In 1967 Lipsky introduced a line proto-copies carrying the Domino brand name. Most were inspired by European models such as the EKO Violin guitar. Among the offerings were two models sporting a California cache, the #502 Californian, an asymmetrical copy of a Vox Phantom, and the #CE82 Californian Rebel (wouldn’t California Rebel have made more sense?) shown here.
My solution was an easy to build, self-made amp stand. It’s made out of 3 wooden boards and 4 movable angles. Since I use this construction, I always can hear myself properly, which makes playing much easier of course. My engineer (on live gigs) does not have troubles anymore with the sometimes extreme highs, because the speakers look upwards now. And, most important, I can use any of the three amps I own, without changing the look or diminish the worth of my amps by drilling holes.
As a guitarist who has always played with my fingers, as opposed to picks, I have always been very interested in bass notes. My right-hand thumb is always free to go looking for bottom end notes, and I’d like to pass on some of what I know.
Now, these are known as Shaggs models because they’re what the Shaggs played, not because of some big corporate endorsement deal! No one knows who sold the Avalon brand. Mailorder? An area music store? An auto supply store? All possible. Nor who made them. Nothing like them shows up in the reference books. I’m not even sure when they were made, but 1967 or ’68 is a good guess. Japanese guitarmakers were competing with the Europeans early on in the 1960s and some of the earliest ‘copying’ was of European models.
Fellow Torontonians Metric are on the move this month. The tour kicked off with back to back SOLD OUT shows in Toronto this past week. It was a treat to see Jimmy and Josh ripping up the stage with their new Eastwood AIRLINE guitars. Tour Dates: 09/28/05 Toronto ON The Phoenix Concert Theatre (all ages […]
I have hated the idea of scales all my playing life. I never use them (consciously), and never think them. I think melody. I don’t know, or care to know, the names of the various scales and modes. I know the major scale and see all others as being distortions of it. I am also aware that there is the chromatic scale (all twelve notes) to use at all times. You can link any interval with semitones if you so choose, any scale note to any other scale note, from any scale you care to name. It becomes a question of timing, to get to the note you want in the time left to do so, if you follow. All twelve notes are there for the asking.
While Mac and Joe ogled the frankly boring mid-’70s LP, I was ogling one of the most gorgeous guitars I’d ever seen. Later I found out it was a 1983 Electra Endorser X934CS. A set-in neck with no heel. Mahogany with a carved maple cap that had flame so deep you got high staring at it. Finished in cherry sunburst, my favorite.
George Harrison was my hero! OK, so he’s everybody’s hero, but you’ve got to understand, I’m a sitar player. The sitar is the love of my life – I love it more than my computer, more than my ’62 Telecaster, maybe even more than my orange tomcat who brings dead things into the house all the time.
SOLD OUT! We’ve had such great success with the Airline series that we are now producing new Eastwood Custom Shop models. Custom colors, custom pickups, knobs, pickguards… Different every time, less than 10 of each will be made. Includes hardshell case. Priced from $499-$999.
One of the most difficult aspects of playing an instrument, but the most rewarding when you’ve figured out how, is the art of playing solos. The ability to manipulate four octaves or so of notes into a coherent melody, on the fly, following (sometimes bending) the musical rules and pulling it off, is one of the best feelings going.
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