GUITAR ARMY! GUITARS, AMPS & ACCESSORIES 1985

GUITAR ARMY! GUITARS, AMPS & ACCESSORIES 1985

FEATURES

YOUR FIRST GUITAR

For years, the price of a decent electric guitar was so beyond the aspiring guitarist that most had to turn to acoustic instruments to get their start as serious musicians. No longer is this the case. About a decade ago, as the pop boom lit a fire under every prospective guitarist, manufacturers began to see the potential of their market. Production and manufacturing turned to innovative designers to develop guitars that met the needs of the fledgling at an affordable price. The result has been a dramatic change in the price of an electric guitar without sacrifices to quality. New instruments now come with many of the features of the higher-end models.

There are some basic standards to look for and methods to use when choosing^ your first instrument. Stylings will be important, based on the type of music you play, but there will be one primary consideration: playability. You’ve already got some notion as to why you want to play a guitar and who you want to be like (in style and technique). This will partially govern the type of instrument you’re going to look for. But, regardless of the style, look for a guitar with a well-cut nut and adjustable bridge. Remember, you’re going to be a “basic” player for some time during the development of your chops, so don’t look for the gadgets that can’t add anything to your technique or your ability. Whether it’s a single or dual pickup configuration is dependent on what you’re looking for—from country to jazz to heavy metal. Check out the players you admire, see what they use and look for similarities in a price range you can afford.

PEAVEY

Always on top of the price break, Peavey has still managed to deliver dependability with a good degree of styling. Now the company is presenting the tail-fin look of the heavy metal classic with the introduction of their “Mantis LT” guitar. An aborted Flying V, the instrument is nevertheless nicely styled and comes well-equipped. With the now ever-present Kahler tremolo, the instrument features a single humbucker and is a straightahead rock ’n’ roller. Part of the series includes the 12-string Milestone 12 and the Predator. Both are ideally priced and attractive with Peavey dependability stamped all over them.

B.C. RICH

It’s hard to say if there’s a heavy metal band in existence that doesn’t use at least one Rich guitar. Their body shapes and crazy sense of humor have combined to make some very creative and classy originals. Initially custom guitars (with prices to match), Rich will soon be unveiling their N.J. Series of low-cost instruments. Whether bass or guitar, the instruments will sport the popular Ironbird, Mockingbird, Stealth and Warlock designs. These hard-edged rockers are hardly stripped-down versions of the real thing...in fact, they’re loaded. For a list price of $299, the instrument comes with Kahler tremolo, DiMarzio pickups and Grover machine heads. A wide range of colors are available, and the popular styles should go over well with aspiring metal players.

TOKAI

For a while Tokai were too good at what they did, and their Strat and Les Paul “copies” created quite a stir in trademark circles. But their craftsmanship and price are undisputed and they’re definitely worth checking out. Besides their homage to the master craftsmen of the past they have some individual styles. The Vapor is one of their newest “lowend” models, but this refers to price rather than features and its specifications bring it up a few notches. It doesn’t flash name accessories, but it does sport a good deal of individual appeal at the round figure of $280.

ARIA

This Japanese company has been around for a good while—it entered the U.S. market on the heels of the copy craze, but with its Aria Pro Series and some other unique models it started to make a name of its own. Now, like every other manufacturer in this price range, the company has turned to advanced style with better features and craftsmanship. The RS Knight Warrior, for example, is a clean instrument with fine body lines and a maple neck with rosewood fingerboard, a tremolo and two single coil and one humbucking pickup. A five-position selector switch and push/pull on the tone pot delivers a variety of sounds for a mere $399.

IBANEZ

The wide range of 1985 Ibanez guitars begins with their RS Standard Series: the RS135 and RS240. Both guitars are similar in appearance with matching gloss finish, body and headstock in black, white, or red.

Brand new for ’85 is the Pro Line Series; each model equipped with Pro Rock’r tremolo and Top-Lok locking nut system. The new models are the PR1440 ($599), the PR1550 ($599), and an updated version of the V-shaped body, the PR1660. These new models are highlighted by oil-finished necks, flat radius fingerboards, mini switches (on PR1440 and 1550), new pickup combinations, and new body designs. Each guitar has one volume and tone control. The PR1660 (without mini-switch) does come with a three-way toggle. The 1550 has a maple fingerboard, as opposed to the ebony fingerboards on the other two guitars. Pickup combinations? The 1440 and 1550 each have two S7FT’s and one IBZ. The 1660 has two V5 pickups. The 1440 is available in red only, while the other two models are available in polar white.

KRAMER

All right, you want to be Eddie Van Halen but you can’t afford to be. Well, Kramer has not forgotten you—and with their Striker Series they hope you won’t forget to check them out. The design of the Striker guitar line ranges from the simple to the lethal with Strat-type instruments and heavy metal axes. Features are outstanding with Floyd Rose tremolos standard, rosewood fretboards and a variety of pickups (depending on model). The line isn’t totally distinctive, but it is definitely priced right—and the quality far outdistances the price. The Strikers have a price range of $250 to $280 and the Focus line, slightly upgrading all the attributes of the Strikers, come in at $400 to $460.

HONDO

Some of the nicest instruments for young guitarists come out of Hondo and their new Flash Bass shows an attempt to build on innovations while making custom designs approachable. Designed by Harry Fleishman, the instrument features an electric piezo pickup under the bridge and a stacked humbucker. A pickup blend rotary knob, passive highend roll off and volume controls and a selector switch round out the electronic features. The 34” scale guitar comes with Grover tuners and has a neat price of $449.95.

This is by no means all of what Hondo delivers—their guitar line is extensive and their prices fair. Definitely worth checking out.

WESTONE

Westone have surprised many in the last few years with a substantial range of guitars that look as new as they feel, all at under $500. The Dynasty range looks like it’s about to set down on the moon, designed more like a lunar craft than a guitar. But it’s attributes include all those designed for power...in other words, heavy metal. With the locking tremolo, high-tech black hardware and your basic humbuckers for screaming, the instruments make distinctive marks...as does the rest of the Westone line, whether its the Spectrum line or the headless basses. A nice effort at a good price, Westone should attract a good deal of attention.

CARVIN

Quality at price seems to have been Carvin’s motto for some time, as the mail order folks there have been able to give serious discounts and price breaks to aspiring and established musicians alike. Now the company has unveiled the DC125 and it’s directed toward that player who is looking to the bridge pickup for soloing. The “hot” M22SD pickup is said to boast incredible sustain and can be switched to a single coil for a thinner, brighter sound. The guitar is sound in its basics and even offers some custom features. Straight it lists for $329, with a Kahler “Flyer” tremolo it’s $399. With a Kahler “Pro” it comes in at $449.

OVATION

Ovation Instruments, for many years renowned and highly successful for their fine acoustic guitars, has recently introduced a new line of affordably-priced solid bodies. The new Ultra Solid Body Series features a range of styles in terms of both shape and finishes while maintaining the distinctive headstock look of Ovation’s acoustic line.

In addition, each model features DiMarzio pickups and are available with either a standard or

Kahler tremolo. Ovation’s GS Series offers either one, two or three pickup models with Schaller tuning machines. List prices begin at about $300, offer the entry level player the standard for quality and innovative playing with these four new guitars.

YAMAHA

Yamaha musical instruments has recently introduced a completely new line of guitars to its already extensive line of string instruments. In addition to upgrading the already familiar SBG and SA. guitars and the BB basses, the company unveiled the new SE, SJ, and AE body designs. The expanded line represents an effort by the large and innovative Yamaha Musical Instrument Division to make as major a statement about guitars as they are currently making in drums, keyboards, and electronic gear. The SE series consists of five models available in a variety of pickup and vibrato configurations. The SE 700HE and SE 700E come with black chrome hardware and include the Yamaha Spinex Pickup along with a locking vibrato system. The guitars are fitted with ebony fingerboards and are available with the company’s newest and largest ever selection of finishes including shocking pink, light blue metallic, and five other bright, vibrant colors. Suggested retail price of the SE Series is $695.

For those that prefer humbucking pickups and rosewood fingerboards, Yamaha is offering the SJ 550HR with a selection of four of the new style finishes at a suggested retail price of $495.

For the first time, the company is also introducing an acoustic/ electric jazz instrument. The AE 1200S comes with a solid carved spruce top, ebony fingerboard, and gold-plated hardware. The AE 1200S offers the player a choice of bridges. A Tun-A-Matic is available for the more fusion oriented musician who prefers the light-gauge strings or a carved Grenadilla wood bridge for the traditional gauge string. The suggested retail price of the AE 1200S is $1,195.

TRADING UP—

WHAT COMES NEXT

By the time you are a quality player who can fully appreciate the degree of sophistication in higherprjced guitars, you’ll know what you want. The guitars and the manufacturers speak for themselves...let’s see what they have to say.

KUBICKI

Phil Kubicki has built a fine reputation. Having joined Fender in 1962, Kubicki was in that special part of the Fender organization that made custom models for the likes of Hendrix, George Harrison and Wes Montgomery. In the early ’70s, Kubicki struck out on his own, and since has gathered a notable following among guitar aficionados.

The instruments that come out of this Santa Barbara plant are hardly conventional in appearance, nor are they simple in their construction. And such is the case with their newest bass, the EX Factor. Somewhat otherworldly in its design, the bass (having several international patents applied for) will take a little getting used to. On the headstock there’s a lever to clasp a string by either engaging or releasing it, making either open E or lower open D notes possible. The five-position rotary switch has three highimpedance and two lowimpedance mode settings. In active modes, separate-stacked treble and bass controls boost tonal output 35dB. The Factor bass goes for $1,287.

CHARVEL/JACKSON

One of the year’s most talkedabout instrument makers at the trade shows has been Charvel/Jackson. The reason for the buzz is the Randy Rhoads guitar. For a year and a half prior to his tragic death, Randy Rhoads and Grover Jackson worked together to create his personal signaturemodel instrument. Now, with the cooperation of the Rhoads family, the guitar is available in two different models, the “Custom” and the “Student.” The neck-throughthe-body construction is Eastern Hardrock maple (there’s some beautiful irony there). The 251/2" neck has 22 frets with Gotoh tuners. Strung through the body, the axe features a tunamatic bridge and two Seymour Duncan pickups, a distortion and a jazz model.

The Custom features an ebony fingerboard and pearl inlay markers along with binding on the neck and headstock. All the metalware is brass. The cost of the Custom is $1,500.

The “’Student” variation, at $1,100, features a rosewood fingerboard and a pearl dot inlay. The hardware is black, and both the Custom and the Student are available with optional Floyd Rose or Kahler tremolo systems ($350 and $270 respectively). The Randy Rhoads guitar is available presently in two finishes, black or ivory.

Randy Rhoads’s guitar playing galvanized the hard rock world in his short career, and this Charvel/Jackson issue contributes to his brief but significant creative legacy.

NADY

Most of you guitarists familiar with wireless setups would hardly expect to find the name Nady in this series, but the highly-regarded wireless microphone company is about to unveil its first wireless guitar. The “Lightning” will come standard with a built-in VHF Highband transmitter and a Nady 501 VHF Wireless receiver. To be priced at around $1,200, the Lightning will have a strat-style body of alder and a maple neck, and come in a high gloss black finish. The instrument is also available with the integral Nady 601 and 701 VHF Transmitters as an addition to the wireless instrument systems already in use. (It can also be used as a conventional guitar with hardwire cord.)

WASHBURN

With Quiet Riot, Washburn scored a big hit. Having faith in the band, the band also displayed some faith in their instruments and turned to Washburn to be outfitted. It drew a lot of attention to a company that had its roots in acoustic and semi-acoustic instruments. Now—whether its the new HM-20 or the Panther Series of instruments—Washburn is racking up a reputation for quality and design and good price and dependability.

The Panther uses that boxy headstock notable to Washburn and is said to be able to deliver a mid-range crunch capable of standing up to any 100-watt Marshall. The neck has an improved radius that is meant to enhance hammerons, pull-offs and two-handed playing styles and is made of three-ply rock maple. Nicely finished in either black, red or blue, the Panther has a tag of $799.

HAMER

Long in the forefront of custom guitar work, Hamer continues to pepper the field with clean designs. Their range is extensive and their designs cover the classic to the new. The Scarab II, for example, is a custom design exclusively for a player serious in down and dirty rock ’n’ roll. This is indicative of Hamer: they don’t look to dazzle you, although their paint jobs are some of the best around. One of Hamer’s attractions is product depth. From Heavy Metal to the new Steve Stevens model, the company delivers a wide degree of player sound and flexibility. Their prices run from about $950 to $1500..

KRAMER

Van Halen may have brought attention to Kramer, but they’ve been around for some time. With the Baretta model they put themselves on the map—and were also smart enough to lock onto the Floyd Rose tremolo. Van Halen has been instrumental to Kramer in many ways (as an advisor and tester), but their latest contribution involves another musician, Steve Ripley. The Ripley Stereo guitar was used by Eddie on his last album and he liked it enough to put Ripley together with Kramer. The result is a guitar that features six channel stereo mix with a pan pot for each string. The pickup assembly houses six separate high-output humbucking pickups, with the lead wire from each pickup connecting directly to its own electronic tuning network. The Floyd Rose Tremolo and Schaller Strap Locks are standard equipment. Retail price is $1,349.

GIBSON

Gibson, along with every other guitar company, has had to look to other directions for its market share. The standards, of course, are still in place, but the company has recently initiated a “By Special Request” line. Previously produced only on a special custom order basis, the company is now making many of these sought-after guitars available. To be included in the offering will be the Les Paul DC XPL, a double cut-away Les Paul featuring an Explorer peghead; the Flying V XPL with black hardware, a Kahler “Flyer” and an Explorer peghead; the new Explorer with black hardware and Kahler “Flyer”; the new Explorer Bass and the Spirit I and II XPL models, offering Explorer headstocks, bound tops and Gibson Supertune Kahler systems.

This market responsiveness also shows the change in the climate of guitar manufacturing. With Gibson fitting more into the needs of players—and falling away slightly from setting the standards—there sould be a place for the quality of manufacturing that Gibsons are noted for in the custom end of the market.

GUILD

The most exciting news from Guild has been their unveiling of the Brian May Guitar, designed to the specifications of Queen’s guitarist. May’s loose-string sound has fascinated guitarists for years, but is difficult to emulate on stock guitars.

Happily, that situation has been rectified with the availability of the Brian May Guitar. A wide neck (1 7/8") allows the player to perfect the kind of sustain that distinguishes May’s stylings, as well as the unique vibrato sound he is known for. The model comes equipped with a Kahler tremolo, three custom-designed DiMarzio single-coil pickups and six different phase switches. An ebony fingerboard and mahogany neck ard affixed to a solid mahogany body and the guitar is available in a cherry finish. List price, $1,200.

STEINBERGER

There has hardly been a bass guitar since the Jazz and P-Basses of Fender that’s made such as stir as the Steinberger did some years back. Ned Steinberger had come up with an original idea that was hard to resist. Unfortunately, the Steinberger bass had a big price tag and was not a mass market instrument. That’s all changed now. The originals are still available, but the new “Pro Series” puts a dent in the price war.

“Made in America and Japan—100 Percent Steinberger” is the slogan that the company hopes will draw attention to the new range. The Pro Series will have specially-designed pickups by EMG and a molded composite neck fabricated from the highperformance Steinberger blend of reinforcing materials. The necks will be mechanically attached to a wooden body. The tuning hardware, necks, pickups and electronics will all be sent to Japan where the Steinberger-designed wooden body will be manufactured. The instruments will be assembled and shipped back to Steinberger headquarters. These basses and guitars will list at under $1,000.

COMPLEAT AMPLIFICATION

As rock 'n' roll has gone through J|i paces, amplification has had to deliver more power and versatility without losing sight of the basics: well-reproduced sounds with a capacity to blast through a stone wall. With the growth of the electronic age, certain manufacturers turned to solid state electronics in an attempt to duplicate that muchdesired “tube” sound that was the mainstay of amplification. Now, the lines have been clearly drawn between solid state and tube, with the occasional company opting to cover both ends of the market. A few of the newer guys on the block, like Gallien Krueger and Sundown, have scored heavily on all fronts of quality and power, each in a different electronic arena. Marshall continues to dominate the “wall of sound” as people like Markley, Duncan, and the ever-present Peavey look to chip away at the foundation. But amps, like everything else in this series, are a matter of taste.

ROLAND

Except possibly for Yamaha, the Roland Corporation offers a wider range of musical instrument products than anyone else. Although noted for their keyboards, effects and rhythm units, they also offer one of the most outstanding lines of amplifiers around. The Jazz Chorus line, unfortunately, is saddled with a bit of a misnomer. Indeed, it’s the ideal amp for the player who’s looking for warm tonality with a good degree of versatility—and its chorus effect is definitely a bonus—but it also has the capability for soft distortion and its stability and power are astounding at times. A perfect “country” amp, it’s also used by the likes of Ratt guitarist Robbin Crosby when he wants a powerful, clean sound. The “JC” series comes in 160, 120 and 50 watt configurations and is built into a heavily constructed flight case with wheels (on the 160 & 120). Offering vibrato, distortion, chorus and reverb, the units have a wide degree of flexibility that their name doesn’t really suggest.

Other items on the Roland list include the medium-priced Spirit range, the small configuration Cube series and the Bolt tube amplifiers. Availability and dependability are Roland hallmarks. The amp lines is testament to that.

PEAVEY

One of the most garish logos around, it nevertheless sticks out like a sore thumb on stages throughout the world. Needless to say, this may have been Hartley Peavey’s intention, since he’s never been very subtle. And why should he be? His guitar amplifiers made low price and dependabilty standard items. Peavey’s latest line of hard rockin’ amps does just that.

The “Butcher,” as it’s so delicately called, is a hard rock amp boasting two heavy-duty cabinets with double wall construction. A tube amp featuring European ECC83/12AX7A preamp tubes and STR6L6GC output tubes, the “Butcher” logs in at a 120 Watts RMS output capability. Its output arrangement makes it possible to use with 4,8 or 16 ohm cabinets, and the heavy-duty head is a straight-ahead power monger. This amp is built for the strong at heart and the rocker who wants to convince an audience he’s serious.

SCHOLZ

Well, Tom Scholz is not necessarily recent news, nor is his Rockman. But he’s continuing to build on the successful formula that brought new life to the amp business: tiny works. The Rockman took off in a way that led people to say “Why didn’t anyone think of that before?” Well, Tom did think of it, and hjs new “Soloist” is based around the similar cosmetic configuration with a few added ingredients at a better price.

A processor-headphone amp, it provides the classic Rockman sound, but with the addition of a new stereo 25 millisecond delay. Add to this the stereo chorus, the headphones and a battery life of over 60 hours and you’re on your way to a versatility that will allow you to record, perform live and jam with other “Soloists”—all at $169.95.

CRATE

When the pocketbook looks tight, the Crate amp line is a good place to start looking. Manufactured by St. Louis Music, Crate features both entry level and larger amps for the guitarist at all stages of his career. The Crate CR19 is a 10-watt practice amp with a single 8" speaker, bass-midrangetreble controls, all in a neat little package at a suggested retail price of $99.95, making this amp among the least expensive entry level amps you’ll be able to find. Just plug her in and play. The CR112 steps up to 20 watts? and also features a foot switchable overdrive channel like the CR19, coupled with other goodies at a suggested retail price of $199.95.

Moving up into larger sounds, the CR160 and the CR160GT offer 60 & 70 watts respectively. The 160GT has a 12" Celestian speaker. Both of these heavyweights weigh in at a suggested retail of $299.95 for the 160, and $379.95 for the GT.

YAMAHA

Once Americans got over the fact that a manufacturer of motorcycles could make great musical instruments, it was all uphill for the highly dynamic Yamaha Company. Japanese guitars and amps soon shed their look of low quality at low price and began to take the market with a degree of sophistication that had not been displayed by domestic companies. The result has been a diverse range of product that is possibly field tested better than any other.

Yamaha amps are no exception. Built as a complete system, the combo amps are known for their parametric EQ. It gives new great depth to the solid state electronics, and, incorporated into the Mark III line, it delivers punch and depth, as well as subtlety. The company’s new VX Series of guitar and bass amps employ newly-designed speakers and the top of the line offers dual-channel preamplification and pull-gain control.

MARKLEY

Best known for their string line and other accessories, Markley got serious with amplification a couple of years ago. Tube circuitry with power configurations, the Markley CD Series takes the developments a step further by turning to combos as the mainstay of their line. The new units are available in 30, 60 and 120 watt power groups boasting a 12" Markley Magnum Power speaker as standard material; the CD-120 is loaded with two 12" models. With a 50 percent power switch designed to cut out two of the amps four 6L6 tubes (permitting greater versatility to the wide range of power requirements an individual guitarist may encounter), the amps also employ a variable level for the CD effects loop. This system allows adjustment for the best signal-to-noise ratio and level matching for the different effects now available on the market. Also new on the Markley roster is the RM-100-MT All Tube Power Amp.

SUNDOWN

If it’s power you want, one of the newest boys on the block is Sundown. They’re out to cut new lines in the battle over power and performance. Whether it’s in a traditional stack or a combo configuration, the amps are loaded with EV speakers, a favorite of the guitar player who loves to scream. Each has the “Governor” feature, which reduces the power amp’s output for clean, bright sounds without crunching volume and distortion. At nearly $1,600 for the stack and a little over a grand for the combo, the prices are as serious as the amplifiers. Distributed by Hoshino/lbanez, the Sundowns will break into that market where volume is important but control is crucial.

SEYMOUR DUNCAN

No, we didn’t make a mistake, this is not a pickup under the guise of an amplifier. Duncan entered the amplification business a little while back and the company’s been getting critical applause ever since with their combo amp. The “Convertible,” which checks in at $1,260 is basically a modifying amp. In other words, there are replacement modules that allow you to manipulate the sound of your amp much the way you would alter the parts on your guitar until you’ve got it just right. This “Quick Access Module System” allows the removal of a plate on top of the amp to arrange the five modules to a preferable sound. The 100 watt configuration provides all the necessary power and the variety of modules provides a distinct degree of change in sound. Some initial confusion is sure to ensue, but the idea is right and the results impressive. A, self-tailored sound is just what was ordered for the guitarist of the ’80s. Duncan has already started the update with the release of the Convertible 100 watt Head. With all the features of the combo model, this allows the flexibility of working with your own cabinets, taking that individual step a small leap forward.

MESA BOOGIE

There was a time when “Boogies” were as hard to find as their reputation was to dispute. The reputation holds, the delivery has improved. As one of the hottest amps of the ’70s, Boogie holds on to much of its well-earned accolades, particularly in the recent introduction of its D-180 Bass Amp. By all accounts, it may appear that Mesa Engineering has developed the ideal bass amp. A grilled flight case of impressive stature, the cabinet is as mobile as the head is powerful. The 200 watt mono, rack mountable head costs $850 (The cabinet checks in at $450) and has an optional six-band EQ ($150 extra). Rich and powerful tones give the Boogie great depth which will satisfy both the live performer as well as the studio musician. The cabinet comes loaded with a Mesa Boogie/EVM 400 Watt speaker.

CARVIN

As a manufacturer and distributor of a wide array of products, Carvin has branded its name nationwide with good products and discounted prices. With the further development of their own gear, the company has entered the market with some substantial equipment, not least of which is the Carvin X-Amp. The “all-tube” design gives you the sound you’d expect without any surprises. Clean and rich, the amp delivers a gutsy sound without breakup and loss of versatility. Adding to the X-Amp’s attraction is its Celestion 12" speaker. The amp kicks out with overdrive and lays back with low-level seriousness. Depending on speaker the price range is $399 to $459.

MARSHALL

What else can be said about Marshall that hasn’t already been said? Any concert hall is testament to Marshall’s infamous wall of sound. But even the most ballyhoed product in the world can’t sit back and be satisified, and Marshall is developing new configurations that will combine their engineering savvy with new market potential. The 100 watt Mini Stack is such an attempt. Once you’re over the cuteness, you can look at the specs and see for yourself. The 3210 100 Watt amp uses C-mos FET power circuitry to deliver that “Marshall” sound through twin 4xl0 speaker cabinets. Footswitchable channel selection, an effects loopl^Ma direct line out with level control Complete, the Mini Stack has all price tag of $1,495.

ROSS

If price is a primary consideration, then Ross could be a primary choice. Their Marhsall-like stack is aptly titled the “Loudmouth” and boasts 100 watts RMS of solid state power. Loaded with Fane speakers, the Loudmouth has reverb and antistat, an effects loop, 3 band EQ and a line out. All for a mere $399.95. For mobile situations, the Ross “Minimouth” amp is a sturdy, cost-effective unit delivering 15 watts RMS through a 15" speaker—pre and post gain marks some of its features, which include a balanced line out and a 3 band EQ. Retail price $109.95

HOLMES

The big news here is that Holmes has introduced—and will be pushing— a new line of guitar, bass and keyboard amps called the Tech Series. With a power range of 15 to 150 watts, the Tech Series features a slew of good, practical, built-in features, including channel-switching, an exelusive overdrive circuit dubbed the DVP (Dual Variable Parameter), at least three bands of EQ on each amp (the Tech 135R has five) and Celestion speakers (optional on some models).

Holmes is also building cabinets to last: theirs feature high-impact plastic corners and an 18-gauge steel mesh speaker grill. With an eye (and ear) to solid acoustics, Holmes’ cabinets also have playerangled speaker baffles.

THE STRING STORY

With the advent of the electric guitar, there came the need for new types of guitar strings: strings that had greater response, durability and longer life. The music demanded that these fine lengths of wire be bent and manipulated, so gauges went from fine to extra fine to ultra fine. Technology played its part, as manufacturing techniques and alloy combinations enhanced every aspect of the guitar string.

New alloys, finer gauges, longer life and greater brilliance...they’re the buzz words of an industry that depends on delivering what they espouse. Each company has learned to mix, match and develop packages that are ideal for particular players and particular musics. You’ll just have to try them out until you get it right.

E&O MARI

Centuries of business mark E&O Mari’s prestigious background, but it hasn’t rendered them staid or boring. With a slogan of “Hard Rockin’ Steel” marking the introduction of their newest line of steel electric guitar strings, the company has hardly taken a back seat with its neon-colored packaging. Mari has chosen to make their campaign as obviously powerful as they feel their new strings are. For electric guitars and basses, the “Hard Rockin’ Steel” are power conscious, and have been designed to include a range for the double end ball-type of string necessary for the Steinberger-type bass and guitar. Designed to give “the brightest sound and best quality string on the market,” the string series incorporates an alloy developed by Mari called “Blue Steel,” which claims to be more magnetic (hence higher output). This flexible wire is said to provide a softness that encourgages bending, while still maintaining great durability and sustain. Guitarists from Stevie Ray Vaughan to members of the Billy Joel Band are new converts to blue steel, which has a range of available sets.

DEAN MARKLEY

One thing that is paramount in the string business is testing and creation of new or combined alloys. Markley spends a good deal of time on field study and their new range, called SLP (Super Long Play), is a point in fact. After two years and a combination of varieties, Markley came up with a string that combines a nickel/iron alloy never before used in guitar strings. The combination is said to retain its tonal qualities over an unusually long string life, while remaining highly resistant to stringdeadening factors, such as tarnish and fatigue. Markley contends this will significantly help studio musicians who complained of short life and inconsistency of sound over a given session. Available in all the popular gauges, the strings come in a variety of sets from extra light to extra light light. Prices vary from set to set.

KAMAN

If there was ever a question as to whether or not the Ovation guitar was a unique instrument, any discordant sound was silenced years ago. There is also just as little doubt that it established Charles Kaman as an innovative designer. A few years back, Kaman carried over his unusual way of looking at things to the development of a string line. Like other manufacturers, he’s satisified all the necessary requirements of popular ranges and then took things a step further. Like his competitors, he provides bass and guitar strings, but the company felt that due to the unique nature of their Ovation instruments, they needed a string that would enhance the special nature of the guitar. Again, it was a new construction process and the rules for strings changed. The Adamas range is designed, obviously, for the Ovation Adamas, but it turned out that the string adapted well for nearly all semiacoustic instruments, an added bonus for Kaman.

HEAVY METAL

Well, there can be little doubt that Heavy Metal picked the name of the day. But things change and so will the craze. So what’s important is not what’s in a name, but what’s in a string. The company’s advertising reads like the billboard for a Krokus concert, but their intention is clear: they want to satisfy the power mongers of the guitar world with a line of strings called “Metalgauge” and “Truebottom”—strings for guitar and bass, respectively. Heavy Metal have kept it simple by releasing a series of strings that are direct in their concept and not deep in their selection.

AMERICAN PRECISION/ KAHLER

In a move that makes a great deal of sense, American Precision Metal Works—better known to the rest of the world as the people whey manufacture the Kahler tremolo#| has recently introduced a new line of electric guitar strings. The Kahler strings were created Igppffer the guitarist much rrf|j'e strength and support at the winding where most breakage occurs? These new electric guitar strings from Kahler are suitable for both the tremolo and non-tremolo player alike, offering more range and less slippage regardless of how you bend your strings. Judging from their background and success with the Kahler tremolo, these new strings follow solidly in the tradition American Precision has established in offering today’s guitarist a new plus to his instrument.

G.H.S.

Last year, G.H.S. introduced their Pressure Wound bass strings— a new way of getting a smooth feel without sacrificing brightness. (The strings are wound and then smoothed by pressure rather than grinding.) The same principle has been applied to their Smooth Wound Classic series for acoustic guitars.

This year, G.H.S. is offering the Tremolo Electric String, which is reinforced to help the player stay in tune while using the omnipresent Kahler Tremolo. Also of interest are their White Bronze acoustic strings, which have been field-tested for two years—with results indicating that their life is up to twice that of normal strings.

PEDALLING A SOUND IDEA

Like everything in life, no one seems happy just applying the basics. Everyone wants a little sass and a little class—and musicians are no exception. Since the days when technique gave way to electronic wizardry and the fuzztone ripped through the speakers, things have never been the same. From the sublime to the utterly bizzare, pedal effects have given new dimension to those who take the simple and create the extreme. Whether you want to squeeze, stretch, flatten or boost your sound, there’s an effect that will deliver the goods.

Many fledgling guitarists turn to effeetd as a camouflage for inadequate chops. But technique and solid instrumentation need to be well in hand before that hand turns to extracurricular activities. Effects should be looked at as a supplement, a manner in which you enhance a given sound or style; they should not be considered a style unto themselves.

The companies that follow are most of the important manufacturers of pedal effects. Some have been around from the early days, others are new kids on the block. Some you’ll notice, such as MXR, have gone to the special effects boneyard.

DOD

If there’s a standard on the street, DOD is on top of it. An American manufacturer, DOD has pedals that strike a mean blow. This is the scenario: you take the DOD FX 100 Pedal board and you go shopping—loading it with such units (up to five) as the 525-A Com-

pressor Limiter, the 515-A sustain, or the 575-B Flanger, or the 565-B Stereo Chorus, or...you get the picture. The entire line is known for its heavy-duty construction and fine components, as well as quiet performance. If you’re looking a little higher on the ladder, then turn to the new Digitech unit such as the DOD PDS 2000 digital delay with a 7kHz to 2 second delay, all at $269.95.

IBANEZ/TAMA

The hottest thing on the pedal effects trail, according to Ibanez, is their patent-pending breakthrough, IDPC (a chip used for Digital Processing Conversion). Loaded with converters, the “Master Series” pedal group enables digital conversion to analog and analog to digital. Taking this “rackmount” quality-type feature to pedals is encouraging and the three leaders in this pack are a Digital Delay, Digital Chorus and Digital Flanger. With a top price of $225 you’ll have to try it to know if you’ll like it.

KORG

look strange. But an attractive look doesn’t always mean a quality item. The Korg Effects System (KES) includes a Compressor, Limiter, Noise Gate, Tone Booster, Parametric EQ, Octaver, Phaser, Flanger, Stereo Chorus, Overdrive, Distortion and Hard Distortion. An impressive array for a newly-launched product group. The KES pedals provide noiseless switching via newly-developed switches that are said to provide positive “feel” and are housed in metal. The Systems is designed to allow several pedals to be connected in series without the impedance loading and subsequent loss of volume and highs.

BOSS

Roland struck it rich when they unveiled the Boss line of special effects pedals. Since then, they’ve always been moving in the major leagues with products that deliver. Compact and sturdy, the Boss pedals cover digital delay (DD-2) heavy metal (HM-2, your basic distortion), the highly regarded chorus (CE-3.CE-2) and a graphic equalizer (GE-7). The list goes bn and on, but one thing is immediately apparent: at a good price, Boss pedals are attractive to a wide segment of guitar players. Of course there’s a pedal board available and some more specialized items such as the Rocker Distortion and the Rocker Wah.

WASHBURN

As an old company, Washburn has been building a new name. Their guitar lines have received major raves, and their “Wonderbar” tremolo has captured the attention of many. They’ve now entered into the pedal effects arena with the usual range of products, looking to capture a slice of that “value for money” market. With a Chorus, Flanger, Compressor, EQ, Analog Delay, Distortion, Phaser and Stack In Box, the Washburn folks have covered all the bases. And, just to make sure you’re watching, they’ve slipped it all into a prewired pedal board.

PICKUPS MADE EASY

Unadorned by studs, glitter and airbrush scenery, guitars were once simple classics of pure design. It was the era of Gibson and Fender, so little else mattered. But music changed, and so did the musicians. No longer were the needs simple and direct. Guitar players had a new credo, and it was founded as firmly in style as it was in performance.

Slowly the guitar evolved, running a range of phases from brass to bridges, to tremolos to airbrushed nature scenes. But the most noticeable alteration was not cosmetic, it was the alteration of sound. Guitarists were not merely branding a stamp of selfindulgence on their instruments. They were developing new music—and that music needed gear that could translate their ideas into the sounds of a new era.

It was during this period of sound rediscovery that Larry DiMarzio was winding his way to success on Manhattan’s 48th Street. A designer and builder of custom instruments, DiMarzio, along with a few others, saw the need for guitar pickups with better response and ability to deal with the hard rocking, very loud music that was infiltrating the pop mainstream. Today, you need only to browse around your local music store to see the host of pickups now available from the likes of Seymour Duncan, Bartolini, EMG, and, of course, DiMarzio. As you develop greater expertise on guitar, the quality of your pickup(s) will be of increasing interest.

EMG

Years of research have gone into the development and manufacture of EMG’s line of pickups. They boast sophisticated circuitry with a few new twists, including a preamp in every model. But they really burst across the scene with the highly phenomenal success of the Steinberger bass. Every bassist seems to turn to EMGs for their deep, resonant response and dependability. Of course, bass guitar pickups were hardly their only strength. Their guitar pickups were also quickly accepted into the fold of this year’s model. Fortunately, they lasted, and the result has been a wide range of specifically designed units with both the past and future in mind.

The EMG range takes care of the guitarist who sports a Telly, Strat, Les Paul or the Firebird. What the EMG attempts to bring is greater fidelity and sensitivity, enhancing the past with the electronics of the future. As for new innovations, the Steinberger was a new construction, a stiff design that needed a new dynamic from a pickup. EMG delivered what has become a standard pickup for many of the headless type of basses on the market today. The units have a clean, futuristic look, and they’ve developed a reputation for clarity and dependability.

SEYMOUR DUNCAN

Seymour Duncan enjoys a reputation as a custom winder of special talent. At a time when pickups were emerging as a serious replacement item to guitarists, Duncan attempted to satisfy every idosyncracy of the marketplace, unveiling a range of some 70 models. It seemed like he was splitting hairs to the extreme, but he was merely giving further definition through subtlety. The line has been narrowed somewhat, but Duncan is always sparking interest with a new range of costeffective units that he feels match the needs of active, modern musicians. His new Active EQ System pickups for bass incorporate three built-in EQ switches which allow the musician to shift resonant frequencies for a total of eight different sounds. They have a low impedance design to allow the signal to come through with less noise or coloration. The preamp allows longer battery life, and the pickups are sealed in epoxy to eliminate microphonic feedback.

DIMARZIO

Part of the success of running any accessory company is staying tuned to feedback from existing and would-be customers. DiMarzio built its business on this basis, and he continues to function this way. With the new trends toward hotter rock ’n’ roll, DiMarzio continues to add to his range of products that which best suits the demands of players. DiMarzio is unveilling new products that satisfy current needs, but unleash new ideas through enhanced manufacturing and lower costs.

CREEM’s Showcase was written by Bill Stephen, Billy Cioffi & Scott K. Fish.