The company's first acoustics will consist of eight models.
New York, NY (January 20, 20115) -- D’Angelico Guitars, New York City’s most iconic guitar brand, announced today plans to introduce the company’s first-ever acoustic line at the 2015 NAMM Show in Anaheim.
D’Angelico’s acoustic line will consist of the following eight models: EX-63, Gramercy Grand Auditorium, Mercer Grand Auditorium, Lexington, Madison Jumbo, Brooklyn, Bowery, and Mott Bass. Most of the D’Angelico acoustic models will feature gold Grover Imperial Tune-o-Matic tuners and the Fishman INK-4 onboard preamp and pickup system, complete with a built-in LED tuner. To guarantee exceptional sound, the acoustic models also feature FU-Tone brass bridge pins and D’Addario EXP-16 strings, giving the guitars a brilliant “glow” right out of the case. Most of D’Angelico’s acoustic models will be available in Natural, Vintage Sunburst, Cherry Sunburst, Black, and Grey Black finishes.
“The D’Angelico family continues to grow in 2015 with the introduction of our brand new acoustic line, and we are proud of the acoustic instruments we have created,” said Brenden Cohen, CEO of D’Angelico Guitars. “These guitars cover a wide range of shapes and sizes, including mini, grand auditorium, dreadnought, jumbo, and even an acoustic bass. Using only premium tonewoods, each expertly-crafted model offers a unique voice, catering to a wide variety of players.”
The D’Angelico acoustic line will be released in early 2015 and will be showcased at the 2015 NAMM Show in Anaheim, CA January 22 – 25, 2015. Please be sure to visit D’Angelico Guitars in Room 210 C. More information on each acoustic model can be found below.
D’Angelico EX-63
D’Angelico is proud to introduce the EX-63, a non-cutaway archtop that boasts remarkable playability and comfort. Equipped with an internal mahogany block for resonance, the EX-63 is impressively loud and snarls when attacked aggressively. Elegance and function come together in a floating ebony bridge leading to D’Angelico’s signature stairstep tailpiece. Like each of D’Angelico’s new acoustic models, the EX-63 features a Piezo pickup system.
Gramercy Grand Auditorium (SG-200)
D’Angelico is proud to introduce the Gramercy Grand Auditorium (SG-200). With a spruce top and rosewood back and sides, the Gramercy offers vivid depth. Finger-picking produces soft warmth, while hard strumming busts the sound open without sacrificing clarity. The Gramercy Grand Auditorium’s slim, C-shape neck brings comfort and balance. A truly dynamic instrument in its playability, the Gramercy can serve the mellow finger-style player, the frenetic rocker, and any player in between.
Mercer Grand Auditorium (SG-100)
D’Angelico is proud to introduce the Mercer Grand Auditorium (SG-100), which boasts the duo of a slim, mahogany neck and a rosewood fingerboard with block mother-of-pearl inlays, creating subtle elegance and supreme playability. The sapele back and sides work in tandem with the solid Sitka spruce top to give the Mercer its bright clarity. Prepared to project, the Mercer comes with FU-Tone brass bridge pins, pickup system and built-in tuner.
Lexington (SD-300)
D’Angelico is proud to introduce the Lexington (SD-300), a booming single-cutaway dreadnought that offers a powerful low-end so resonant that playing lush, full chords may very well become addictive. A solid Sitka spruce top meets a sapele back and sides to create the Lexington’s subtle elegance, complemented by a tortoise pickguard. The Lexington’s slim, mahogany neck makes for wonderful playability. Though capable of great projection, the Lexington’s high-end is uncompromised by its rich low-end, producing a consistently balanced sound and making it an excellent choice for a great variety of players.
Madison Jumbo (SJ-600)
D’Angelico is proud to introduce the Madison Jumbo (SJ-600). Don’t let its size fool you into thinking it’s one dimensional: the Madison can play a quiet corner with hushed plucks or fill a hall with giant jangling. A flame maple back and sides meet a maple neck and Sitka spruce top to give the Madison its unique warmth. Like the rest of the D’Angelico acoustic family, the Madison features gold Grover Super Rotomatic tuners and the Fishman INK-4 onboard preamp, pick-up system, FU-Tone brass bridge pins, and built-in tuner.
Brooklyn (AS D-400)
D’Angelico is proud to introduce the Brooklyn (AS D-400). The guitar’s rich, dreadnought shout is propelled by a sapele back, sides, and a solid Sitka spruce top. The Brooklyn’s mahogany neck is capped with a rosewood fingerboard where block mother-of-pearl inlays add the class of a fresh pair of wingtips. A Fishman INK-4 onboard preamp and brass bridge pins help the Brooklyn sing, providing maximum resonance.
Bowery (AS D-500)
D’Angelico is proud to introduce their flagship acoustic model, the Bowery (AS D-500). The Bowery features a single-cutaway dreadnought with a solid Sitka spruce top, and the guitar’s rosewood back and sides project the Bowery’s massive roar. But have no fear: a slim, C-shaped neck and rosewood fingerboard provide great comfort for the player. With the sleek additions of FU-Tone brass bridge pins, Fishman INK-4 onboard preamp, a tortoise pickguard and block mother-of-pearl inlays, the Bowery emerges as a true classic and the premier instrument in D’Angelico’s new acoustic series.
Mott Bass (SBG-700)
D’Angelico is proud to introduce the Mott Bass (SBG-700), as no family is complete without a bassman. The Mott Bass is where style, tradition and innovation meet. Robust in sound and stature, the bass features a solid Sitka spruce top with a flame maple back and sides. Never cumbersome, a rosewood fingerboard and slim, maple neck come together to create maximum comfort. Though able to stand its ground when kept acoustic, the Mott shines when amplified. As with its D’Angelico acoustic siblings, the Mott comes equipped with the Fishman INK-4 onboard preamp, pickup system, FU-Tone brass bridge pins, and built-in tuner, dead accurate even for the lowest lows.
For more information:
D'Angelico
Day 4 of Stompboxtober brings a chance to win a pedal from TWA: The Chemical-Z! Don’t miss out—enter now and return tomorrow for more!
TWA CHEMICAL-Z
Roy Z signature overdrive pedal designed by TubeScreamer creator Susumu Tamura. Inspired by Maxon OD808, OD808X, and APEX808 circuits, Chemical-Z features the "Magic" IC used in APEX808 for less compression & more even frequency response than a standard 808. Increased output level. Two footswitch-selectable clipping modes - normal & hot.
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. Here’s how you can brush up on your bass chops.
Was bass your first instrument, or did you start out on guitar? Some of the world’s best bass players started off as guitar players, sometimes by chance. When Stuart Sutcliffe—originally a guitarist himself—left the Beatles in 1961, bass duties fell to rhythm guitarist Paul McCartney, who fully adopted the role and soon became one of the undeniable bass greats.
Since there are so many more guitarists than bassists—think of it as a supply and demand issue—odds are that if you’re a guitarist, you’ve at least dabbled in bass or have picked up the instrument to fill in or facilitate a home recording.
But there’s a difference between a guitarist who plays bass and one who becomes a bass player. Part of what’s different is how you approach the music, but part of it is attitude.
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. They simply play differently than someone who spends most of their musical time embodying the low end. But if you’re really trying to put down some bass, you don’t want to sound like a bass tourist. Real bassists think differently about the rhythm, the groove, and the harmony happening in each moment.
And who knows … if you, as a guitarist, thoroughly adopt the bassist mindset, you might just find your true calling on the mightiest of instruments. Now, I’m not exactly recruiting, but if you have the interest, the aptitude, and—perhaps most of all—the necessity, here are some ways you can be less like a guitarist who plays bass, and more like a bona fide bass player.
Start by playing fewer notes. Yes, everybody can see that you’ve practiced your scales. But at least until you get locked in rhythmically, use your ears more than your fingers and get a sense of how your bass parts mesh with the other musical elements. You are the glue that holds everything together. Recognize that you’re at the intersection of rhythm and harmony, and you’ll realize foundation beats flash every time.“If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s ‘Everyday People,’ then you too can deliver a repetitive figure when it’s called for.”
Focus on that kick drum. Make sure you’re locked in with the drummer. That doesn’t mean you have to play a note with every kick, but there should be some synchronicity. You and the drummer should be working together to create the rhythmic drive. Laying down a solid bass line is no time for expressive rubato phrasing. Lock it up—and have fun with it.
Don’t sleep on the snare. What does it feel like to leave a perfect hole for the snare drum’s hits on two and four? What if you just leave space for half of them? Try locking the ends of your notes to the snare’s backbeat. This is just one of the ways to create a rhythmic feel together with the drummer, so you produce a pocket that everyone else can groove to.
Relish your newfound harmonic power. Move that major chord root down a third, and now you have a minor 7 chord. Play the fifth under a IV chord and you have a IV/V (“four over five,” which fancy folks sometimes call an 11 chord). The point is to realize that the bottom note defines the harmony. Sting put it like this: “It’s not a C chord until I play a C. You can change harmony very subtly but very effectively as a bass player. That’s one of the great privileges of our role and why I love playing bass. I enjoy the sound of it, I enjoy its harmonic power, and it’s a sort of subtle heroism.”
Embrace the ostinato. If the song calls for playing the same motif over and over, don’t think of it as boring. Think of it as hypnotic, tension-building, relentless, and an exercise in restraint. Countless James Brown songs bear this out, but my current favorite example is the bass line on the Pointer Sisters’ swampy cover of Allen Toussaint “Yes We Can Can,” which was played by Richard Greene of the Hoodoo Rhythm Devils, aka Dexter C. Plates. Think about it: If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s “Everyday People,” then you too can deliver a repetitive figure when it’s called for.
Be supportive. Though you may stretch out from time to time, your main job is to support the song and your fellow musicians. Consider how you can make your bandmates sound better using your phrasing, your dynamics, and note choices. For example, you could gradually raise the energy during guitar solos. Keep that supportive mindset when you’re offstage, too. Some guitarists have an attitude of competitiveness and even scrutiny when checking out other players, but bassists tend to offer mutual support and encouragement. Share those good vibes with enthusiasm.
And finally, give and take criticism with ease. This one’s for all musicians: Humility and a sense of helpfulness can go a long way. Ideally, everyone should be working toward the common goal of what’s good for the song. As the bass player, you might find yourself leading the way.Fuchs Audio introduces the ODH Hybrid amp, featuring a True High Voltage all-tube preamp and Ice Power module for high-powered tones in a compact size. With D-Style overdrive, Spin reverb, and versatile controls, the ODH offers exceptional tone shaping and flexibility at an affordable price point.
Fuchs Audio has introduced their latest amp the ODH © Hybrid. Assembled in USA.
Featuring an ODS-style all-tube preamp, operating at True High Voltage into a fan-cooled Ice power module, the ODH brings high-powered clean and overdrive tones to an extremely compact size and a truly affordable price point.
Like the Fuchs ODS amps, the ODH clean preamp features 3-position brite switch, amid-boost switch, an EQ switch, high, mid and low controls. The clean preamp drives theoverdrive section in D-Style fashion. The OD channel has an input gain and outputmaster with an overdrive tone control. This ensures perfect tuning of both the clean andoverdrive channels. A unique tube limiter circuit controls the Ice Power module input.Any signal clipping is (intentionally) non-linear so it responds just like a real tube amp.
The ODH includes a two-way footswitch for channels and gain boost. A 30-second mute timer ensures the tubes are warmed up before the power amp goes live. The ODH features our lush and warm Spin reverb. A subsonic filter eliminates out-of-band low frequencies which would normally waste amplifier power, which assures tons of clean headroom. The amp also features Accent and Depth controls, allowing contouring of the high and low response of the power amp section, to match speakers, cabinets andenvironments. The ODH features a front panel fully buffered series effects loop and aline out jack, allowing for home recording or feeding a slave amp. A three-position muteswitch mutes the amp, the line out or mute neither.
Built on the same solid steel chassis platform as the Fuchs FB series bass amps, the amps feature a steel chassis and aluminum front and rear panels, Alpha potentiometers, ceramic tube sockets, high-grade circuit boards and Neutrik jacks. The ICE power amp is 150 watts into 8 ohms and 300 watts into 4 ohms, and nearly 500 watts into 2.65 ohms (4 and8 ohms in parallel) and operates on universal AC voltage, so it’s fully globallycompatible. The chassis is fan-cooled to ensure hours of cool operation under any circumstances. The all-tube preamp uses dual-selected 12AX7 tubes and a 6AL5 limiter tube.
MAP: $ 1,299
For more information, please visit fuchsaudiotechnology.com.
Jackson Guitars announces its first female signature artist model, the Pro Series Signature Diamond Rowe guitar.
“I‘m so excited about this new venture with the Jackson family. This is a historic collaboration - as I am the first female in the history of Jackson with a signature guitar and the first female African American signature Jackson artist. I feel so honored to have now joined such an elite group of players that are a part of this club. Many who have inspired me along this journey to get here. It’s truly humbling.” says Diamond.
Diamond Rowe is the co-founder and lead guitarist for the metal/hard rock band Tetrarch. Since co-founding the band in high school, Tetrarch has become one of the most talked about up-and-coming bands in the world - with several press outlets such as Metal Hammer, Kerrang, Revolver, Guitar World and many others boldly naming Diamond Rowe the world’s next guitar hero. Tetrarch has connected with many fans while performing on some of the world's biggest stages garnering spots alongside several of the heavy music world’s biggest names such as Guns N’ Roses, Slipknot, Lamb of God, Disturbed, Avenged Sevenfold, Sevendust, Rob Zombie, Trivium, and many many others. The Jackson Pro Series Signature Diamond Rowe DR12MG EVTN6 is based on Jackson’s single-cut Monarkh platform and is a premium guitar designed for progressive metal players seeking precision and accuracy.
Crafted in partnership with Diamond, this model boasts a 25.5 “ scale, Monarkh-styled nyatoh body draped with a gorgeous poplar burl top, three-piece nyatoh set-neck with graphite reinforcement, and 12˝ radius bound ebony fingerboard with 24 jumbo frets. The black chrome-covered active EMG® 81/85 humbucking bridge and neck pickups, three-way toggle switch, single volume control, and tone control provide a range of tonal options. The Evertune® bridge ensures excellent tuning stability, while the Dark Rose finish with a new custom 3+3 color-matched Jackson headstock and black hardware looks simply stunning.
To showcase the Pro Plus Signature Diamond Rowe DR12MG EVTN6, Diamond shares her journey as a guitarist, delving into the inspiration behind her unique design specifications and the influential artists who shaped her sound within a captivating demo video. This video prominently features powerful performances of Tetrarch’s latest release, “Live Not Fantasize,” and “I’m Not Right” showcasing the DR12MG EVTN6’s unparalleled tonal versatility and performance capabilities.
MSRP $1699.99
For more information, please visit jacksonguitars.com.