes are others that seem appropriate…

 “If you can’t fly, then run. If you can’t run, then walk. If you can’t walk, then crawl. But whatever you do, you have to keep moving forward” – Martin Luther King Jr (1929-1968)

“Great things are not accomplished by those who yield to trends and fads and popular opinion” – Jack Kerouac (1922-1969)

I don’t have any great words of comfort, grace or insight to impart either in retrospect or prospect, other than the obligatory monthly CRAVE quote (see below). Praying for world peace, an end to suffering and justice for all seems trite, given the current poor state of world affairs. So, perhaps, a simple personal message of “I hope that 2018 will be good for you” to all guitar aficionados out there will suffice.

That’s it for now. The holiday season should be a time to sit back and plink one’s plank(s), so I’m off to pick up a geetar (or two). Play on. Until next time (and next year)…

CRAVE Guitars ‘Quote of the Month’: “Inspiration is everywhere around. Think deeply about what you experience every day and then act on what matters to change some things for the better.”

© 2017 CRAVE Guitars – Love Vintage Guitars.

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29 Jun 2017

June 2017 – At Last… New in at CRAVE Guitars

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Finally, the much-heralded and eagerly(!)-awaited relocation (see March 2017 article → click to read) has taken place and the work really starts on making the new crib habitable first, and then liveable in. This has to be completed before CRAVE Guitars can be properly resurrected, so it is still some way off before ‘normality’ returns.

More importantly within this context, CRAVE Guitars’ ‘collection’ of vintage instruments is in temporary storage until I can create safe, secure and environmentally appropriate musical equipment space. Providing them all with a home will take both time and significant funds. In the meantime, the availability of vintage instruments, effects and amps to hand is limited, as only 4 made the initial expedition. Eek!

The recent thinning out of the guitar herd means that CRAVE Guitars is now substantially smaller (by about 15%) than before the move. In addition, a load of studio gear, modern amps and a plethora of modern, far eastern effects pedals, have now found new homes.

The advantage of marginal rationalisation is that CRAVE Guitars’ operating model has become better focused. For instance, after the cull, the only instruments and amps remaining are American-made, of which only two that are newer than 1989 (mainly for reference comparisons). In comparison, vintage effects are a bit more diverse. While the most modern was in 1988, the pedals come from America, Japan and Europe. Stomp boxes are, and always have been, a justifiable exception to the ‘made in USA’ rule simply because they are so integrated into our musical culture.

Another advantage of the pre-relocation clear out is that it released some limited funds for reinvestment. A modest injection of cash enabled the acquisition of a few interesting vintage bits and pieces, including:

Guitars:

1977 Gibson L6-S Deluxe
1970s Ovation Breadwinner 1251

Amp:

1979 Fender Musicmaster Bass

Effect Pedals:

1981 BOSS PH-1r Phaser
1981 Ibanez CS-505 Chorus
1985 BOSS TW-1 T Wah
1978 Ibanez PT-909 Phase Tone
1976 Electro-Harmonix Octave Multiplexer
1978 MXR Envelope Filter

Features and galleries on all these items can be found on the web site, so I won’t repeat the content here. Both of the ‘new’ guitars, the amp and two of the pedals were made in the USA, with the remainder of the effects coming from Japan. I think that they are all great additions to the CRAVE Guitars fold.

While keeping the core spotlight on Gibson and Fender guitars, the diversification into other brands is intended to broaden interest and appeal, recognising that there is more to musical heritage than the mainstream. Economics also plays a part, with vintage values rapidly increasing for the big brand’s desirable models. There are some fascinating cool and rare vintage instruments to explore.

It seems opportune to make no apology for the emphasis on 1970s and 1980s gear. Primarily, it was during these decades when my youthful obsession with music and, specifically, guitars began and probably peaked. Those new or second-hand guitars of that period are now becoming sought-after collectables, so I have a soft spot for them.

There are plenty of well-moneyed collectors scavenging 1950’s and 1960’s vintage pieces, hiking up the prices to ridiculous levels (again) while at the same time vociferously criticising some very credible 1970’s equipment in the process. The result is that many of us ordinary, enthusiastic mortals are increasingly becoming excluded (again) from instruments made in the ‘golden years’ by greedy investors and speculators.

I agree that there was some poor quality manufacturing from large conglomerates in the 1970s and 1980s, often caused by commercial pressures, manufacturing techniques and essential cost-cutting. However, progress needed to be made, especially in the face of far eastern competition. We shouldn’t forget that, during and the 1970s in particular, a swathe of innovation and experimentation took place that enabled the brands to sustain and rejuvenate. These strategic business factors are often overlooked or downplayed. The thing about innovation is that only some of it becomes successful, whenever it takes place. Let’s be honest, there has been plenty of dire output at other times too.  We do need to take care that we don’t fall into the trap that old is automatically good. So… my point is that the situation isn’t clear cut and, with careful selection, there is some really fine stuff out there, whatever the period.

Furthermore, and being a tad heretical, if it wasn’t for those major corporations rescuing and then keeping the failing brands going through lean years, they might have been lost to us altogether. Had they totally disappeared, we wouldn’t have the modern classics being made now by companies that care about the heritage. It is too easy to jump on the bandwagon and criticise the ‘70s and ‘80s without a thought for the practical. Wait a few years, see what happens and you decide whether my appraisal has some merit. It will be interesting to see what the long-term effect will be as a result of the exemplary output produced by the ‘boutique boom’ of the current decade.

Picking and choosing can lead to some fine vintage instruments being acquired at reasonable prices, if only because the avaricious vultures haven’t looked to make a big profit from them yet. Inevitably, it will happen and then, almost overnight, what these ‘experts’ call uncool now will suddenly become cool in order for them to make a buck. In the meantime, CRAVE Guitars is hopefully redressing the balance a bit and bringing some common sense to the debate. It is for these reasons that CRAVE Guitars is actively celebrating these guitars, amps and effects and stewarding as much as I can for future generations to enjoy.

Right… rant over (for now), so time to change the subject. While the ramifications of the relocation are working through, I am trying to keep CRAVE Guitars’ going as best as I can.

The CRAVE Guitars web site has been spruced-up. While on the surface, it doesn’t look very different, about a quarter of the site has been updated in one way or another. There is so much that I want to do with it. Hopefully, the opportunity will arise to improve it over coming months.

CRAVE Guitars Website
CRAVE Guitars

I am trying to sustain CRAVE Guitars social media output, as it is one area where one can’t take one’s eye off the ball. The platform is notoriously fickle and inactivity leads to being forgotten very quickly. During June 2017, CRAVE Guitars surpassed 2,000 Twitter followers (@CRAVE_Guitars). It took 2½ years of ceaseless hard work and over 11,000 Tweets to get there. I doubt that there is any tangible value other than global exposure for the brand (it is more a reputation than a business). One can only hope the investment in time and effort will be worth it in the end.

CRAVE Guitars – 2,000 Twitter Followers

Since the last article, Glastonbury Festival 2017 has come and gone. For the second year running, attendance wasn’t possible for family health reasons. It was very frustrating being relegated to an armchair/TV viewer. Nevertheless, this year’s festival which, even though I wasn’t there, got substantial CRAVE Guitars social media coverage. I have to say that the absence of the traditional festival quagmire was galling – mud-free Glastos are a rare thing and it would have been nice to experience a dry one. Even worse, there is no Glastonbury Festival in 2018, as it’s a fallow year to allow the dairy farm to recover. Furthermore, it isn’t clear whether the next one in 2019 will be held at Worthy Farm, Pilton, Somerset, UK. The farm is its spiritual, historical and, to me, only home. I hope that this year does not turn out be the last ever ‘real’ Glasto. If it moves away, it risks becoming just another bland event amongst a plethora of other generic music gatherings. I watch with interest and a touch of trepidation.

To compensate (a little) for missing Glastonbury, I’m looking forward to the local Looe music festival taking place at the end of September, almost on the doorstep. The Jesus And Mary Chain, Lulu and Happy Mondays are headlining. Interesting variety for a small regional event held towards the end of the festival season.

Note to self: Time to unpack and get back into plinking my planks. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “Stop the fussin’ and fightin’, we all should be uniting, no more blood should be spilled, if our destiny is to be fulfilled”

© 2017 CRAVE Guitars – Love Vintage Guitars.

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18 Dec 2016

December 2016 – A Year of Gains, Change, Losses and Optimism

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It’s that time of year again when it seems to be the ‘in’ thing to reflect on the departing year and look ahead to the future whatever it may hold (along with a few obligatory lists along the way). So, in the spirit of seasonal laziness, here is my take on the year just about to leave platform 2016 and to wait for the 20:17 train to who knows where.

A Retrospective

In the music world, the grief that ended 2015 (e.g. Lemmy) continued into 2016. Let’s begin by remembering some of those great artists and guitarists who sadly departed and left us mere mortals behind during the year. I hope they play eternally at the ‘great gig in the sky’…

  • David Bowie on 10th January, aged 69
  • Glenn Frey on 18th January, aged 67
  • Merle Haggard on 6th April, aged 79
  • Prince on 21st April, aged 57
  • Lonnie Mack on 21st April, aged 74
  • Scotty Moore on 28th June, aged 84
  • Leonard Cohen on 7th November, aged 82
  • Greg Lake on 7th December, aged 69
  • Rick Parfitt on 24th December, aged 68
  • George Michael on 25th December, aged 53

Farewell and Rest In Peace cool dudes, you will be forever remembered for your tremendous legacy… and will be greatly missed for potential works not completed. Kudos. I am not looking forward to 2017 and the inevitable demise of more stalwarts of the music industry. Who will be next? We can only conjecture at this stage.

It has certainly been a year of change. I won’t delve into the controversial world of global politics, even though it affects our lives fundamentally every day. As English guitarist Eric Clapton said, “One of the most beneficial things I’ve ever learned is how to keep my mouth shut”. At a personal level, it has been a complete change of employment, if not lifestyle (yet). I am still working for ‘the man’ but in a different way. After 30 years as a paid employee, I was made redundant and am now self-employed. The massive drop in disposable income has affected CRAVE Guitars by forcing a, hopefully temporary, hiatus in its mission to accumulate more vintage guitars. In fact, only 3 guitars were purchased all year, but what terrific guitars they were in their different ways…

  • 1962 Gretsch 6120 Double Cutaway Chet Atkins Hollowbody (March)
  • 1964 Silvertone 1449 ‘Amp-in-Case’ (October)
  • 1981 Gibson RD Artist (January)

Bizarrely, there was not a Fender amongst them. Note to self… must try harder!

Out of curiosity, I had a look back at my ‘most wanted list’ of guitars from this time last year and I’ve only been able to knock one off the ‘plan’ during the last 12 months (and probably not the one you’d think!). Oh well.

The change, however, was an opening to refocus a bit, without straying too far from the chosen path. Rather than just stop altogether, it enabled me to look at things in a fresh way. As it turned out, a more affordable and modest vintage guitar-related ‘hobby’ filled the sizeable gap. The result was that I was able to build up a modest collection of classic vintage guitar effect pedals, starting with a ‘small box’ Pro Co Rat and ending 5 months and 16 pedals later with a Made in Japan’ Boss PH-1 Phaser. I also resurrected a number of my classic owned-from-new pedals from the ‘70s. These classic pedals can still hold their own in terms of tone and, while not necessarily ergonomic, are well worth the effort.

This cool diversion had its pitfalls, including transit damage, missing bits and difficulty finding vintage parts to refurbish a couple of cool but ‘adapted’ player-grade effects. What I learned is that, while I’m OK at buying guitars, my knowledge of vintage stomp boxes just wasn’t as strong. At least my focus was on the lower end of the vintage market, rather than the overpriced collector end (original Ibanez TS-808s anyone? Gasp!). It will take a while to build up reliable experience and make better‑informed purchases. In total, there were 17 vintage effect pedals purchased during 2016, including (by brand)…

  • Boss (x5) – CS-1, DS-1, OC-2, OD-1, PH-1
  • Electro Harmonix (x2) – Little Big Muff pi, Doctor Q
  • Ibanez (x5) – AD9, CS9, FL301-DX, FL9, TS9
  • Jen (x1) – Cry Baby Super
  • MXR (x3) – Blue Box, Distortion +, Phase 90
  • Pro Co (x1) – RAT

While looking into effect pedals, I also started looking at vintage valve guitar amps again, although I only bought one very cool little loud box during 2016 (not including the Silvertone’s ’amp in case’ above)…

  • 1978 Fender Vibro Champ

What has CRAVE sold during 2016? B*gger all of any significance! I just don’t have the ‘killer instinct to sell effectively, which is why I’m not a dealer. So, the ‘collection’ continues to grow, which isn’t good news, either financially or space-wise.

Turning to recorded music, picking something special out from the ubiquitous, formulaic dross was a bit of a challenge. Here are some of the varied albums (whatever happened to singles?!) released and added to CRAVE Guitars’ playlists in 2016:

  • Jeff Beck – Loud Hailer
  • Blossoms – Blossoms
  • David Bowie – Blackstar
  • The Coral – Distance Inbetween
  • Nick Cave And The Bad Seeds – Skeleton Tree
  • Leonard Cohen – You Want It Darker
  • Daughter – Not To Disappear
  • Dinosaur Jr – Give A Glimpse Of What Yer Not
  • Garbage – Strange Little Birds
  • The Heavy – Hurt & The Merciless
  • Iggy Pop – Post Pop Depression
  • The Kills – Ash & Ice
  • Megadeth – Dystopia
  • Metallica – Hardwired… To Self-Destruct
  • Radiohead – A Moon Shaped Pool
  • Rolling Stones – Blue & Lonesome
  • Savages – Adore Life
  • Seasick Steve – Keepin’ The Horse Between Me And The Ground
  • Warpaint – Heads Up

One good point towards the end of 2016 was that I was able to see one of my all-time favourite bands and one that has kept me just about sane over many years. I saw The Cure at Wembley Arena, London on 1st December. It is 8 years since I last saw them live in London and New York. They were, as I’d hoped, awesome and still able to perform at the top of their game. They were supported by Scottish indie band, The Twilight Sad, who I’d also been looking forward to seeing for some time; impressive. As I was unable to make the pilgrimage to Glastonbury Festival this year, this one major gig made up for it. Long may Robert Smith and The Cure continue to inspire – thanks Bob. I can only hope that this tour may herald a new album in the near future (hint, hint!).

While on the topic of live bands, it occurred to me that it is a very ephemeral experience. On quiet reflection, if there is one band that I would have liked to have seen but didn’t and now it’s too late… The Clash. The one band that I haven’t seen yet that I would like to see before it’s too late… Rage Against the Machine. Of course there are many, many mainstream artists that could go on those particular lists. These were just ones that came to mind when I asked the rhetorical question.

A Prospective

Trivia fact: In English etymology, ‘prospective’ is a valid antonym for ‘retrospective’. So, I took the indulgence of looking forward through the looking glass and speculating a little on what may lie ahead.

Firstly, CRAVE Guitars will hopefully be relocating soon. I was hoping it was going to be before Christmas but it will now be in early 2017. Major problems and escalating costs with the new place, including somewhere to store the guitars dry, warm, safe and secure, means that even pedal purchasing has now been put on hold until further notice while some massively expensive but essential rebuilding takes place and (sadly) uses all my remaining (guitar) capital.

Furthermore, my self-employed work ends at Christmas, so unemployment (tactically, I prefer to call it early retirement) looms on the immediate horizon. Ironically, after years of having no time and a little cash has been turned around such that I may soon have a little time and no cash. Hey-ho, story of my life; one can’t have it all, eh?

If there is a way that CRAVE Guitars could be put on a different basis and become a full‑time occupation, I’d like to do it. I need to learn how to sell though (see above). It would be terrific if I could realise my long-held ambition and put all my hard work over the last few years to good use. Harsh life experiences over many years suggest that this won’t happen so, perhaps, it is about time for a meagre sprinkling of ‘good luck’ to come my way for once.

Unfortunately, the prevailing economic climate is not conducive to starting up a professional niche business with next to zero capital, no access to finance, sparse experience, and little reliable entrepreneurial advice, all within the context of political, economic and social turmoil. In the UK, we’ve had a General Election, political meltdown, crippling national debt and the insanity of ‘Brexit’ (what a stupid ‘word’ that is!). In the US we’ve had Clinton being well and truly Trumped (amid much conspiracy theory), which is a scary proposition for the whole world. Mad! Since the EU Referendum, the $USD to £GBP exchange rate has fallen through the floor, so one of CRAVE’s strengths – importing vintage guitars from homeland U.S.A. – is now next to impossible as the costs have simply become prohibitive (at least on the modest funds at my disposal). As 2017 looks to provide more surprises and yet more change, there is little point in further speculation about exactly what might transpire. I wonder what CRAVE’s December 2017 article will have to say (all other things being equal).

Ever the eternal optimist, or more probably just tragically deluded, 2017 HAS to be better than 2016. I suspect I may be bitterly disappointed… again. As you might imagine, I have no evidence to support this hypothesis, just a desperate but probably forlorn hope that things, both macro and micro, improve in the months to come. I also have to trust that the irrevocable life-changing events of 2016 lead to constructive and positive outcomes in 2017. Carl Gustav Jung (1875-1961), the Swiss psychiatrist and psychotherapist that founded analytical psychology summed it up, “Until you make the unconscious conscious, it will direct your life and you will call it fate.” Perhaps the old dude knew a thing or two about people’s ability to influence their own destiny.

I know that one shouldn’t gauge any sort of success by social media activity but CRAVE Guitars is gradually building a solid presence on the hinterweb. A huge “THANK YOU” to everyone who showed some interest in goings on at CRAVE Guitars over the last 12 months. At the time of writing, CRAVE’s Twitter followers (my favoured platform – @CRAVE_Guitars) were standing at over 1,330, which is amazing to me – a massive increase in a year. The majority of CRAVE’s Twitter followers are in the U.S.A., so much appreciation goes out to my transatlantic brethren. Equally, my gratitude extends to everyone inside and outside the UK, across the continents of our increasingly shrinking ‘global village’ for your time and consideration.

CRAVE Website

If CRAVE could buy any vintage guitar in 2017, what would it be? Actually, although unlikely to achieve either, I’m picking one from each of Fender and Gibson to keep things neutral. A 1970s Fender Starcaster has appealed for a long time but they are few and far between and prices are scarily high. As for the ‘big G’, a 1950s non‑cutaway Gibson ES‑150 has also been a longstanding aim, also rapidly increasing in price. So if Santa is listening, I have tried SO hard to be a good boy.

As frequently mentioned in my articles, guitars have only one purpose, as a tool to make music. Music can bring us together and help to heal the often seemingly irreconcilable schisms that inhibit mutual co‑operation and benefit. This brings me neatly onto…

A Hope

For what it is worth, a short Christmas message of redemption for 2017…

I feel that there are even greater seismic shifts ahead in every facet of our small planet. All I can hope is that for every backward step, there are many more steps in the right direction towards the panacea of world peace, ecological sustainability and, let’s face it, survival. We need to magnify the things that we all share and value, and we must strive to diminish the things that cause irreconcilable division and conflict. Ultimately, there is no choice but to work together for the sake of our enduring common humanity. We all have an obligation and a moral duty, individually and collectively, to build a better, fairer world for everyone now and for succeeding generations. As equal citizens, we must demand more from our governments if we are to achieve a viable future for life on Earth. We must respect our diversity, reject greed, protect our environment, have compassion for all living things, and rise above prejudice and hatred, if we are to stand any chance of achieving great things as a species. Strive for utopia and we may just get far enough down the road to justify the effort. It is just common sense after all and the struggle must prevail if it’s worth struggling for. We shall see. Buddha put it far more succinctly, “Better than a thousand hollow words, is one word that brings peace”. Quite right!

I fear that the rise of ignorant extremism under the guise of ‘populist anti‑institutionalism’ will trigger further anarchic, nihilistic and blindly destructive tendencies when, what the world really needs right now is more ‘peace and love’. Beneath the superficiality of the naïve desperation of the ‘60s hippy movement, the counter‑culture ‘uprising’ of the time had it right all along and we should seek to realise the latent potential of their philosophical idealism and belief for good and fairness. As John Lennon sang, “Imagine all the people living life in peace.” One can hope beyond hope, however unrealistic it may seem. Concerted action, though, is needed.

May you play guitars, or at least listen to the magical music that all guitarists – great and meek alike – create on our beloved instruments. People need the therapeutic qualities of music now, more than ever before. It is a cathartic way to deal with the harsh vagaries of our capricious, chaotic, dysfunctional world. As the German philosopher and scholar, Friedrich Nietzsche (1844-1900) wisely said, “And those who were seen dancing, were thought to be insane, by those who could not hear the music.” On that final contemplative note, it is goodbye to a weird 2016 and I hope to be back in 2017. In the meantime, I’m off to ‘plink my plank(s)’. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “If I had a pound for every perfect guitar solo I’ve ever played, I’d still be stone broke.”

© 2016 CRAVE Guitars – Love Vintage Guitars.

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28 May 2016

May 2016 – New Stuff At CRAVE Guitars

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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:

  1. Purchasing a range of cool vintage effect pedals
  2. Recovering a number of older effects from storage that I bought new in the 1970s
  3. 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
Vintage Effects x 8

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)
Vintage E-H Effects x 5
 

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 Chet Atkins
1981 Gibson RD Artist

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 3rd generation Melody Maker from the mid-1960s (these are the ‘ugly duckling’ ones with the amateur-looking pointy cutaways, i.e. not the pretty 2nd generation or the SG-like 4th 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.”

© 2016 CRAVE Guitars – Love Vintage Guitars.

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27 Mar 2016

March 2016 – A Temporary Change Of Direction

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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)
Vintage Effects x 5

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.”

© 2016 CRAVE Guitars – Love Vintage Guitars.

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23 Jan 2016

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

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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”

© 2016 CRAVE Guitars – Love Vintage Guitars.

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