1969 Dan Armstrong Modified Danelectro Electric Guitar

Turns out Danelectro, like every other musical instrument company, got caught up in the corporate feeding frenzy of the 1960s. Danelectro had its origins in electronics work done for a department store by Nathaniel “Nate” Daniel (born 1912) in the Bronx in the 1930s. He came up with his own amplifier design and from 1934-42 made Epiphone’s Electar amplifers. After World War II Daniel moved to Red Bank, New Jersey, and founded Danelectro, building amps for Montgomery Ward (Airline), Sears (Silvertone), and Targ and Diner (S.S. Maxwell). In the early 1950s, when solidbody electrics demonstrated that they were more than a passing fad, Sears wanted more guitars than its subsidiary Harmony could produce and arranged for Danelectro to start making electric guitars. Danelectro and its Silvertone counterparts debuted in 1954.

The first Danos were solid, made of poplar. In 1956 the legendary “lipstick tube” pickups appeared and yes Martha they were purchased from a lipstick manufacturer! In 1958 the classic masonite hollowbodies took a bow, the same year Danelectro relocated to Neptune, New Jersey.

1969 Dan Armstrong Modified Danelectro Electric Guitar

Fast forward to 1966. By then guitar companies could sell any guitars they could make. A number of large corporations, many with experience on the periphery of the entertainment business, started seeing dollar signs and began acquiring guitar companies. CBS purchased Fender in 1965. Norlin, whose interests including breweries (I guess that’s entertainment!), bought Gibson. Baldwin Pianos and Organs bought first Burns of London and then Gretsch. Even Westheimer Sales, importer of Teiscos, was purchased by King Korn trade stamps. Seaburg, the juke box folks, bought Valco/Kay. Avnet bought Guild. Danelectro was purchased by MCA, the company that owned Decca Records and Universal Pictures, among other properties.

Unfortunately for all the greedy corporations, the bloom started to fade from the guitar business almost immediately. According to the Music Trades magazine, guitar sales began to decline in 1967 followed by an even bigger drop in 1968. That year Valco/Kay went belly up. MCA wanted out, but there were no takers to buy the brand. In 1969, MCA simply locked the doors of the factory and that was it.

Which links up with this guitar. Dan Armstrong was a well-known repairman nee guitar designer who had a shop in New York. He and his then girlfriend Carly Simon came up with this idea for a plexiglass “see-through” guitar which would be sold through another area amplifier company, Ampeg in 1969. Armstrong was hired to personally inspect every guitar before it left the plant, but, reportedly, Armstrong was, shall we say, not very interested in showing up for a regular day job shift. Ampeg had trouble meeting demand for the plexiglass guitars and basses. There may have been other production problems.

In any case, a part of the Ampeg design was a series of interchangeable pickups that slid into a slot on the front. These were cast in epoxy to help cut back on feedback.

1969 Dan Armstrong Modified Danelectro Electric Guitar

The rest of the story is a little murky. Some sources say that Armstrong purchased a bunch of leftover parts from the closed Danelectro factory and assembled between 650-700 guitars outfitted with his epoxy-potted pickups. Some stories link this to Ampeg’s supply problems, but why they don’t then say Ampeg is a mystery. Other stories have these guitars being sold out of Armstrong’s New York shop, which probably makes more sense, given the identification on the pickguard. One interesting clue is that Ampeg used Danelectro bridges on its see-through guitars. This has always struck me as odd, that such an advance guitar concept wouldn’t have a sophisticated bridge.

Somehow, this all ties up with the fact that Unimusic, Ampeg’s parent company, ran into financial troubles about this time. They couldn’t pay Armstrong. Had Ampeg purchased those Danelectro parts to use the bridges and save money? Did Armstrong get the parts to make these guitars as part of the pay Ampeg couldn’t give him? We may never know the whole story.

All this came tumbling down in 1971 when the Ampeg see-throughs bit the dust. Along with the company. Ampeg was sold to the consumer electronics giant Magnavox that year. Magnavox operated the company until 1980 when the brand went to Ernie Briefel’s Music Technology, Inc. (MTI), distributor of Westone and Vantage guitars from Matsumoku Moto in Japan, as well as Giannini from Brazil. In 1985 the brand was sold once again to St. Louis Music, where it still resides.

Following the see-through debacle and the brief fling with these Danelectros, Dan Armstrong moved to London where he produced some mahogany versions of the see-through designs.

So, that leaves us with these Dan Armstrong Modified Danelectros. As you can see, they do exist! I’m pretty sure these date from 1969, but that’s far from certain. The timing fits. They could date from slightly later, but probably not much.

Basically everything on these guitars is vintage Dano except for the pickups. They are smooth, rich and quiet. Unfortunately, a Dano really needs cheapo lipstick-tube single-coils to sound right. These high-tech units kind of leave the guitar with no soul. I have no idea what the three-way toggle is supposed to do. It may have already been installed!

Nevertheless, like those anthropological missing links, this Dan Armstrong Modified Danelectro fills in some curious connections between some of our most famous brand names and innovative guitar personalities. Maybe some day we’ll know the whole truth about this oddball.

• Deerhoof’s Edward Rodriguez (Airline Tuxedo guitar)
• Cheap Trick’s Rick Nielsen (Airline Map Guitar)
• Nick Cave (Airline Tuxedo guitar)
• Luke Doucet (Airline Map guitar at the Lilith Fair)
• Super Satellites’ Christian Olguin (Airline Tuxedo Guitar)
• 1980 Ovation Breadwinner & Eastwood Breadwinner guitars
• Hot Chelle Rae’s Nash Overstreet (Airline Map Guitar)
• Amanda Zelina (Custom Airline 2P Guitar in Sahara Blue)
• Design Star’s Antonio Ballatore &Timothy Gruse (Airline Map Guitar & Bass)

Deerhoof's Edward Rodriguez (Airline Tuxedo guitar)

1. Here is Edward Rodriguez from DEERHOOF with his AIRLINE Tuxedo.
   

   Cheap Trick's Rick Nielsen (Airline Map Guitar)

2. Lou Vito, one of Eastwood Gutiars Artist Relations people, snapped this one of Rick Nielsen of Cheap Trick with his AIRLINE MAP guitar.
   

   Nick Cave (Airline Tuxedo guitar)

3. This one is a number of months back, but a nice shot of Nick Cave with his AIRLINE TUXEDO. Nick’s band, GRINDERMAN will be touring this fall. Grinderman’s main instrumentalist – Warren Ellis – has been working with us on releasing the Warren Ellis Signature TENOR guitar, coming next month! Here is a sneak peak photo of the Tenor.
   

   Luke Doucet (Airline Map guitar at the Lilith Fair)



Warren Ellis Signature Tenor guitar from Eastwood Guitars

4. Here is Luke Doucet using his AIRLINE MAP guitar on tour last month with Lilith Fair.
   

   Super Satellites' Christian Olguin (Airline Tuxedo Guitar)

5. Another great photo from Lou Vito featuring Christian Olguin from NYC group, Super Satellites with his AIRLINE TUXEDO guitar.
   

   1980 Ovation Breadwinner & Eastwood Breadwinner guitars

6. Not really a “celebrity” citing, but here is an original Ovation Breadwinner from 1980 pictured next to a new Eastwood Breadwinner. Cool!
   

   Hot Chelle Rae's Nash Overstreet (Airline Map Guitar)

7. Another summer Warped Tour with Nash Overstreet from Hot Chelle Rae featuring his AIRLINE MAP in Seafoam Green.
   

   Amanda Zelina (Custom Airline 2P Guitar in Sahara Blue)

8. Amanda Zelina dropped by Eastwood HQ to pickup her custom AIRLINE 2P Sahara Blue.
   

   Design Star's Antonio Ballatore &Timothy Gruse (Airline Map Guitar & Bass)

9. And who would have guessed? Antonio Ballatore and Timothy Gruse from H+G TV’s popular show, Design Star with their AIRLINE MAP Bass and Guitar. Really? Is there no end to the “I Get It” craze!!?! I guess not…

So you’ve completed basic lessons for playing the bass guitar. Are you satisfied with your current repertoire? If not, here are a couple of neat bass guitar playing styles or techniques that are easy to learn and can immediately add depth and variety to your music.

Double Popping

Most people who have only recently started playing the bass guitar make themselves content with a simple slap groove. This is because few novice guitarists are aware of advanced techniques like double popping, which makes use of other fingers and creates more complex arrangements of popping.

The formula for a double pop is simple to memorize and master.

1. Start with a slap (S).
2. Proceed to hammering on (h).
3. Pull-off (p).
4. Pop using your first finger.
5. Pop using your second finger.

Sweep Picking

With sweep picking, and especially through arpeggios, the best thing novice bass guitarists can do is to take things step by step. Begin with sweeping two strings. Master this. Conquer it. And only after that should you move on to something more advanced.

When you research online for tips and exercises for sweep picking, you’ll notice that advice tends to vary about the finger positioning and the upstrokes and downstrokes used. There is no right or wrong advice, though. What matters is that you choose the method which you’re most comfortable with.

Harmonic Tuning

Techniques are not all about playing. There are also essential advanced techniques which focus on maintaining the quality of your music and the condition of your instrument. Using harmonics to tune your bass guitar, for instance, is a critical technique to learn because you get to listen to both notes as you work on the pegs.

Harmonic tuning works best when you’ve plugged your bass guitar. Now, start by placing our finger over the E string’s fifth fret. Play it using either your thumb, picking finger, or with a pick. The high-pitched note it produces is a harmonic. Release the string and allow the harmonic to play out. How was it?

Practice, Practice, Practice

The techniques listed here for playing the bass guitar are just the start, of course. There are many other techniques to learn. If you want to be a great bass guitarist then you need to constantly practice. You should also welcome every opportunity to learn new things because that’s the only way you can hone your craft.

About the Author: Belle writes for SherwoodMusic.org, where you can read her recent post on guitars and beginner piano lessons online. You can also check out her other writings on Bill Monroe Bluegrass Music, her other musical love.

The Guitars of Our Lives (Vintage Guitar Picture Contest)

I get a lot of people sending pictures to me. The most interesting ones always fit into two categories: 1) photos of people with their earliest guitars and 2) kids with guitars. It strikes me that they are kind of the same. Us “older” folks reminiscing of our youth, and us ”older” folks seeing the young kids today finding the same passion we did so many years ago. So, I want to build a picture collage of all that stuff, right here on the net so all can enjoy it.

I want to keep it “vintage” looking for the most part, with pictures of kids as well. So please, only send old pictures (1950-1980) or modern pictures of people under 12 years old. OK? I won’t bother posting pictures that don’t fit this criteria.

The contest:

1. Submit your pictures using the form at the bottom of this page.
2. And (within reason) we will include them all on this page.
3. Please make them INTERNET friendly (less than 1000 pixels in width and height).
4. The contest will run forever (we hope!).
5. Every few months we will randomly draw an entry from a hat and the winner will receive a FREE EASTWOOD Guitar of their choice, up to $600 value (including shipping which is $49 N. America, $99 Europe/Japan, $179 elsewhere). If you want to get something more expensive, pay the difference.

We will store the photos under your email address name, that is the only way we can figure out the winner. When the winner is selected, we will email them and they will have 72 hours to respond. If we do not hear back, we will pick a different wwinner. All photos on this page remain in the contest forever!

Keep it simple, keep it fun!

Eastwood Airline '59 Custom Electric Guitar (Limited Edition Indigo)

We only made 24 of them last year, and here are the remaining serial numbers in stock: 12, 15,16, 17, 20. First come, first served! Order using the BUY NOW button below, then send a separate email with your serial number request.

Eastwood Airline '59 Custom Electric Guitar (Limited Edition Indigo)

Eastwood Airline '59 Custom Electric Guitar (Limited Edition Indigo)

Eastwood Airline '59 Custom Electric Guitar (Limited Edition Indigo)

Eastwood Airline '59 Custom Electric Guitar (Limited Edition Indigo)

Eastwood Airline '59 Custom Electric Guitar (Limited Edition Indigo)

Eastwood Airline '59 Custom Electric Guitar (Limited Edition Indigo)

Eastwood Airline '59 Custom Electric Guitar (Limited Edition Indigo)

Eastwood Airline '59 Custom Electric Guitar (Limited Edition Indigo)

Eastwood Airline '59 Custom Electric Guitar (Limited Edition Indigo)

Eastwood Sidejack DLX Electric Guitar (Sunburst, Left-Handed)

BUY NOW:  $449

Vintage 1965 Gemelli 195/4/V Electric Guitar

Back in the old days—no, I mean the really old days—expensive guitars might have ivory or even pearl fingerboards. These were pretty rare, of course, limited to either presentation guitars or royal clients. The first plastic to be invented was celluloid in the mid-1800s. Actually this had to do with billiards, not guitars. Like expensive guitar fingerboards, billiard balls were made of elephant ivory. But it was clear to the ball manufacturers that this situation couldn’t last. They sponsored a competition to find a replacement, and celluloid won. Now, it had a problem of being highly explosive, which presents a problem if you’re going to poking sticks at it! Still, it began a whole new industry.

Fortunately for us, engineers figured out the incendiary problem. Just when celluloid began to be used on guitars is unknown. But by the late 1920s manufacturers had learned how to make it in sheets and strips, and it began to be used as pickguards and binding. They also figured out how to make it look like pearl and sparkle gold. These began to appear on guitars. The former we now call pearloid; the latter was known in the guitar trade as “glitter.”

Vintage 1965 Gemelli 195/4/V Electric Guitar

By the Great Depression of the 1930s, pearloid, along with decals (“decalcomania”), became a popular way to spruce up cheap guitar materials and make people feel like they were getting something more than they could really afford. Pearloid was used for pickguards, trim, headplates, fingerboards. By this time “tortoise” celluloid was also common for use in pickguards (yes, real tortoiseshell used to be used).

After the War came the surge of electric guitars and the surge in population known as the Post-War Baby Boom. These two surges crashed together like breaking waves in the early 1960s, with a resulting tsunami of demand for electric guitars. Far more demand than American guitar manufacturers could supply. Some enterprising businessmen turned their gaze East to the inexpensive manufacturing possibilities in reconstruction Japan. Others looked to reconstruction Europe, where mass-manufacturing of guitars was an already established industry. Compared to American standards, costs were relatively inexpensive there, too. Sweden, the Netherlands, Germany, and Italy were all major suppliers of guitars to musically inclined Boomers.

Vintage 1965 Gemelli 195/4/V Electric Guitar

Curiously enough, most of the established European instrument making centers included a variety of instruments, and especially accordions. Fortunately for the latter, there had been an accordion boom in the US during the mid-1950s. After that went bust, they had excess capacity. When the tide guitar demand began to rise in the early 1960s, the accordionistas were in a position to call on the guitar makers up the street to help them ramp up to meet American needs.

And, of course — ta da— accordion makers were highly skilled at working sheet plastic! So, it should come as no surprise that among the first European electric guitars to get to the US were the sparkle-plastic covered Hagstroms from Sweden in around 1958 or so. The demand had yet to emerge. But when it did, Hagstroms were joined by plastic-covered EKO guitars by Oliviero Pigini in around 1963. Others followed.

All of which is a long way around to this Gemelli guitar. Much of Italian guitar making was centered around Castelfidardo, Italy. In fact, there were a whole bunch of makers in that area who supplied guitars during the ‘60s, most making guitars for other distributors using whatever brand name was required. One of them was Benito & Umberto Cingolani, located Recanati not far from the Pigini plant. Among the brands they built was Gemelli.

A number of features make this guitar special. The pearloid plastic fingerboard is an obvious one. Long gone are the days of the simple sheet pearloid. This is a hard, nice, fast surface that plays like a dream. Another is the nifty black to green sunburst finish! These were especially popular on both Italian and English guitars during the ‘60s, especially Burns guitars, though American makers were not especially enamored of the style (Harmony did one at the end of the ‘60s and early ‘70s). . Finally, there’s the way cool push-button controls, a leftover from the accordion days. These give you All, Treble, Treble and Bass, Middle, Bass, and Off. Pretty neat, huh? The guitar is lightweight and the vibrato has a butter touch. Overall, this is a darned good starter guitar!

Plastic-covered guitars didn’t go over all that well in the US and they were gone by around 1966 at the latest. However, in this case, the plastic only enhances what’s a swell little guitar, not putting glitter on a piece of junk.

Last month, I published a survey that asked questions about the state of electric guitar tone as it is today vs. what I called the “golden age” of rock and roll.

If you missed it you can find the survey here.

Survey Questions & Results:

1) There’s lots of high quality gear available if you’re willing to pay for it, but how has the flood of inexpensive gear affected tone quality in general?

• 62% – I believe that, compared to the golden age of rock and roll, the average piece of gear’s tone quality has decreased.
• 38% – I believe that, compared to the golden age of rock and roll, the average piece of gear’s tone quality is at least as good.

2) Compared to the 60’s and 70’s, has the glut of inexpensive gear on the market caused a general decline in electric guitar tone as heard on recordings, in live venues and at home?

• 59% – I believe that, in general, electric guitar tone is not as good as it was in the 60’s and 70’s.
• 41% – I believe that, in general, electric guitar tone is at least as good as it was in the 60’s and 70’s.

3) With all this inexpensive gear at their fingertips, do today’s guitarists spend less time working on their craft and more on finding equipment to make them sound “good”?

• 74% – I believe that, in general, today’s guitarists spend less time perfecting their skills and more time trying to find gear that will make them sound good.
• 26% – I believe that, in general, today’s guitarists spend at least as much time perfecting their skills as they did in the 60’s and 70’s.

The results were conclusive and interesting!

In general, the majority of the over 120 survey respondents believe that the electric guitar world was a better place in the 60’s and 70’s.

60% of them believe that gear and recorded/live guitar tone sounded better back then.

However, when it came to how much effort guitarists invest in improving their skills, almost 75% of respondents said that today’s guitarists are slackers compared to the good old days.

Comments ranged from wistful nostalgia and anecdotes from back in the day to virtual shots to the head demanding that guitarists get over vintage envy and take advantage of the cornucopia of gear available to today’s guitarist.

Click here to check out all of the survey comments.

So, are you surprised by the results?

Does it confirm that the gear market and guitarists in general have strayed from the path of tonal nirvana and earnest sweat and toil or that most of us are hopelessly stuck in the past?

Should the gear industry take note and make product development decisions on what appears to be a majority view that, on average, their products just aren’t as good as they once were or should they forge ahead taking as much advantage of technological development as possible?

Email me at Don@MackAmps.com with your thoughts and if I get enough feedback I’ll discuss the deeper issues related to this topic in next month’s article.

Don Mackrill
www.MackAmps.com
Don@MackAmps.com

Eastwood Airline Electric Mandola (Seafoam Green)

Following on the success of their top selling Mandocaster, Eastwood introduces the Airline Mandola. It features a solid Seafoam green alder body in a USA map shape with an 18” scale maple neck and rosewood fingerboard. A single Humbucker pickup with volume and tone controls delivers a deep, dark, mysterious tone that is completely unique sounding – like a baritone mandolin. The Mandola is tuned in fifths (C-G-D-A low-to-high) and a fifth lower than a mandolin. Historically, the larger Mandola is the actually ancestor of the Mandolin, the name of which means simply “little Mandola”.

“As with all our Eastwood and Airline models we are striving to offer something a little different for today’s modern players,” said Mike Robinson, President and founder of Eastwood Guitars, “Last year we introduced a Lap Steel and a very successful electric Mandocaster. The Mandola fits perfectly into this new family of instruments along with the Folkstar, Ukulele and Tenor. All of these models will continue to help our customers expand their sound.”

Airline Electric Mandola

Only $299

FREE SHIPPING* until July 31st (* North America only, $49 to Europe)

Throwback Suburbia have long been endorsees of Eastwood Guitars and now the two have joined forces for the band’s summer tour, hoping to reach fans of both classic melody and stylish guitars.

Throwback Suburbia will play a series of shows up and down the west coast, promoting their self-titled album and the guitars they faithfully depend on. Throwback Suburbia will share their tour experiences with fans by posting daily video entries with ultimate plans for releasing an extended documentary in the coming months.

Come out to one or more of the following shows and mention the catch phrase “I Get It,” to receive free Eastwood swag.

July 23
Old Ironsides – Sacramento, CA

July 24
The Joint – Los Angeles, CA
International Pop Overthrow Festival

July 25
Cat Club – Hollywood, CA

July 27
Zia Records – Las Vegas, NV

July 27
Beauty Bar – Las Vegas, NV

July 28
Beauty Bar – San Diego, CA

July 29
Alex’s Bar – Long Beach, CA

July 30
Thee Parkside – San Francisco, CA

August 5
Oregon Gardens w/ Pat Benetar – Silverton OR

Eric, Mike, Jimi, Paul and Mark
Throwback Suburbia
Web: www.throwbacksuburbia.com
Email: info@throwbacksuburbia.com

Throwback Suburbia: Summer 2010 West Coast Tour