miércoles, 28 de julio de 2010
viernes, 16 de julio de 2010
jueves, 10 de junio de 2010
martes, 8 de junio de 2010
jueves, 20 de mayo de 2010
Fender Stratocaster American Standart USA 1987
It’s a MINT 1987 Fender American Standard Stratocaster rare Gun Metal Blue. At this time Fender was using up 1984 decals. They were in the beginnings of their massive, overdiluted product line. Fender called this color Gun Metal Blue. When it originally came out, we couldn't get them fast enough.On American Standard Strats it is maybe the most prized. It is a medium dark blue with a hint of grey to lighten it up. Add the light bit of metallic Fender put in and you have a guitar that is a very unique color that catches the light, like crazy.
It is one of the favorite colors Fender ever produced. Due to this guitar's window of time, you could say it is a very early custom shop guitar, mostly hand built and fitted with strap locks. To my understanding, these guitars have an 84 date, as Fender used up their '84 decals but weren't actually built until 1987.These are becoming very collectable.
I am told by a very reliable source that these guitars were built by the 4 guys who went on to form the custom shop. if you know Strats & you sit & look at this one a few minutes, you would see some things that earmark its being pretty much hand built. So here's what American standards should feel like but no longer do, maybe its because American standards are no longer made in America we are told.
Minimum fret wear, no scratches, no dings, it is one sweet feeling, high end guitar with a GREAT sound, and so hard to find in this pristine conditions.
Original Fender Hardshell case (with its original key), original tremolo bar, original strap & original documentation included.
domingo, 16 de mayo de 2010
Bajo Giannini Brazil modelo Rickembaker
GIANNINI AE010B VINTAGE 1979.
Este bajo es copia MUY FIDEDIGNA de Rickenbacker 4001 Bass, fabricado en Brasil en los años 79 y 80. Su producción se detuvo debido a la toma de acciones legales de la Rickenbacker contra toda empresa que intentara copiar sus modelos. De entre las muy pocas empresas que hicieron copias de los Rick´s,esta de la Giannini está muy bien hecha.
Tiene las mismas características que un Rickenbacker 4001 de aquella época:
• Construcción Neck Through (mástil completo de una sola pieza que atraviesa el cuerpo), lo cual permite tener mas sustain y un sonido con mas cuerpo.
• Selector de 3 posiciones.
• Dos pastillas Single coiné de buena ganancia, importadas japonesas (de allí venían los componentes de fabricación en esa época).
• Tiene su puente con "mute bar" ó sordina para lograr ese sonido característico del 4001.
• Es un bajo STEREO con la Famosa salida Rick-O-Sound. Puedes usar el bajo en mono con la salida 1, ó en stereo con la salida 2, de esa forma puedes separar la salida de cada micrófono para diferentes amplificadores y lograr interesantes combinaciones.
• Cada Pick-Up tiene sus controles de volumen y tono.
• Incrustaciones triangulares (no como los Ricks nuevos que tiene los típicos puntos) para ese look vintage!
• El Micrófono del puente tiene su coverplate!!! Tiene estuche original
viernes, 14 de mayo de 2010
Giannini Brazil AE014 Profisional Line 1980
Giannini AE014: guitarra para o músico profissional exigente, braço inteiriço, escala em ébano, 24 trastes largos de alpaca, pestana de latão puro, tarraxas douradas tipo Schaller extremamente precisas e macias, dois captadores humbuckers double coil Mighty Mile, desenho original desenvolvido totalmente no Brasil, cavalete e prende cordas de latão puro, duas opções de cores da madeira: escura (louro preto) e clara (gruximava).“ Nesse caso é clara - Gruximava!
Cedres y Vargas Les Paul (Luthiers)
Finíssima guitarra, modelo Les Paul, con microfonos EMG, hecha de forma artesanal por los prestigiosos luthiers uruguayos, Cedres y Vargas, cerca de 1999. 
Fender Stratocaster Strat USA 1980
Es una guitarra muy exclusiva, color arctic white. La palanca es enchapada en ouro, asi como todo los metales, incluyendo tornilleria, son enchapados en ouro.The 1980-83 Fender "STRAT"
by Hunter H and Tom Watson
images by Hunter H
Stratocaster tradition: a blessing and a curse
There is a very close connection between the stories of rock 'n' roll and the Fender Stratocaster. It's hard to imagine one without the other. But in the case of the Fender Stratocaster, history and reputation have often proved to be both a blessing and a curse.
Over the course of its fifty year history, the Stratocaster has faced a repeated challenge - how to retain the classic features that form the basis of its widespread appeal while incorporating evolving technologies and reflecting changes in musical tastes. While the history of the Fender Stratocaster chronicles many such attempts by its manufacturer, one of the more interesting was the 1980-83 model known simply by the Stratocaster's famous nickname, the STRAT.
A nod to the past
The "STRAT", a customized and souped-up variation of the Stratocaster, was introduced by Fender at the 1980 NAMM Show. Designed by Gregg Wilson, then chief of guitar R&D at Fender, with the help of Dan Armstrong serving as a consultant, the STRAT tried to blend classic features with modern electronics to rejuvenate the Stratocaster concept. With the STRAT model, Fender gave a nod to the past by reinstating the smaller 1954-1965 pre-CBS headstock design (however, since the original worn-out tooling was used, the STRAT headstock, though smaller than the CBS era design, was not an entirely accurate re-creation of the pre-CBS model); and, like the 1979 25th Stratocaster Anniversary models, the STRAT was fitted with the popular pre-CBS style truss-rod adjustment and four-bolt neck plate, replacing the CBS Bullet truss rod adjustment and three-bolt neck plate.
An eye toward the future
Looking forward, in addition to offering a matching headstock (the headstock painted to match the guitar's body color), the STRAT incorporated several noteworthy features:
* a hotter lead pickup (branded the X-1) with a much stronger output than the standard Stratocaster pickup (various X-1 pickups tested were between 6.0 and 8.5 ohms).
*a new wiring circuitry delivering 9 different basic tones:
a twin mode rotary selector switch replaced the bottom tone control which when used with the five-way pickup selector switch allowed not only for your standard 5 Stratocaster positions(tones) but also 4 "new" tones never before or since available on a Fender Stratocaster :
neck and middle pickups in series - humbucking
middle and bridge pickups in series - humbucking
neck and bridge pickups in parallel
neck and bridge pickups in parellel, with the middle pickup in series
Thus, the STRAT delivered nine (5+ 4) different basic pickup tones by combining the 5-position switch with the twin rotary selector tone knob. Otherwise the STRAT was fitted with the standard 250k ohm audio taper pots and the "master" tone control carried a regular .05 MFD capacitor. This unique wiring design delivers many tones not usually associated with a Fender Stratocaster and makes the STRAT one of, if not the most, versatile of any era Stratocaster produced by Fender prior to the recently introduced S-1 switching system.
*22 carat gold electroplated brass hardware including a re-designed extra massive(sustain) bridge and vibrato block, tuners, and volume/tone knobs that were officially dubbed the "Brassmaster Series". According to Fender, the hardware was actually plated with a 100 micron gold coat (the same as fine jewlery) and for that reason it's rumored that the company lost money on every unit sold. Some very early models are missing the gold tuners (same tuners but in chrome) and the gold plated pickup selector tip because of a delay in parts delivery.
The STRAT could be ordered with either a one-piece maple neck or a maple neck with rosewood fretboard. Three uniquely different neck shapes were available for the STRAT:
1. U shape - a very thick early 50s style "U" shaped neck.
2. D shape - a classic oval "D" shaped neck.
3. C shape- a classic "C" wide flat shaped neck with a flat radius typically only found on 1958 to early 1959 Stratocasters.
The availability of several width/thickness/radius variations indicate that there was no standard neck for the STRAT model.
According to Fender pricelists, the STRAT listed for $995 in 1980 ($250 more than a Stratocaster), was raised to $1,095 in 1981 and was priced at $1,150 in 1982 at which it remained until discontinued in early 1983.
Prototype
A prototype of the STRAT (pictured on the right) is in a private collection, with the following features that vary somewhat from the production model:
Tuners: An early version of the tuners later found on the "Elite" Stratocaster instead of the typical STRAT gold plated (or chrome on some of the early models) tuners.
Knobs: "Dome" gold plated Telecaster style knobs instead of the skirted gold plated "F" style knobs used on the production STRAT.
Electronics: The pickups feature three early prototype versions of the very under-rated X-1 pickup that was used in the bridge position of the production STRAT. Produces a very "woody" bell-like tone.
Bridge: Gold plated brass Stratocaster standard style bridge instead of the heavier production line STRAT "Brassmaster" bridge.
Finish: Olympic White, as opposed to Arctic White offered by Fender after the models introduction in either Candy Apple Red or Lake Placid Blue.
Pickguard: Fender was not using tortoise shell pickguards at the time, but the prototype has a very rare pickguard material imported from Italy that was used on limited production and top of the line guitars such as the LTD and Montego, referred to by some as "flamed" or Italian tortoise shell.
Weight: 7.3 pounds (most likely a swamp ash body).
Pedigree: Hand made one-off formerly owned by Bill Carson with a letter of authenticity from Carson.
Why the STRAT? A brief look at Fender in the early 80s
Freddie Tavares, long time Fender employee who retired in 1986, had this to say about the state of the Fender company from the late 60s through the 70s: "We had turned into a big fancy corporation all of a sudden, where all the different departments had got their say in everything and then there were budgets, quotas and so on. They would try to put out stuff as fast as they could! When they [CBS] bought the Fender company they found out how profitable the operation was and they wanted the profits held right there. Like so many other American companies, it was to make sure the stockholders got plenty of dividends. So, what could the people at the plant do?"
Due to these drastic increases in production (output by the late 70s was 500 guitars per day), workers on the assembly line could not maintain the same attention to detail and as a result, Fender received an ever increasing number of complaints from dealers regarding quality and assembly issues. Despite the sometime questionable quality of Stratocasters from the 70s, 1971-1981 marked the Stratocaster's incredible rise to fame and it was adopted by a growing number of players. Countless artists chose the Stratocaster as their main instrument.
Popularity rises, sales decline
It was noted by Fender, however, that these famous musicians were using the older models and not the newer ones. Fender-CBS sensed that something should be done to take full advantage of the Stratocaster's popularity. Fender's desire to cash in on the popularity of the traditional Stratocaster through model twists that might appeal to a more modern market had much to do with why several variations of the Stratocaster model were introduced in the late 70s and early 80s - an attempt to recapture market share.
To further this goal, in the early 80s Fender-CBS hired Bill Schultz and John McLaren from Yamaha to take over at the helm of Fender musical instruments division and address some of the problems plaquing the company. Initial appraisals by this new team outlined some very troubling issues that needed immediate attention and an internal Fender memo dated May 19,1981, mentioned a sharp decline in product quality and a significant increase in international and domestic dealer complaints about defective parts and unacceptable quality. The same report also stated that the Fender company had followed a "policy of high margins and little product improvement".
Another former Yamaha employee, Dan Smith, was then hired by Bill Schultz to help solve some of the problems at Fender. According to Smith, "Basically our goal was initially to restore the confidence of the dealers and the players in Fender. The only way we could achieve that was to raise the quality levels back up! We could not redesign the production line all at once so we started to initiate steps to get the product back to where it had to be, but while that was going on, we basically shut the plant down and retaught everybody how to make Fender guitars the way people wanted them. It probably took us 2 1/2 years to achieve that."
The 1979 25th Silver Anniversary Stratocaster and then the 1980 STRAT model were Fender's first attempts at blending the old and with the new. The 1979 Anniversary Stratocaster was the first new model to adopt the old style four bolt neck and truss rod. The 1980 STRAT was designed to take some of the older features, and add some modern ones.
Although 10,000 Anniversary models were sold, the STRAT models were not very profitable due to the very high cost of the parts (gold plated) and assembly time (the wiring was extremely time consuming). As a result, the STRAT was discontinued after limited numbers were manufactured between 1980 and 1983.
The STRAT was made at a very unique time in Fender history when extra attention was given to detail and materials and the resulting quality of the STRAT is second to none. However, in 1982, in an attempt to further cut costs and capitalize on the emerging "vintage market", Fender decided to focus its energies on producing copies of hugely popular older models and in 1982 released the first of the highly successful American vintage reissues (which, ironically, are now highly prized vintage instruments themselves).
Stratoburst?
The STRAT was initially available in only two classic finishes Candy Apple Red and Lake Placid Blue, both with a matching painted headstock. In 1981, at the initiative of then chief design engineer of Fender R&D, ChipTodd, another model was introduced, a deluxe version of the STRAT crafted entirely of American Black Walnut officially named "The Walnut Strat" (sometimes referred to as The Super Strat). This model used a one-piece walnut neck, black pickguard and pickup covers. Otherwise its basic appointments were identical to a the STRAT, which at this time was made available in its third and final official finish, Artic White.
Although officially only available in Candy Apple Red, Lake Placid Blue, and later, Artic White, several other colors (possible one-offs) and variations (hues) of the original three official colors are known to exist, including "Stratoburst", Black (Cathay Ebony), Candy Apple Green, Gold, Natural Ash, Olympic White and Sapphire Blue (see image gallery below).
From the January 1982 Fender Catalog:
STRAT
A unique new instrument that combines several of the most popular modifications of the standard Stratocaster developed by independent guitar experts, as well as some exciting developments from Fender engineering.
All the hardware on the STRAT is of the highest quality with a heavy coat of 22k gold plating- the heaviest most durable gold finish ever used on a guitar. In addition, the bridge assembly is extra-massive, to achieve maximum possible sustain. On the STRAT, one of the standard Stratocaster's tone controls have been replaced by a pickup selector mode switch which gives an extra four pickup selections not available on a standard Stratocaster. These extra tonal options provide a "thicker" sound than a standard Stratocaster can produce, making the STRAT one of the most versatile guitars ever designed. Offered in the classic colors: Candy Apple Red, Lake Placid Blue, and Artic White.
WALNUT STRAT
The new Walnut Strat incorporates all the custom hardware and electronics of the STRAT in an instrument crafted entirely of selected solid Black American Walnut. The rock-hard finish and extra density of walnut give the Walnut Strat all the great playing qualities of the Fender STRAT, plus a unique custom look. Truly the connoisseur's guitar!
Collectibility
Because of limited production numbers, rumors that they are "boat anchors" (although as heavy as 11 pounds, most are in the comfortable 8-9 pound range and some weigh as little as 7 pounds), and a lack of information available, the STRAT has remained somewhat obscure, under-rated, and undervalued. Although prices are starting to rise for this unique model, until recently it has been relatively ignored by collectors and most can still be had at a very affordable price.
In a fall 1980 John Lennon magazine interview (conducted shortly before his death), Lennon describes a brand new Fender Stratocaster guitar he's using as "the cats pajama's", and is pictured holding a Lake Placid Blue STRAT. Rumor has it that Fender was seeking his official endorsement shortly before his tragic passing.
Fender Stratocaster Custon Shop USA Contemporary
Fender stratocaster Custon Shop Modelo Contemporary 1997Fender Custom Shop
In 1987 the Fender Custom Shop was officially established at the Corona plant. It was started so that Fender could build one-offs and special orders for players who had the money and the inclination. While this role remains — customers have ranged from Chet Atkins to Lou Reed — they now has a much wider part to play in Fender's expanding business.
Their activities today effectively divide into three. First there are the one offs, or Fender Custom Shop Masterbuilt Guitars as they are known around the shop. These Custom Shop Stratocaster and Telecaster models are exactly what most people would understand as the work of a custom shop: instruments made by one person with acute attention to detail and a price to match. The second type is the Limited Edition, a special numbered run of anything from a handful to several hundred of a specific model. Third, Fender Custom Shop makes a general line of "catalog" models which it calls Stock Team (or, more personally, Custom Team) items, normally introduced after a style of model has proved popular in one-off requests.
One of the first jobs for the Fender Custom Shop was to make a yellow Vintage reissue Strat for Jeff Beck. At this stage Beck vetoed Fender's wish to produce a Jeff Beck signature edition Strat, and the design intended for that purpose evolved into the Strat Plus. A Jeff Beck signature Stratocaster not dissimilar to the Plus finally appeared in 1991. Signature instruments now form an important part of the Fender Custom Shop line.
The first was the Eric Clapton Stratocaster. Clapton had asked Fender to make him a guitar with the distinct V-shape neck of his favorite 1930s Martin acoustic guitar, as well as what he described as a "compressed" pickup sound. Various prototypes were built by George Blanda at Fender, and the final design eventually went on sale to the public in 1988.
In 1988 they produced the 40th Anniversary Telecaster, its first limited-edition production run. At that time most players and collectors (and Fender itself) believed that the first Broadcaster/Telecaster had been produced in 1948, hence the timing of the anniversary model. John Page, head of the Fender Custom Shop, says that it took some 18 months to build the full edition of 300 guitars — and then many Fender dealers were upset because the company only made 300. So Fender Custom Shop's next limited run: the HLE Stratocaster (Haynes Limited Edition), was upped to 500 units. Other numbered runs continued to appear from the Fender Custom Shop and became an important part of Fender Custom Shop's job.
A logical extension to the limited editions occurred in 1992 with the Fender Custom Shop's first catalog of standard products — which it now groups together under the general headings of Stock Team and Custom Team guitars. No production limit is put on these models other than the confines of the Shop's capacity. They include models such as the Carved Top Strat, the Set Neck Strat and the Robben Ford guitars, in series such as Custom Classics, Showmasters, and Time Machines. The expansion of the Custom Shop's business prompted a move in 1993 to new buildings (but still close to the Corona factory) to gain extra space and improve efficiency.
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