Guitarist

Future Publishing Limited, Quay House, The Ambury, Bath, BA1 1UA Telephone 01225 442244 Email guitarist@futurenet.com Online www.guitarist.co.uk This month’s cover feature celebrating seven decades of the Les Paul got me thinking about guitars that f

Future Publishing Limited, Quay House, The Ambury, Bath, BA1 1UA Telephone 01225 442244 Email guitarist@futurenet.com Online www.guitarist.co.uk EDITORIAL EDITOR-IN-CHIEF Jamie Dickson jamie.dickson@futurenet.com ART EDITOR Darren Phillips darren.p

TAYLOR 514CE £3,659 WHAT IS IT? Brand-new Taylor with sustainably sourced urban ironbark back and sides, new design ’board inlays and light ‘edge burst’ finish to the top There surely isn’t another large guitar manufacturer that does more to look aft

MAGNETO U-ONE ERIC GALES RD3 £849 WHAT IS IT? Eric Gales has been playing Magneto guitars for over a decade – here’s his pretty affordable new signature model Magneto guitars first appeared back in late 2008, the brainchild of Christian Hatstatt, a g

CONTACT Andertons Music Co WEB www.kauerguitars.com Doug Kauer and his dedicated team of craftspeople work from a small facility in Sacramento, California. Producing a range of some vintage-inspired and several radical modern designs, the company boa

CONTACT: Fender EMEA PHONE: 0333 200 8765 WEB: www.fender.com You might have heard of the brand Babicz because of its pioneering work on Steinberger guitars. Its Full Contact bridges are centred around the patented eCAM saddles, which maximise contac

Quite a few years back I traded three guitars – one Martin and two very nice Höfners – for another Martin, a used D-28 1937 Authentic. Guitar Village in Farnham had two from this illustrious range: a D-18 and the D-28 that I finally settled upon. The

AUDIO http://bit.ly/guitaristextra In harmony that involves shifting from one chord to another, you’ll often see changes happening in small steps, rather than wide interval jumps. The five chords featured here can be played one after the other to dem

Having been a person who makes noises on a guitar since 1964 – those Beatles have a lot to answer for – I have often anguished over picks, strings, guitars, amps and layers of paint (see Neville’s Advocate issue 491). However, as I have grown older,

As senior director of product development at Gibson, Mat Koehler is behind the company’s drive for maximum vintage authenticity in its reissues, from Epiphone Coronets to Custom Colour Firebirds. But he says the Les Paul – and the man who put his mon

One of the earliest attempts by Gibson to faithfully replicate the by-then celebrated 1959 Les Paul Standard was the Heritage 80 Standard. Introduced as the name suggests in 1980, it was made in three variants, with increasingly fancy appointments: t

LES PAUL MODEL launched. Multisection maple top, mahogany body and neck. Gold-finished top (a few had gold back and sides also), twin soapbar P-90s, trapeze tailpiece. Shallow-angle neck-set means strings have to wrap under bridge, preventing palm mu

“I had the most fabulous black Les Paul, which I played when I was in [post-Amen Corner 70s outfit] Fair Weather,” Andy recalls. “It was the guitar that I used on both albums with Fair Weather. About 20 or 30 years later, someone came to see me at a

70 years on, what significance does the Les Paul have for you and the Gibson company today? “You know, it’s interesting, when you look at iconic brands over time, they always trace back to an iconic product. And if you think about Levi’s, for example

Like the previous Les Pauls we looked at, the circuits on both here are wired modern-style with Gibson logo’d 500k pots (made by CTS) and .022 microfarad (223J) Orange Drop tone caps. All the controls mount onto a metal grounding plate, although the

T he Takamine story really begins in 1959. Could you tell us a little about the origins of the company? “In 1959 as a small family-run guitar shop nestled at the foot of Mount Takamine in the central Japanese town of Sakashita, the fledgling company

He’s the kind of player who can make people’s heads turn with just a few notes. Christone ‘Kingfish’ Ingram has that rare quality that BB King had – the ability to imbue solos with weight and feeling, even when playing simple phrases. However, the Cl

The instrument you see here – Mark Knopfler’s 1935 Martin D-18 – represents an apex of acoustic guitar building. Despite the vast technological advances of the post-war period, many would argue this perennially popular design has never been bettered.

Regular readers will know that a few years ago I bought a player’s grade Telecaster Custom from the early 70s. The guitar had most of the right bits except for the body, which was a later Warmoth replacement with a high-gloss clear natural finish tha