The Diablo was completely revised and now presents itself as Diablo II, with a carved top like the Idolmaker.
Markneukirchen, Germany (January 21, 2019) -- From 24 to 27 January, the NAMM Show 2019 opens its doors in Anaheim, California for music enthusiasts from all over the world. You will find Framus – as in previous years – together with Warwick, RockBoard and RockGear at booth 4636 in hall D. There you will find interesting Masterbuilt (Custom Shop Markneukirchen) and Teambuilt (Pro Series, Made in Germany) novelties.
This year’s Framus novelties are dominated by three-dimensional tops and strikingly curved contours, which are already familiar from the Framus Idolmaker and which make the Diablo II and Panthera II models unmistakable and extremely aesthetic. The Stormbender Devin Townsend model will also be available as a 7-string Masterbuilt from 2019.
The Framus model Diablo was completely revised and now presents itself as Diablo II, with carved top like the Idolmaker.
All instruments of the Masterbuilt and Teambuilt model series feature Plek Fretwork with IFT – Invisible Fretwork Technology. The fret edges of all Masterbuilts are rounded in addition.
1. New Framus 2019 – Masterbuilt Custom Shop
Panthera II Studio Supreme Masterbuilt
The Panthera II Studio Supreme features a mahogany body with matching wooden electronic compartment cover, carved AAAA flamed maple top, flamed maple neck with tigerstripe ebony fingerboard with 22 Jumbo frets and fluorescent side dots, Graph Tech Ratio locking tuners with wooden knobs, Graph Tech Black Tusq Low Friction nut, Seymour Duncan pickups: APH-1N Alnico II Pro (neck), APS-1 RW/RP Alnico Pro II staggered single coil (middle), SH-5 Custom (bridge), volume and tone controls (push/pull for humbucker splitting, 5-way pickup switch, 2-way “lead free” switch, TonePros Tune-o-Matic bridge, stop tailpiece and Warwick security locks.
Diablo II Supreme Masterbuilt
The Framus Diablo II Supreme is equipped with carved AAAA flamed maple top with mahogany back and matching electronic compartment cover made of wood, set-in mahogany neck with tigerstripe ebony fingerboard with 22 Jumbo frets and fluorescent side dots, Graph Tech Ratio Locking tuners with wooden knobs, Graph Tech Black Tusq Low Friction nut, Seymour Duncan pickups: Sentient (neck) / Nazgûl (bridge), volume and tone controls, Framus 5-way switch, TonePros Tune-o-Matic Bridge, string through body and Warwick security locks.
Diablo II Supreme X Masterbuilt
The Framus Diablo II Supreme X is equipped with US swamp ash body with matching wooden electronic compartment cover, carved AAAA flamed maple top, bolt-in flamed maple neck with rosewood fingerboard with 22 medium standard frets and fluorescent side dots, Graph Tech Ratio Locking tuners with wooden knobs, Graph Tech Black Tusq Low Friction nut, Seymour Duncan pickups: SCR-1N Cool Rail (neck), SSL-1 RW/RP (middle), TB-4 JB Trembucker (bridge), volume and tone controls (push/pull for humbucker split), Framus 5-way switch, Wilkinson by Framus vibrato system and Warwick Security Locks.
Diablo II Progressive X Masterbuilt
The Framus Diablo II Progressive X features a mahogany body with matching wooden electronic compartment cover, a carved AAAA flamed maple top, a bolt-in flamed maple neck with tigerstripe fingerboard with 22 jumbo frets and fluorescent side dots, a Graph Tech Ratio locking tuners with wooden knobs, a locking nut, Seymour Duncan pickups: SH-2N (neck), TB-4 JB Trembucker (bridge), volume and tone controls, a Framus 5-way switch, an original Floyd Rose vibrato system and Warwick Security Locks.
Stormbender Devin Townsend Signature 7-String Masterbuilt
The Framus Stormbender 7-String is equipped with carbon fiber center, maple top with mahogany back with matching wooden electronic compartment cover, flamed maple neck with tigerstripe ebony fingerboard with 22 Jumbo frets and fluorescent side dots, Graph Tech Ratio locking mechanics with wooden knobs, Graph Tech Black Tusq Low Friction saddle, active Fluence humbuckers, controls for volume and tone (push/pull for voice selection), toggle switch for pickup selection, Evertune Bridge system and Warwick Security Locks.
2. News Framus 2019 – Teambuilt Pro Series
Panthera II Studio Supreme Teambuilt
The Panthera II Studio Supreme features a mahogany Body with carved AAA flamed maple top, maple neck with tigerstripe ebony fingerboard with 22 jumbo frets and fluorescent side dots, Graph Tech Ratio Locking Machines, Graph Tech Black Tusq Low Friction nut, Seymour Duncan pickups: APH-1N Alnico II Pro (neck), APS-1 RW/RP Alnico Pro II staggered Single Coil (middle), SH-5 Custom (bridge), volume and tone Controls (push/pull for humbucker splitting, 5-way pickup switch, 2-way “lead free” switch, TonePros Tune-o-Matic bridge, stop tailpiece and Warwick Security Locks.
Diablo II Pro Teambuilt
The Framus Diablo II Pro is equipped with carved US swamp ash body, bolt-in maple neck with rosewood fingerboard with 22 medium standard frets, Graph Tech Ratio Locking machines, Graph Tech Black Tusq Low Friction nut, Seymour Duncan pickups: SCR-1N Cool Rail (neck), SSL-1 RW/RP (middle), TB-4 JB Trembucker (bridge), volume and tone controls (push/pull for humbucker splitting, Framus 5-way switch, Wilkinson by Framus vibrato system and Warwick Security Locks.
Diablo II Supreme Teambuilt
The Framus Diablo II Supreme is equipped with carved AAA flamed maple top with mahogany back, mahogany neck with tigerstripe ebony fingerboard with 22 jumbo frets and fluorescent side dots, Graph Tech Ratio Locking machines, Graph Tech Black Tusq Low Friction nut, Seymour Duncan pickups: Sentient (neck) / Nazgûl (bridge), volume and tone controls, Framus 5-way switch, TonePros Tune-o-Matic Bridge, string through body and Warwick Security Locks.
Diablo II Progressive X Teambuilt
Among the features of the Framus Diablo II Progressive X are mahogany body, carved AAA flamed maple top, bolt-in maple neck with tigerstripe ebony fingerboard with 22 jumbo Frets, Graph Tech Ratio Locking Machines, locking nut, Seymour Duncan pickups: SH-2N (neck), TB-4 JB Trembucker (bridge), volume and tone controls, Framus 5-way switch, original Floyd Rose vibrato system and Warwick Security Locks.
Upgrades for all Teambuilt instruments from 2019
All Framus Teambuilt guitars will be delivered with certificate of authenticity and original photo from 2019.
For more information:
Warwick
When Building Guitars—or Pursuing Anything—Go Down All the Rabbit Holes
Paul Reed Smith says being a guitar builder requires code-cracking, historical perspective, and an eclectic knowledge base. Mostly, it asks that we remain perpetual students and remain willing to become teachers.
I love to learn, and I don’t enjoy history kicking my ass. In other words, if my instrument-making predecessors—Ted McCarty, Leo Fender, Christian Martin, John Heiss, Antonio de Torres, G.B. Guadagnini, and Antonio Stradivari, to name a few—made an instrument that took my breath away when I played it, and it sounded better than what I had made, I wanted to know not just what they had done, but what they understood that I didn’t understand yet. And because it was clear to me that these masters understood some things that I didn’t, I would go down rabbit holes.
I am not a violin maker, but I’ve had my hands on some of Guadagnini’s and Stradivari’s instruments. While these instruments sounded wildly different, they had an unusual quality: the harder you plucked them the louder they got. That was enough to push me further down the rabbit hole of physics in instrument making. What made them special is a combination of deep understanding and an ability to tune the instrument and its vibrating surfaces so that it produced an extraordinary sound, full of harmonics and very little compression. It was the beginning of a document we live by at PRS Guitars called The Rules of Tone.
My art is electric and acoustic guitars, amplifiers, and speaker cabinets. So, I study bridge materials and designs, wood species and drying, tuning pegs, truss rods, pickups, finishes, neck shapes, inlays, electronics, Fender/Marshall/Dumble amp theories, schematics, parts, and overall aesthetics. I can’t tell you how much better I feel when I come to an understanding about what these masters knew, in combination with what we can manufacture in our facilities today.
One of my favorite popular beliefs is, “The reason Stradivari violins sound good is because of the sheep’s uric acid they soaked the wood in.” (I, too, have believed that to be true.) The truth is, it’s never just one thing: it’s a combination of complicated things. The problem I have is that I never hear anyone say the reason Stradivari violins sound good is because he really knew what he was doing. You don’t become a master of your craft by happenstance; you stay deeply curious and have an insatiable will to learn, apply what you learn, and progress.
“Acoustic and electric guitars, violins, drums, amplifiers, speaker cabinets–they will all talk to you if you listen.”
What’s interesting to me is, if a master passes away, everything they believed on the day they finished an instrument is still in that instrument. These acoustic and electric guitars, violins, drums, amplifiers, speaker cabinets—they will all talk to you if you listen. They will tell you what their maker believed the day they were made. In my world, you have to be a detective. I love that process.
I’ve had a chance to speak to the master himself. Leo Fender, who was not a direct teacher of mine but did teach me through his instruments, used to come by our booth at NAMM to pay his respects to the “new guitar maker.” I thought that was beautiful. I also got a chance to talk to Forrest White, who was Leo’s production manager, right before he passed away. What he wanted to know was, “How’d I do?” I said, “Forrest, you did great.” They wanted to know their careers and contributions were appreciated and would continue.
In my experience, great teachers throw a piece of meat over the fence to see if the dog will bite it. They don’t want to teach someone who doesn’t really want to learn and won’t continue their legacy and/or the art they were involved in. While I have learned so much from the masters who were gone before my time, I have also found that the best teaching is done one-on-one. Along my journey from high school bedroom to the world’s stages, I enrolled scores of teachers to help me. I didn’t justenroll them. I tackled them. I went after their knowledge and experience, which I needed for my own knowledge base to do this jack-of-all-trades job called guitar making and to lead a company without going out of business.
I’ve spent most of my career going down rabbit holes. Whether it’s wood, pickups, designs, metals, finishes, etc., I pay attention to all of it. Mostly, I’m looking backward to see how to go forward. Recently, we’ve been going more and more forward, and I can’t tell you how good that feels. For me, being a detective and learning is lifesaving for the company’s products and my own well-being.
Sometimes it takes a few days to come to what I believe. The majority of the time it’s 12 months. Occasionally, I’ll study something for a decade before I make up my mind in a strong way, and someone will then challenge that with another point of view. I’ll change my mind again, but mostly the decade decisions stick. I believe the lesson I’m hitting is “be very curious!” Find teachers. Stay a student. Become a teacher. Go down all the rabbit holes.
Featuring vintage tremolos, modern slicer effects, and stereo auto-panners, the update includes clever Rate and Tempo controls for seamless syncing and morphing.
Today Kemper announces the immediate availability PROFILER OS 12.0 including the highly anticipated collection of advanced Tremolo and Slicer FX for the entire range of KEMPER PROFILER guitar amps.
The Collection features three vintage tremolos, two modern slicer effects, and two stereo auto-panners, that have been derived from the slicer effects. They all feature a clever Rate and Tempo control system, that allows for syncing the tremolo to the song tempo, retriggering the timing by simply hitting the TAP switch, and changing or morphing the tremolo rate to different note values,
The new Advanced Tremolo Modules in Detail
- The Tube Bias Tremolo is the familiar Tremolo in the Kemper Profilers. Formally named "Tremolo“ and available in the PROFILERs since day one, it is a reproduction of the famous Fender Amp tremolos from the 50‘s. Placed in front of the amp it beautifully interacts with the amp distortion.
- The Photocell Tremolo dates back to the 60‘s and features a steeper pulse slope, and its width varies with the intensity.
- The Harmonic Tremolo also dates back to the 60‘s and was introduced by Fender. The low and high frequencies alternate with the tremolo rate.
- The Pulse Slicer is a modern slizer or stutter effect that will continuously transition from the smoothest sine wave to the sharpest square wave, using the "Edge“ parameter. The "Skew“ parameter changes the timing of the high level versus the low level, sometimes also called pulse width or duty cycle.
- The Saw Slicer creates a ramp like a saw wave. The saw wave has a falling ramp when "Edge“ is at full position, and a rising edge at zero position. Towards the middle position a rising and falling ramp are forming a triangle wave. The „Skew“ parameter changes the slope of the rising and falling ramp from a linear trajectory to a more convex or concave shape.
- The Pulse Autopanner and the Saw Autopanner are derivates from their respective Slicers, they spread their signals in the stereo panorama. The "Stereo“-control parameter is included in many effects of the PROFILER. Here, it introduces a novel "super-stereo" effect that lets the Autopanner send the signal well outside the regular stereo image. This effect works best if you are well positioned in the correct stereo triangle of your speakers. When you move the “Stereo” soft knob beyond the +/-100% setting, the super-stereo effect comes into place, reaching its maximum impact at +/-200%.
- A single press on the TAP button at the beginning of the bar will bring the rhythmic modulation effects, such as Tremolo or Slicer, back into sync with the music without changing the tempo. The sync will happen smoothly and almost unnoticeable, which is a unique feature. Of course, tapping the tempo is possible as well.
- Modulation Rate - The “Rate” control available in many modulation effects is based on a special philosophy that allows continuous control over the speed of the modulation and continuous Morphing, even when linked to the current tempo via the To Tempo option. The fine Rate resolution shines when seamlessly morphing from, e.g., 1/8 notes to 1/16 notes or triplets without a glitch and without losing the timing of the music.
PG's demo master quickly (and easily) drops in an H-S-S setup into his 1994 40th Anniversary Stratocaster that needed help. Find out what happens when gets his first taste of active pickups.
EMG SL20 Steve Lukather Signature Pre-wired Pickguard with 3 Pickups - Black Pearl
SL20 Steve Lukather Pre-wired PG - Blk PearlHow you want to sound and what makes you happy are both highly subjective. When it comes to packing and playing gear for shows, let those considerations be your guide.
I was recently corresponding with Barry Little, aPG reader from Indiana, Pennsylvania, about “the One”—that special guitar that lets us play, and even feel, better when it’s in our hands. We got talking about the gear we bring to gigs, and Barry sent me the photo that appears with this column.
“I’m mostly old school and take quite the amp rig, and usually two or three Strats or ‘super strats,’ plus some Teles,” he wrote. “Some are in different tunings.” Barry also has a rack, built with famed guitar-rig designer Bob Bradshaw’s help, that he says holds a Bad Cat preamp bearing serial number one. For his ’70s/’80s rock outfit and his country band, this covers the waterfront.
I love Barry’s rig; it looks awesome! So … why do I feel guilty about the substantial amount of gear I take to gigs where my five-piece band will be playing a concert-length set? Onstage, my setup looks fantastic—at least to me. It’s the gear I’ve always wanted. But packed inside cases and ready to load into the Honda Odyssey with a rooftop carrier that all five of us and our instruments travel in for away dates … it seems excessive. Currently, I take three guitars: my customized reissue Fender Esquire “Dollycaster,” my Zuzu one-off Green Monster, and a Supro Conquistador, plus a 1-string electric diddley bow made from a crawfish-boiling pot. They start every show in open G octave (D–G–D–G–D–G), open D, standard tuning, and A, respectively. There’s also a Sony GLXD6+ wireless, and a pedalboard with 13 effects stomps, a tuner, and two power boxes, along with a Brown Box. That board is the launchpad for the stereo signal that runs into two Carr 1x12 combos: a Vincent and a Telstar. In addition, there’s a big black bag with spare cables, fuses, capos, strings, extension cords, microphones, straps, duct tape, and just about anything else you might need. After all that, miraculously, there is also room for my bandmates–another guitarist, bass, drums, and theremin—and their gear, plus light luggage.
I admit that’s a lot, but it used to be more—at least by the pound. In the late ’90s and early 2000s, I often played through two Marshall 4x12s with a Mesa/Boogie Duel Rectifier Trem-O-Verb on one and a ’72 Marshall Super Lead atop the other. And before that, it was the Marshall with a 4x12 plus a ’66 Fender Twin Reverb. I kept a waist back-support belt in the van, but spent a decent chunk of that era living with regular back pain.
“I admit that’s a lot, but it used to be more—at least by the pound.”
Where am I going with this? Besides a desire for you to absolve me of my guilt, I feel like all of this gear is … um … necessary? It’s the recipe for the sound I want to hear, for the versatility of the material, and for me to play from my happiest place—onstage in the middle of a glorious stereo field of my own making. It’s not really about gear and it’s not about somebody else’s definition of practicality. It’s about joy. Ideally, you should be able to bring whatever gives you joy to a gig. Period.
Sure, naysayers will yap that after a guitar, a cable, and an amp, nothing else is necessary. And on a certain misguided, intolerant level, they are right. We can all play a show with just the basics, but I, for one, don’t want to—unless maybe it’s a solo gig. Neither did Jimi Hendrix. There is a universe of tones out there waiting to be discovered and explored. There are improvisational paths that only a pedalboard can suggest. (Of course, if you’re playing a small stage, traveling in too tight quarters, or claiming turf that impinges on bandmates, those considerations apply. “Be kind” is a good rule of thumb for life, including band life.)
Remember, the naysayers are not in your bones, and onlyyour bones know what you need and want. Don’t let the voices—even in your own head—nag you. (I, too, must take this advice to heart.) Bring whatever you want to bring to gigs, as long as you can get it there. Do it guiltlessly. Have fun. And listen to your bones.