AXE POWER! BOY HOWDY'S GUITAR GUIDE '84

AXE POWER! BOY HOWDY'S GUITAR GUIDE '84

FEATURES

J. C. Costa

Every company has their own personal approach to bringing you what they consider is the instrument of your dreams. The body shape, materials and player options all play a role in determining just how far the manufacturer will go to find that perfect guitar that you and your demographic are looking for. In the following axe guide we've highlighted a variety of approaches and instruments in this never ending quest for truth, justice and heavy metal.

CARVIN

Carvin, a unique manufacturer that'sells their instruments exclusively on a mail-order basis, has taken on a more modern look recently with the introduction of the new V 220. solid body guitar.

The basic components of the V 220, extensively documented in their recent ads with the everpresent Craig Chaquico, includes a new forwardlooking body design (kind of like an Explorer/V mutation with V-shaped headstock) of hard rock Eastern maple with a maple neck glued and contoured into the body for access to the 24th fret. To power the V 200, Carvin uses a combination of two humbucking-style pickups—an M 22 pickup for the neck position and a higher-output M 22 for the bridge position. Carvin feels that the brighter sound of the maple body combined with the 'increased sustain and maximum power' produced by the pickups adds up to the sound more people want nowadays.

Other extras include an optional Kahler locking tremolo, black ebony fingerboard with motherof-pearl inlays, Schaller machines, low action, the full gamut of finishes from solid white to curly maple and coil-tap switching.

ARIA

A fast-moving company with an up-to-themicrosecond approach to electric guitar design— including the use of sultry looking women-in their ads—Aria is introducing the ZZ Custom, a double Z-shape solid body. The 'rocket launch' body is made of alder with a bolt-on maple neck that has a rosewood fingerboard and 24 frets for those high notes that can kill small birds in mid-air. The powerhouse sound is provided courtesy of Aria Protomatic 5 humbuckers, and it can be further contorted via their Act 1 tremolo system that locks on one end behind the bone nut and is anchored to a bridge suspended above the body at two points with saddles that screw into the bridge.

Featuring a 'powerful, lead-ey type sound' that, again, is slotted right into the core of today's metal top-heavy market, the ZZ Custom is available in the requisite sexy finishes like metallic blue burst, red burst, purple burst and a black/white half & half look.

GUILD

Guild, a solid American 'founding fathers' company with a reputation for superb acoustic flat top guitars is now, as they put it, 'getting very heavily into today's electric market.' Which means heavy metal for the most part, and their aboutto-be-unveiled Flying Star solid body certainly fits the bill.

% Originally designed as a special item for Motley Crue but now a regular production model, the Flying Star is a more extreme and futuristic version of their X 82 star body look with a V-shape headstock. The woods are maple with an ebony fingerboard, Schaller machines and a Leo Quann tailpiece/bridge combo (Kahler system optional) to round off this 'pointed' little beauty.

Claiming not to be 'locked into' any particular pickup, Guild still recommends an EMG 81 low impedance (but high output) humbucker and their 'California' high impedance unit for the instrument. Available in one and two pickups versions, the dangerous Flying Star is available with different colors and graphics including Flame, Zebra and even Twisted Zebra (stripes lengthwise one side/up & down on the other), originally designed for—who else?—Twisted Sister.

GIBSON

When quizzed about a recent electric model that best represents Gibson's longstanding rep for 'Quality & Innovation,' company spokesman Bruce Bolen came up with a somewhat suprising choice: the Chet Atkins solid body (classical) guitar. Classical is in parentheses here because the instrument looks like the traditional nylonstringed instrument (from the front, mostly) and uses py/on strings—apart from that, we're talkin' a whole new breed of solid body.

Designed by Atkins and Gibson in close collaboration, the Chet features a solid mahogany body with tone chambers and a solid spruce top. The neck is available in the standard classical width and a narrower 'electric-type' width for rockers. Designed with the 'classical essence in mind,' the guitar is the same proportion as a classical with a rounded and contoured belly.

Using what is claimed as the 'most sophisticated electronic system of its kind,' the Chet Atkins combines advanced piezo electric pickups with a high-tech preamp that can selectively emphasize desired frequencies while equalizing the output of each string according to a player's preference. Volume and tone controls are discretely mounted on the guitar's bass rim. The preamp also includes individual gain controls for each string.

At first glance, the Chet Atkins solid may seem like a traditional instrument. But it is a solid body—which means no feedback, the ability for the signal to be processed in a million ways and, basically, a whole new vocabulary of electronic textures. This really does qualify as the 'bare essence of innovation,' as Bolep puts it.

FENDER

Fender's new Master Series of solid bodies feature a set-in or glued neck and two humbucking pickups working together for a new kind of Fender sound. Available in two basic configurations—the Esprit, which is a slightly scaled-down ES-335 size, and the Flame, which is close to Les Paul dimensions—and three models per series (Standard, Elite and Ultra, moving up in price), the Master Series guitars will doubtlessly confuse a lot of people who think they can always tell Fenders and Gibsons apart with no sweat.

The solid bodies are made of alder and maple with strategically placed tone chambers in the body designed to reduce the weight of the double cutaway instrument while enhancing sustain and overall tone. The set neck is maple with either ebony or rosewood fingerboards, depending on the model. Two new Fender-designed humbucking pickups (kinda sounds weird, doesn't it?) provide plenty of output and high end. Even more brilliance is available with their new TBX tone control system and coil-splitting feature. Special addons include split block mother-of-pearl inlay, gold hardware and finishing on these bodies were all primo caliber, they weren't exactly budget items. (Ultra & Elite), fine-tuning tailpieces (Ultra & Elite again) and the Ultra Esprit even has a carved spruce top for even more tonal variety.

HAMER

With the introduction of the new Hamer Phantom A 7 Synth Controller, the successful design team of Paul Hamer and Jol Danzig continues to refine their distinctive blend of traditional guitarmaking, values, advanced electronics and streamlined design principles.

Their first guitar, the popular Hamer Explorer, embodied all of the concepts they'd derived from repairing and hot-rodding countless instruments for the stars. Gibson-influenced, they both believe in a solid piece of mahogany for the body with a set-in (glued not bolted) neck for maximum sustain and a solid fundamental.

They chose the traditional Explorer shape to begin with because they admired its modernism, proportion and balance feel. And since the woods, hardware and finishing on these bodies was all primo caliber, they weren't exactly budget items. So they followed up the Explorer with the Hamer Standard, offering the same basic quality in a cutdown, more accessibly-priced format. From, there Hamer went into a variety of exotic shapes, finishes and electronics, always staying a few steps ahead by keeping their ears open to the music evolving around them.

The new Phantom A 7 was actually preceded by the Phantom A 5, a recently issued solid-body representing a solid quantum step forward in terms of sound and looks. Working in collaboration with guitarist Andy Summers, they set out to create a 'new' timbre that would idqally combine the thick, flat sound of a Gibson ES-175-type instrument with the bright, metallic overtone series sound of a Telecaster. Hot but clean—which seems to be more and more in demand through the marketplace.

The A 7, is a Phantom A 5 plus a Roland hexaphonic pickup, the corresponding electronic synthesizer package and the same controls as the Roland GR 707 Controller (Blend, Resonance, Freq. Cutoff, LFO Depth etc.) in addition to the normal passive system. Boasting an excellent guitar sound, the A 7 uses a huge multipin connector for the total system outpar and separate V*" jack for the guitar signal only. Besides having two separate instruments (guitar/synth) enclosed in one 'controller,' the Phantom A 7 offers the 'new metal' player the option of fattening up power chords or lead lines by using the Blend control to add the synth textures to the guitar signal.

STEINBERGER

If you haven't gone to any concerts this year, watched MTV or kept your head above water to breathe, then you still might not be aware of the lean 'n' mean Steinberger headless bass guitar. Designer Ned Steinberger created a totally revolutionary instrument made with space-age reinforced plastics that falls outside of any guitar-making norms, because his background in industrial design and status as a non-musician adds up to a refreshing objectivity in terms of his approach to the instrument.

Sfarting off with traditional (wooden) bass designs, Steinberger quickly accelerated his design philosophies by eliminating the headstock completely (which created an annoying neck-heavy balance) and replacing it with a reverse tuning system culminating in a solid brass bridge/tailpiece combo design with exceptional stability and highprecision tuning. Most of the sound generation is centered in the extraordinarily stiff Steinberger neck (various graphite fibers sandwiched together), so the body was cut down to the bare minimum needed from a functional standpoint.

The stiff plastics allow the sound waves generated by the strings to be reflected off the body back into the strings—increasing the sustain substantially, which in turn produces a clear translucent midrange sound that is a obviously a new voice on its own. The unique sound and dark, menacing 'rifle' look of the Steinberger bass caught on quick—the biz is already swamped with knock-offs—and encouraged Ned to apply his principles to a six string. The new Steinberger electric solid body uses a lean reinforced plastic body (proportionally shorter and squatter than the bass) to isolate the string vibrations as much as possible. There's an even lack of response in the body to concentrate as much energy as possible into the strings, because, as Steinberger puts it, 'I wanted to exploit the potential of the electric guitar as something different than the acoustic.'

YAMAHA

Once in a while, the R&D (Research & Development) Department of a major manufacturer decides to really go for the gusto. Of course, this is rare during today's occasionally depressed (depending on whom you talk to) economy—. because the money men at said companies aren't generally thrilled to hear about a new guitar that's targeted to a higher price range.

Putting aside middle and lower end 'reality' price considerations for a time, the design group at Yamaha International Corporation surprised a few folks by introducing the top drawer, 'ne plus ultra' SBG 300 solid body last year. This was surprising mainly because their flagship solid body, the SBG 200, was already established as a high quality item.

Not so much a question of topping the SBG 200, the new 300 takes advantage of Yamaha's extensive research into three principal scientific areas—woodworking, metallurgy and chemistry—to create the finest electric guitar possible in the solid body format. The design innovation centerpiece of this guitar are the pickups using a new Yamaha-developed alloy called Spinex. These produce an exceptionally deep, warm 'honest' sound, kinda like an electric equivalent of a grand piano. The humbucking pickups can be split into a single coil mode, delivering a fatter, more realistic single-coil sound.

The nicely proportioned double cutaway body is mahogany with a solid maple top. The neckthrough-body design accomodates a laminated rock maple/mahogany neck. The gold covered hardware includes Yamaha precision machines with 15:1 tuning ratio and a substantial bridge and tail piece for using stability. The finishing and inlay work is pretty impressive on most Yamaha electrics, but ort this one it's downright spectacular. An ample strip of Abalone is used as full body binding and there's pearl inlay all over the headstock and finger board. The luxury look is augmented by thick and lustrous finishes available in black, white and red sunburst. Different hardware color options are also available.

CHARVEL / JACKSON

Stressing total modernism and a very personalized 'custom' approach to electric guitar design and construction, Grover Jackson has recently emerged as another force to be reckoned with in the new musical instrument sweepstakes. Sticking with design axioms that involve light hardwoods (basswood, poplar), contemporary electronics and bold new shapes and colors, Jackson also qualifies as a new generation guitar builder who has an uncanny sixth sense about what young guitarists, especially proponents of the Big Metal genre, are currently lusting for.

The high-profile Jackson 'Randy Rhoads' electric was introduced last year and immediately generated noise throughout the rock guitar fraternity. Designed in conjunction with the popular guitarist and released posthumously after his tragic death in a plane crash, the guitar features a vary sweeping or extended V-shape with a neckthrough-body design. The neck is maple and the body sections are the aforementioned poplar (I'm told that these kinds of woods produce a sweet, singing sustain).

. Unashamedly designed for the contemporary (read: Metal) market, the Rhoads is available in two versions: the snazzy 'Custom' model or the more practical 'Student' version. The guitar sports a Seymour Duncan jazz-type pickup in the neck position and an hotter Duncan 'distorto' model in the bridge position. Other extras include an ebony fingerboard with pearl inlays, jumbo frets, neck binding, brass hardware and an optional Kahler locking tremolo system.

ROBIN

The increasingly popular shape of the Robin electric solid body has been surfacing more and more lately, especially in the able hands of young 'hot stuff' Texas players like Eric Johnson. Starting with more of a custom guitar approach that updated classic vintage models, designer David Wintz has been 'trying to fuse the '50s and '80s to create the new golden age of electric guitars.'

Most of his instruments are immediately recognizable by virtue of their unusual reverse Explorer-type headstock with machines on the down side, and the new Robin 'Octave' guitar is no exception. The guitar is tuned a full octave higher than standard instruments, which means the strings vibrate differently and theoretically produce a totally different timbre. The body is somewhat reduced and engineered to fit the human body whether standing or sitting and the neck is a shorter scale.

The Octave uses a straight ahead passive system with one single coil pickup, one volume control and one tone control. The body is made of alder or ash and the maple neck is available with a maple or rosewood fingerboard.

DEAN

Designer Dean Zelinsky assures me that his new Dean Baby 'Deluxe' guitar really is one of his most in-demand instruments at the moment. The original design concept behind Dean's Baby series was based on the demand for 'a radical, stage-y guitar that was no bigger that a Les Paul.' Cornbining a smaller-proportioned version of the classic Explorer (later the V and ML shapes too) shape with the latest in electronics, looks and playability features, the new Baby guitars have caught on with the new age player who doesn't want to inhernia everytime he/she straps his/her guitar on.

The Baby starts with a popular body, adds two custom-designed DiMarzio Super Distortion-type humbuckers, a 24 3/4" (Gibson) scale length, body binding, ebony fingerboard plus inlays, highquality hardware and the ever-popular Kahler locking tremolo system as an extra option. Hot colors and graphics round out this unabashedly 'now' little gem that manages to pack all of today's hottest design options into its teeny little body.

PEAVEY

Having firmly established themselves as the U.S. manufacturer who, through computerized manufacturing and good ol' American backwoods values in terms of quality at a good price, has been able to stand up head-to-head against overseas competition, Peavey could probably settle into a comfortable niche and easily hold their own for the next few years.

But that's not Peavey, or more precisely, founder Hartley Peavey's style. They're always tinkering down there in Meridien, Mississippi, trying to figure out better ways of producing the ongoing repertoire of electronic textures that fill up the empty spaces in the modern world.

Peavey has recently introduced the Horizon II solid body. Representing a conscious effort to take a lot of the weight out of their guitars, the Horizon II is heavily contoured top and bottom with deep access cutaways combined in what they call a Naturalite construction. The body is ash or maple, depending on finish, and the maple neck is offered with either a rosewood or phenolic (reinforced plastic) fingerboard.

Two super-ferrite high output humbuckers with exposed blades with a single coil unit in between produce a high-output sound with extra clarity and definition. Each humbucker has a built-in coil splitting function which is activated by twisting the tone pots from 7 to 10 (another patented Peavey design). The strings are anchored through the body and the bridge is rugged 13 gauge steel and fully adjustable. The die-cast machines offer a respectable 14:1 tuning ratio and the Peavey Graphlon™ self-lubricating nut provides for smoother string travel when you use the in-house designed Octave Plus™ tremolo system. A 243A" scale, 24 frets and a wild profusion of natural and exotically colored finishes make the Horizon living proof that Peavey really does 'listen to the market,' when they design an instrument. IBANEZ

In a fervent attempt to design the 'type of guitar that people are looking for,' Ibanez has recently come up with another addition to their wellreceived 'Roadstar Series' solids, the new Photon model. Projecting a super high-tech image, the Photon uses a lighter basswood body in keeping with today's preferences. The maple neck is offered with rosewood or maple fingerboards (rosewood is more popular) and newly-designed pickups use bar-type pole pieces to produce a powerful-yet-clean sound.

There are two versions of the Photon in terms of pickup configuration: one has a three singlecoil set-up a la Fender and the other matches two single coil units with a humbucker which is coilswitchable via push-push switches. Besides delivering a sizable slice of the contemporary sound spectrum, the Photon lets you bend those strings with an Ibanez-designed Pro Rocker finetune tremolo system featuring a top-locking nut system that doesn't exert extra tension on the strings. Designed to help 'color the music,' the Photon is available in a wealth of colors with a choice of chrome, gold or black hardware.

KRAMER

Although mostly designed by Kramer, the sizzling new 'Baretta'guitar is obviously inspired by Mr. Van Halen (yes, he's right there in the ad, holding it up). His no-frills design philosophy— which has had an enormous impact on all of the manufacturers since he is/was the Supernova of Metal—involving a single humbucker in a Stratstyle format with a primitive (no tone control) passive system is a fundamental design aspect of the Baretta.

That and the legendary 'original' Floyd Rose locking tremolo system to which Kramer has exclusive rights. Of course, the Baretta has a new & improved version of the Rose with fine-tuning capability for even more precise intonation after bending. Besides the company spokesman's assertion that the Floyd Rose really is the only working tremolo because it locks at both ends without getting caught up, the Baretta's poplar body and bolt-on maple neck is joined with a single PAF-style humbucker that is screwed right into the body (a la Eddie) for an even more 'solid' sound. With nifty matte black hardware standard, the Baretta comes in white, cream, black, candy apple red or blue and a ton of other finishes. The classic stripped-down street machine lives—is that why it's named after a semi-legendary Italian TV cop?

B.C. RICH

The relatively new B.C. Rich 'Warlock' solid body has been around for a while, at least long enough to make some serious waves among heavy metallurgists (somewhat of a recurring theme in the industry eh...?) like Motley Crue. Taking 'heavy metal for what it was,' Bernie Rico designed the Warlock as an 'aggressive' instrument with a highly angular pointed shape.

The body is made of maple and mahogany with a maple neck and rosewood or ebony fingerboards. The powerful humbucking pickup is designed to deliver 'more balls and less noise.' A state-of-the-art Kahler system tremolo (someone's gonna have to do a Kahler-Floyd Rose duke-off sometimes to settle this major issue of who's best once and for all) combines with Schaller machines, exotic solid and transparent color finishes (metallic and pearlescent too) into a popular modern design package that the company claims is even crossing over into other styles of music, like country. Can you imagine it...? HONDO

Hondo is losing its image as a manufacturer dedicated to populating the entire universe with an endless flood of new (lower-priced) electric guitar models. A marketing sweep into the higher price/quality regions is being spearheaded by their new 'Artist & Designer' Series, featuring 'original' body styles. The kicked the series off with the 'Paul Dean' signature model and now they're ready to turn some heads with the new Lazer headless electric guitar. Their own version of the reverse tuning system is represented by a Schaller bridge/tailpiece set-up with fine-tuning and special hex nuts to securely anchor the strings.

The powerhouse sound is produced by a DiMarzio humbucker (Super II type), and the ash body features extensive contouring for extra playing comfort. The headless ash neck has a rosewood fingerboard and the radically shaped Lazer is available in metallic black or No. 199 Fire Red. Reduced size notwithstanding, Hondo claims the Lazer is totally professional and can be played easily anywhere. Anywhere?

WASHBURN

An up-to-date expression of Washburn's approach to electric guitar design, the new A 20 uses their popular body shape as a point of departure for a neck-through-body design (5 pc. maple/rosewood/maple neck) using an ash body and solid maple top. The two covered humbuckers deliver a 'fuller' sound with more output and sizzle, and each one can be split via push/pull controls. Their necks have changed from a V-shape to a slimmer, more rounded shape in the back, and the ebony fingerboard has jumbo frets. The matte black hardware matches up nicely with the solid black finish and red body binding—in fact, this particular color combo almost disappears from view without the bright binding to outline it. The A 20 is also available in candy apple and sunburst finishes, but the company tells me that the latter—sorry, vintage old persons—is not that popular anymore, after dominating for over a decade.