Belltone Guitars B1 Classic Demo - Summer Gear Slam 2020

The Miami-based company offers a brand-new model that is customizable with a handful of one-off pickups from TV Jones, Rio Grande, and more.



The new Belltone® Electric Guitar Models 'B-Classic One' and 'B-Classic Two' represent the new Custom-Select System™ customization build platform from Belltone®Guitars. These two models are actually the same model offered in two slightly different variations ... one with a flat top and top edge binding and the other with no binding and body/arm contours. The overall styling is a hybrid based on design inspiration from the early LP and T-Style guitars combined into one guitar. Along with the body shapes ... the neck profile, headstock, and hardware all reflect the Belltone® design perspective and aesthetic. The Custom-Select System™ affords the guitarist to choose from a carefully curated collection of elements such as body color, pickguard color/material, pickups, etc to put their own 'signature' on the look and sound of the guitar. They will be made to order only ... built here in the USA.

Be sure to check out more Summer Gear Slam coverage.

For at least a decade, the classic Ampeg SVT was the dominant bass amp for power and tone.

Photo courtesy of ampeg.com

From the giant, hefty beasts of yore to their modern, ultra-portable equivalents, bass amps have come a long way. So, what's next?

Bassists are often quite well-informed about the details of their instruments, down to the finest technical specs. Many of us have had our share of intense discussions about the most minute differences between one instrument and another. (And sometimes those are interrupted by someone saying, "It's all in the fingers.") But right behind our backs, at the end of our output cables, there is a world of tone-shaping that we either simply ignore or just don't want to dive into too deeply. Turning a gear discussion from bass to amp is a perfect way to bring it to an abrupt end.

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Intermediate

Beginner

  • Develop a better sense of subdivisions.
  • Understand how to play "over the bar line."
  • Learn to target chord tones in a 12-bar blues.
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Playing in the pocket is the most important thing in music. Just think about how we talk about great music: It's "grooving" or "swinging" or "rocking." Nobody ever says, "I really enjoyed their use of inverted suspended triads," or "their application of large-interval pentatonic sequences was fascinating." So, whether you're playing live or recording, time is everyone's responsibility, and you must develop your ability to play in the pocket.

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