Part 2 of the exciting crybaby documentary is now available online and below
Part 2 of the exciting crybaby documentary is now available online and below
Way back in 1961 when the SG Standard temporarily replaced the Les Paul Standard in the Gibson line up, few were aware that a future icon of rock guitar was being introduced to the scene. Originally called the “Les Paul/SG”, this radical, double-cutaway electric with two dramatic asymmetrical pointed “horns” and a thin all-mahogany body was worlds away from the single-cutaway maple and mahogany Les Paul that it replaced. It proved to have similar power, punch and versatility, but also expressed a voice all its own, one that has grabbed many heavy rock and metal players in particular, alongside countless classic rock and blues artists. By the time the single-cutaway Les Paul returned in the late ’60s, the SG Standard was already a legend, and had forever claimed its place in rock history.
To celebrate 50 years since the introduction of this seminal design, Gibson USA unveils the SG Standard 24, a guitar that captures all the classic ingredients of Gibson’s great double-cutaway solidbody model, with a few clever twists to make it even more versatile for today’s demanding performer. Like the best SGs of the past 50 years, the SG Standard 24 starts with a solid mahogany body and glued-in quarter-sawn mahogany neck, a pairing that ensures ringing sustain, superb tonal depth, and plenty of clarity and richness. The body’s thin dimensions make this a pleasurably light guitar to play, while its classically beveled edges also make it comfortable on the forearm. To update the format for the 21st century, however, Gibson USA gives the SG Standard 24 the 24-fret neck that its name implies, with even the uppermost of its medium-jumbo frets easily accessible thanks to the SG’s legendary deep double-cutaway design. Combine this with a beautifully ergonomic rounded neck profile, and you’ve got one of the sweetest playing rock machines available today.
Two of Gibson’s popular PAF-style 57 Classic humbucking pickups translate the SG Standard 24’s sonic goodness to your amp of choice, yielding anything from deep, warm vocal tones in the neck position to endless growl and roar in the bridge, to round and snappy tones in between. The classic pairing of a Nashville Tune-o-matic bridge and stopbar tailpiece keeps it all rock-solid and resonant, while up at the other end a PLEK-cut Corian nut ensures clean intonation and singing sustain. Top it all off with a set of vintage-style tuners with pearloid buttons, a unique “50 Years” headstock emblem, and a high-gloss nitrocellulose finish in Antique Ebony, and you’ve got a spectacular celebration of one of the world’s favorite electric guitars, all wrapped up in an instrument you can gig with today. Each guitar includes a Gibson hardshell case and owner’s manual.
As Billy himself puts it, “For me, as a kid, the Gibson Les Paul was the guitar that the cool people played. The people that made the music I loved, that were in the bands that turned me on and made me feel alive, from Jimmy Page in Led Zeppelin, through Steve Jones of the Sex Pistols, Mick Ronson with David Bowie.” As such, the Billy Morrison Les Paul is a Les Paul for the ages, primed to rip out the classic rock, but able to handle anything from blues to metal to shred with ease.
The first part of Dunlop’s Cry Baby documentary, ‘Cry Baby: The Pedal That Rocks The World’, is now available to view online and you can watch the star-studded ode to the wah pedal brand right here.
The film includes brand new interviews with some of the biggest names in guitar land, including Slash, Buddy Guy, Zakk Wylde, Eddie Van Halen, Kirk Hammett and Jerry Cantrell, as well as Jim Dunlop, the pedal’s creator.
Dunlop will unveil the following three parts every Monday for the next three weeks. Head to www.crybabydoc.com for more information.
With his glam-rock looks and pop-metal hooks, Marc Bolan led his band T. Rex into the stratosphere in the late ’60s and early ’70s, and his customized Gibson Les Paul was the fuel that propelled it all skyward. Dressed in a simplicity that gave them a broad and infectious appeal, songs like “Ride a White Swan,” “Get It On (Bang a Gong),” “Jeepster,” “Metal Guru,” “Children of the Revolution” and “20th Century Boy” were laced through with addictive riffs and crunching rhythm guitar that sounded consistently massive—and hooked burgeoning metal-heads and teeny-boppers alike. Bolan’s star burned out far too soon when he died in a car accident in Southwest London in 1977 shortly before his 30th birthday, but his music and its influence have remained strong over the intervening decades.
To honor this star’s legacy, Gibson Custom introduces the Marc Bolan Les Paul, a detailed recreation of the much-modified Les Paul that accompanied Bolan throughout the height of his career. With its replacement Custom Model neck and headstock (added to Bolan’s late-’50s Les Paul when its original neck was broken in the early ’70s), un-covered humbucking pickups including zebra-coil neck unit, and stripped “Bolan Chablis” finish, the Marc Bolan Les Paul is the spitting image of the iconic original. Add in its superior neck and body tonewoods, period-correct design and construction, and accurate PAF-style humbucking pickups, and this great Artist Model also nails the meaty, rich tone of its legendary inspiration.
The Marc Bolan Les Paul will be produced in a strictly limited run, including 100 hand Aged guitars, and a further 350 aged with Gibson Custom’s acclaimed VOS process. Each will include an Artist Model Certificate of Authenticity, a plush-lined hardshell case, a vintage replica guitar strap, and owners and warranty literature.
Waltons World Masters – Ladysmith Black Mambazo
‘It isn’t merely the grace and power of their dancing or the beauty of their singing that rivets the attention, but the sheer joy and love that emanates from their being.’
– Paul Simon
‘Truly great singing…balancing soulful ballads and traditional dance songs with exquisite and perfectly timed harmony work….’
– The Guardian
When Wednesday, 22 June 2011, 8 pm
Where National Concert Hall, Main Auditorium
Presented by Waltons New School of Music
Supported by RTÉ lyric fm, Sunday Independent, Dublin Conrad Hotel
Tickets €34, €40, €46 (choir balcony €20) from nch.ie
More information here
Currently-enrolled students of Waltons New School of Music may receive a 10% discount when booking tickets (up to 4) for this concert. Go to Student Discounts for more information.
Hailed as ‘South Africa’s cultural ambassadors’ by Nelson Mandela, Ladysmith Black Mambazo have been performing powerful, uplifting songs that emote the struggles and passion of South Africa for over forty years. The group sing a capella isicathamiya and mbube music in a joyously energetic performance that combines stirring choruses with softer, almost whispering chants and tightly choreographed dancing, creating a musical and spiritual alchemy that has touched a worldwide audience representing every corner of the religious, cultural and ethnic landscape. They have received fifteen Grammy Award nominations and three Grammy Award wins, and have collaborated with numerous artists from around the world, including Paul Simon on his groundbreaking Graceland album, Stevie Wonder, Josh Groban, Dolly Parton, Ben Harper and many others. This is one concert you won’t want to miss!
Waltons World Masters – Juan Martín Flamenco Dance Ensemble
‘Stunning virtuosity and spectacular live shows.’
– The Irish Times
‘Juan Martín reminded us of the power and beauty of flamenco pure and simple. No meretricious stage tricks, just one long enthralling sequence of instrumental solos, songs and dances by the brilliant troupe.’
– The Independent
When Saturday, 2 April, 8 pm
Where National Concert Hall, Main Auditorium
Presented by Waltons New School of Music
Supported by RTÉ lyric fm, The Sunday Independent, Dublin Conrad Hotel
Tickets €21, €25, €29 (choir balcony €14) from nch.ie
More information here
Currently-enrolled students of Waltons New School of Music may receive a 10% discount when booking tickets (up to 4) for this concert. Go to Student Discounts on our website for more information.
We are delighted to welcome back Juan Martín, ‘a giant of the flamenco guitar tradition’ (The Times), who returns to the National Concert Hall after a sold-out performance with the Waltons World Masters series in 2003 for another exhilarating evening of flamenco, supported by the cream of Spain’s flamenco musicians, singers and dancers, direct from Andalucía. Martín’s ensemble is at the vanguard of modern flamenco, with a unique style that succeeds in embracing classical, jazz and modern harmonies while upholding the great flamenco tradition. This is the real thing: passionate, intense, sensual and spectacular.
Background: Since their invention in 1954, the original stopbar and tune-o-matic have changed very little, if at all, which is a testament to their design quality and timeless functionality. Looking closely at this classic bridge/tailpiece combination that graces such legendary instruments as the Les Paul and the SG, it’s easy to see why.
Tune-o-matic: With the ability to easily adjust each individual string length using the six corresponding screws, precise intonation can be achieved. Two thumbwheels allow for bass and treble string height adjustment while two large bolts securely mount the bridge directly into the wood of the guitar effectively transferring string vibration and tone.
Stopbar: Positioned behind the tune-o-matic bridge, the stopbar uses two very large bolts and anchors that mount directly into the guitar. Because of its weight and stability, it is very effective at keeping the instrument in tune because it does not move. It is also very effective at transferring every string vibration to the guitar contributing to increased sustain and the overall tone of the instrument. Additionally, the height of the stopbar can be adjusted to create more or less string “break angle” over the tune-o-matic bridge by rotating the two large bolts. In general, the greater the string angle over the bridge the better for tone and sustain but if you find that you are breaking a lot of strings at the bridge, you might try raising up the stopbar a little.
The Challenge: Despite the success and integrity of the tune-o-matic/stopbar system, Epiphone conducted tests and experiments to see if and how this classic combination might be improved upon. It was determined that two improvements could be made:
During string changes when and if all the strings are removed, both the tune-o-matic and the stopbar can and often fall off of their anchor bolts. This can result in a wide range of minor problems ranging from them disappearing under a road case to being put back on incorrectly to just general annoyance. Therefore, there needed to be some way to “lock” both the tune-o-matic and the stopbar on their posts – ideally, without the need for tools.
After conducting sustain tests, it was determined that the tighter the fit of the tune-o-matic and stopbar on their posts and hence, the greater surface area contact – part to part – the longer the sustain and the better the tone.
With these two goals in mind, we set out to further perfect the design.. and we are proud to announce the development and introduction of the “patent applied for” Epiphone LockTone(TM) tune-o-matic/stopbar system.
Without adversely affecting their classic appearance and without the need for additional tools, this system not only “locks” onto the posts automatically and eliminates accidental drops, it also adds “tone” and sustain.
Proof of Performance: In order to validate the above claim regarding sustain and tone, we conducted the following lab tests. Below are the results:
For the first test we plucked the string under test and recorded the signal using Sonor(TM). After the signal was captured we analyzed the wave form using Sound Forge(TM). We made note of the RMS power (in dB) of the signal at impulse for 0.1 sec. and then made note of the RMS power for 0.1sec at 5 seconds from impulse. At this point we calculated the drop in decibels from impulse to 5 seconds for each string. We listed the average drop (over the 3 trials) for each string and then the overall average of the 3 strings combined.
Here is the average decline in dB’s from impulse to 5 seconds for each string and the overall averages for the strings combined:
Epiphone tune-o-matic/Stopbar System
6th : – 6.53dB
4th : – 23.79 dB
1st : – 37.31 dB
Average of all three string averages combined = – 22.54 dB loss
Epi LockTone(TM) tune-o-matic/Stopbar System
6th : – 6.9 dB
4th : -15.36 dB
1st : – 29.70 dB
Average of all three string averages combined = -17.32 dB loss
Based upon the above, the Epi LockTone system showed a nice increase over the Epi non-locking system. In general, the Epi Locking system was over 5dB better after 5 seconds.
The other interesting conclusion is the fact that high strings do not sustain as well as low stings. After looking at the physics involved this result supports this theory. High frequency signals are dampened much quicker than low frequency signals. This fact also plays a large part in how well harmonic content is perceived in a signal. If you look at only the 1st string the increase from the Epi w/o lock to the Epi Locking system was over 7.5dB better. This increase should help with both the sustain on the high notes and the harmonic content of lower fundamentals.
For the second test, we simply removed all the strings on a guitar equipped with the LockTone system. After removal, we turned the guitar upside down and shook it vigorously. Unlike the regular system, the LockTone did not move or come off the guitar.
Based upon the above, we am satisfied that we have accomplished our two design improvement objectives.
Thanks to the work of our staff and their passionate pursuit of performance, Epiphone is proud to announce the LockTone tune-o-matic/stopbar system. Unlike other systems that require tools to adjust and remove, the LockTone automatically locks the tune-o-matic and the stopbar onto their posts for added security and improved sustain.
The LockTone system is now standard equipment on all tune-o-matic/stop bar equipped Epiphone electric guitars. Look for them at your authorized Epiphone retailer.
Due to renovation work, our Georges street branch will be closed Sunday 12/02 and Monday 13/02, please accept our apologies for the inconveniences caused.
Epiphone Ltd Ed 1970’s Inspired Les Paul Custom Blackback Outfit
Dressed to Kill! The Les Paul Custom made it’s debut in 1954 after the initial success of the Les Paul Goldtop. Les Paul said he suggested black as the color for the guitar because it looked “classy” and went well with a tuxedo on stage. From that point on, the Les Paul Custom has often been referred to as the “tuxedo” Les Paul. And with it’s gold appointments, fully bound body, neck and headstock and mother-of-pearl inlays, we think you’ll agree that the Epiphone Les Paul Custom is “dressed to kill.”
Added Vintage-Vibe. Often, the original finish of Alpine White guitars aged over time and turned the true white color to an off-white, yellow. Epiphone reproduced this look with it’s subtle Antique Ivory color giving you the look of a vintage guitar, today. Also – during the 1970’s some LP Customs were painting with contrasting black backs. Finally, Epiphone equips this Custom with classic “open-top’ humbuckers featuring authentic Alnico-V magnets. Patterned after the original Gibson ’57 Classics, these pickups combine Alnico-V magnets with enamel wire to give you a tone that is warm and subtle with full, even response that doesn’t hold back when you need that classic humbucker crunch! The bridge pickup is slightly over-wound to give you a little more “crunch” when you need it while still maintaining great clarity and warmth. The combination is a unique, limited edition guitar that sounds great and is sure to attract the attention of both guitarists and collectors.
At the heart of every Les Paul Custom is Great Tone Woods. While all Les Pauls share common design features, the Les Paul Custom differed from the Les Paul Standard in that it’s body was solid Mahogany without a Maple cap. Epiphone’s LP Custom follows that tradition by using a solid, carved Mahogany body giving it a slightly mellower tone. Like the originals, attached to the body is a solid Mahogany neck with a hand-fitted, glued-in joint for optimum neck-to-body contact and acting almost like one continuous piece of wood. The neck features a very comfortable and fast “SlimTaper(tm)” neck profile that has become the most popular profile found on Les Pauls today. The result is a tribute to Les’ timeless guitar design with the sound and feel that you can only get from a real Les Paul.
Loaded with premium add-ons! Other premium features include Epiphone’s LockTone(tm) tune-o-matic/stopbar combination for increased sustain and easy string changes, 16:1 ratio Grover(tm) machine heads, a 7-layer bound body, a 5-layer bound headstock and a comfortable single-layer bound Ebony fingerboard. To top if off, the Les Paul Custom includes a premium hard case to protect your instrument when not in use. So put on your tuxedo and strap on this Limited Edition Epiphone Les Paul Custom Blackback today. Classic tone with classic looks!
|Neck Shape:||SlimTaper(TM); D-profile|
|Neck Joint:||Glued-In, Set Neck|
|Binding:||7-Layer body front and back, 5-Layer headstock, 1-Layer fingerboard|
|Machine Heads:||Grover(TM); 16:1 ratio|
|Neck Pickup:||Alnico Classic Open-Top(TM) Humbucker|
|Bridge Pickup:||Alnico Classic Plus(TM) Open-Top Humbucker|
|Controls:||1-Neck Volume, 1-Neck Tone, 1-Bridge Volume, 1-Bridge Tone|
|Pickup Selector:||3-way Toggle Switch, Epiphone All-Metal|
|Output Jack:||Epiphone Exclusive Non-rotating, Heavy Duty Output Jack|
|Knobs:||Black with metal insert “witchhats”|
|Colors:||Antique Ivory (top), Ebony (black, sides and neck)|
The Epiphone Les Paul Acoustic/Electric Ukulele Outfit
Real Les Paul Styling in a Ukulele! Long known for it’s history of making great Les Paul guitars, Epiphone expands upon that knowledge and experience with the NEW Les Paul Acoustic/Electric ukulele outfit. Like a traditional Les Paul Standard, it features a solid Mahogany body combined with a AAA grade flame maple top for great tone and great looks. The Mahogany neck features a comfortable D-profile shape and is bolted onto the body with 4-recessed screws for rock-solid stability and ease of service. It’s Rosewood fingerboard features a concert length 15″ scale and 21 nickel/silver frets with a 16″ fingerboard radius.
Plug it In and Turn It Up! Unplugged, this Les Paul Uke has great natural acoustic tone and volume. But plug it in and it really comes alive. Equipped with a high-quality, piezo film pickup located under the saddle, both the natural tone of the strings as well as the sound of and the body are accurately captured and routed to it’s durable all-metal, rim-mounted 1/4″ output jack. Plug it into a PA System or amplifier and it sounds great! And loud too!
Other Bonus Features! For accurate tuning stability, it features 14:1 geared machine heads. Unlike traditional “friction” tuners, these tuners have fine-tuning capability and won’t slip. The new LP Uke comes with premium black nylon strings as well as a gigbag with accessory pocket for easy and safe transportation. Top it all off with a classic LP pickguard that not only looks cool but protects the beautiful flame Maple top as well and you’ve got a real Les Paul ukulele at an affordable price.
Limited Lifetime Warranty. As with all Epiphone instruments, you can rest assured that your investment is protected with Epiphone’s Limited Lifetime Warranty backed by Gibson Musical Instrument’s 24/7/365 day Customer Service. So what are you waiting for? Pick up this cool acoustic/electric uke and start jamming today.
|Top Material:||Laminated AAA Flame Maple|
|Neck Shape:||SlimTaper(TM), D-profile|
|Neck Joint:||Bolt-on, 4-bolt Rcessed|
|Binding:||1-Layer Body; Front|
|Machine Heads:||Open, 14:1 Ratio|
|Bridge Pickup:||Under-Saddle, Piezo Film|
|Bridge:||Rosewood with PVC Saddle|
|Output Jack:||Metal Output Jack plated with 1/4″ Output, Rim Mounted|
|Colors:||Heritage Cherry Sunburst (HS)|