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G & L Guitars

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Has anyone out there heard of this guitar maker? I found out about these guys through a patient that I was taking back to their room after a procedure. The patient was a bass player and said that it was the pride of the collection. So curious about it I went and googled it.

To my amazement the makers were none other them Leo Fender – Maker of all pre-CBS Fender as well as Music Man instruments – and George Fullerton.

Leo Fender, we all know who he is but, the other guy, not so much. George Fullerton is the co-creater of the Fender Stratocaster. Not a bad thing to have as a lasting legacy of a man now is it!

G & L was the result of Leo having to sell his company in 1965 due to health problems that he was having in the early 60’s. It was started up in 1980 at the same location that had housed his Clarence Leo Fender Research (CLF) facility.

Some of the musicians who use these beauty’s are personal favorites of mine. For example:

Carl Perkins, Canada’s own Gord Sinclair (The Tragically Hip), Peter Frampton and Bob Mayo (Peter Frampton Band), Neal Schon (Journey), Davey Johnstone (Elton John band), Gary Hewitt (Gary Allan Band) and all the guitarists from Aerosmith and INXS. Just to name a few.

If you happen to come across this post and own one of these beauty’s PLEASE write a comment here about your experiences about your axe. We’d really like to hear from you, please?

Keep on Jammin’




Guitar side ports

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guitarsideport1.jpg The one thing that I see in the evolution of the acoustic guitar today is its link with the past from Canada’s own, Glenn Gould.

He used a unique approach while playing in his later years, around 1983, when he took away part of the piano body to let the sound come out of the instrument in a unorthodox way.

First of all, the guy was way ahead of his time. What he did was to remove the wooden cover section that is used to cover the piano keys. He removed this part entirely. He would also close the piano lid on his concert piano, allowing the sound to be sent through the missing cover section of the piano.

This allowed him to hear the subtle tones while playing his music.

This was best shown in his 1980’s work of the gloomy nature of life. The slowness of some of his canon’s reflect the need for this type of sound exposure that the musician needs to fully understand what the audience hears, but as a very unique approach.

Second of all, the guy went to places that no one probably ever thought of venturing. I wonder if the person who thought of the guitar side ports ever watched Glenn Gould Hereafter? If he did, I bet this is where he may have got the idea, but then again I could be dead wrong.

darksideport.jpg

I have been toying around with the idea of putting in a new state of the art pick up system in my Larrivee. The system is called the LR Baggs iMIX. It captures a lot of the character in my guitar with an active response to it. That means that the pickups pick up the aggressive or passive playing of the strings on the guitar.

Now in order to place it in there, I must have it installed inside the body above the sound hole, closest to my face. That’s fine with me. The next question is what in the world do I do with the hole that the factory installed system sat in? It would look mighty funny just viewing a rectangular opening right there in my face. Do I just leave it there or what should I do with it? Here is my best option, I think.

I have always wanted both of my acoustic guitars to have pick ups so I can have a back-up on stage. So why not put my old pick up from the Larrivee into my old Aspen acoustic guitar. Perfect, I think? Unfortunately if I do this I will have this opening on the side of the body near my chest where the old system was. It would look so odd and out of place that I would be reluctant to let anyone look at my guitar. So while talking about my problem with the guitar tech at the 12th fret, he gave me this fabulous idea of the side port!

lightsideport.jpg

They could change the look of the old hole and create a fancy looking design in it’s place!

This will allow a small portion of the sound to come up directly to me acting like another sound hole or a monitor if you will. This will not effect the tonal qualities of my baby I have been told. The tech had one in this part of the workshop that he made and let me try it out. Not only did it look very cool and original, but it was nice to have some sound coming from a part of the guitar that I have never heard it coming from in the past.

Now all I have to do is convince my wife about this one, wish me and my Larrivee luck will you all?

Keep on Jammin’

More on my 1959 Fender Duo Sonic

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This baby was first introduced to us in mid 1956, the original Duosonic (two pickups) were Fender’s 3/4 size, student model, 22.5″ short scale beginners guitars.

With the switch in the middle position, the two pickups are in series, giving a humbucking pickup type sound. These short scale student models were made to the same high quality standards and materials that Fender used for its more expensive models. For this reason, Duo-Sonics are very well made.

In late 1964 both models moved to second generation, coinciding with the introduction of the Mustang. A buddy of mind, Serge Roy of Brantford has one of these puppies! The “II” designation was then added to the DuoSonic and MusicMaster names. These models are more like the Mustang (except the Mustang has a vibrato), than the original DuoSonic/MusicMaster models. The differences in the new generation were in the body shape, pickguard, and electronics.

It was available with either a 22.5″ or 24″ scale, but is most often found with the longer scale. The 24″ scale Duo-Sonic II, Musicmaster II, and Mustang of the September 1965 to October 1966 period are sometimes found with a slab rosewood fingerboard, usually of Indian rosewood.

Some Fender experts today speculate that the slab board necks were leftovers from 1962 Jaguars. Don’t tell Serge about this one,ok?

No matter what is said about this vintage instrument the only thing that matters is how it plays and sounds. I am truly blessed by having this little gem of a guitar and I know that. If you ever get the opportunity to play a 1959 Fender Duo Sonic you will know what I mean and remember this post!

Keep on Jammin’

Time to overhaul my Gibson RD – Artist?

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This guitar is my baby! I have been through thick and thin with this thing. I now feel and fear that this perfect instrument has to be improved in one area and one area only.

I love the “character marks” on it, that means “wear and tear” for the uninitiated. The oxidization or colour change in the Ivory throughout the guitar, makes it look beautiful and vintage. The neck is perfect. The tuning pegs are still working quite well, stays in tune for ages. The active electronics need some work and I want to have that looked at. Now the only biggest drawback to it is the weight. If you ever had to play this thing for 2 hours while your playing live, you will know what I mean.

This is the only big obstacle that I have to deal with. The way to resolve this will tax my nerves to the limit.

By reading a great site in blog land, I’ve found that I have a little voice in my head pushing me more and more towards confronting this issue. The site is called Building the Ergonomic Guitar.

He says that the way to get the best results are to change to an ergonomic strap called “The Dare Strap“. This idea is the least invasive out there that he’s heard.

So I was just wondering if I should just router some areas on the back of the guitar to lighten up my load. I realize this sounds like some “Hillbilly that just fell off the turnip truck” idea but it may work? I am just asking for ideas here people. I don’t even own a router.

There is this guitar player in Brantford in the early 70 -90’s called Scott Merrit. The man was a god on guitar. He played in the open tuning style that I had only heard of at the time, but have never done anything quite like. I must admit that when he went into the local guitar shop called “Music and Sound”, I would just put down my guitar and pretend that I didn’t play. I know it was a fantastic missed opportunity by a little kid, but could you blame me I was in grade 8.

He was awarded a Juno for the best upcoming artist and vocalist in Canada in the mid 80’s. Scott had the same 1959 Fender Duo-Sonic that I have. The big difference between both of ours was that he had cut a handle hole in the upper right portion of the guitar where you might rest your right forearm on, while I left mine complete. It was the neatest thing to look at. While I was over at his place in high school, he showed it to me.

I guess if Jimmy Page can use this guitar at all of their Knebworth shows for Misty Mountain Hop throughout the 70’s, then it’s good enough for me!

If someone has ever done this type of work on their guitar or is very talented with a router, can you give me some advice on the pro’s and con’s or even alternatives to this procedure?

Keep on Jammin’

The Harp Guitar

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This instrument, the Harp Guitar, is the sweetest and most challenging one to perfect. Some of the great musicians to play this instrument have been Robbie Robertson, Steve Howe, Pat Metheny just to name a few.

The Harp Guitar is considered beautiful to the eyes and ears. Even Gibson was a Guitar Harp producer. We have a great Canadian woman who creates these missing links to the musical past and she is, Linda Manzer.

I have chosen Michael Hedges to illustrate this to you today. Unfortunately, like all the great ones, he is no longer with us. He was only 43 when he pasted away from a car crash.

The Guitar Harp has the appearance of a mythical instrument from the days of Robbin Hood, the Lutes of 1265 C.E. (C.E. = Common Era, used to be called A.D.) or the Baroque period. An ageless instrument at that!

I have never seen one up close but if I could be alone with one for a moment or so, I would try to decode this thing once and for all. I have tried my luck on a Lute and it was really fun to play. I love the sound and the action on the Lute. The neck is wide and the length is short, which makes it easier to play in my eyes. I suggest that if the opportunity presents itself, you should take full advantage of the moment to broaden your musical horizons.

Keep on Jammin’, (even Harp style)

My poor old Sitar

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The bottom of a Sitar is made of a gourd (a pumpkin) and the old one that I own now has a split down the middle.

Years ago when there was no gap, I could tune it and goof around with it and had a blast. This exotic instrument did not come with a case (very unfortunate) and this is where I made the fatal error. Honestly, I was afraid of the price that might come along with getting one, what a fool or tool I was back then!

Does anyone out there in the Toronto area (GTA) know of any places where I could have them take a look at it to determine if it is really worth restoring? I and it would really appreciate it, companies that you have had direct and favorable results with only, please.

I was in college when I got it from a family friend in Brantford. He told me that he bought it that way. When I get do some extra money, I think that I might try picking one up again because it brings such a unique colour to any song.

Keep on Jammin’

My first Rock Bands Concert … a KISS tribute one at that!

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I mercifully skipped grade 7 for you all and went right to the good stuff.

Well I just have to let the cat out of the bag and swallow my pride on this one! Yes I was playing in a KISS tribute band and was Ace Frehley. Well in all honesty, the majority of the tunes were KISS tunes. I was the only one in the band who did not belong to the KISS Army though.

I was into more challenging music but the only guys I knew that could play were these guys! Don’t get me wrong, these guys were my best friends for the longest time! Eddie, was the drummer and had extensive gigging with a “Polka Band” and Brian, the guy in my previous posts was the other guitar player. We didn’t have a bass player at the time due to the fact that no one we knew played the bass.

When I was in grade 7, I remember playing with the Muroz brothers. It was fun because they had taken lessons and could play their instruments well. I think we played some Queen, Led Zeppelin and some pop tunes of the day. I forget why we broke up but I guess that is how it goes. Sorry, I just had to write a bit about the grade 7 thing!

Anyways, we would practice and practice for hours on end. I keep trying to get these guys to slow down and take apart the songs that we were playing and it did sink in to some degree. I’m sure that they would tell ya differently but it’s my blog so there!

As we grew older we found that other schools had band and that they were playing live at their schools so we had no choice, let’s do a live show. Our first and only show was to be played at “St. Bernard’s” school. This was what we thought was our big break!

During this time I had been introduced to another band in the making. They were both in high school and they were just who I was looking to play with. They were Tony, the keyboard player who sounded like a god on that thing, and Harry the guitar player who could play quit well technically but lacked the feel that you need!

Anyways, when we played the show, I had a blast! My soon to be band mates where in attendance and the show went on. Brian, who was like Gene did this wild guitar solo in the audience with the help of MANY GUITAR EXTENSION CHORDS while i was lying on the stage moving these knobs on my old ” BOSS BF-1 FLANGER”. Our band was named “Duce” and when we played it to start off the show, the words go something like this, “Get up and get the hell on out of here!” and there goes Brian singing it directly to a nun, I almost blew a nut laughing so hard on stage!

So, how was that?

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