The new 24 3/4"-scale Hollywood DC is based on the original Hollywood 5/131—a model that originated as Framus’ late-’50s bid to meet the demand for rock-oriented guitars.
As the big American guitar manufacturers were swelling in size and success during the rock ’n’ roll explosion of the ’60s, European manufacturers were also evolving and enjoying a similar—though still unique—trajectory. By the mid ’60s, the largest among them was Germany’s Framus International, a brand with global recognition and a full line of instruments, from solidbody and hollowbody electrics to steel- and nylon-string acoustics, banjos, lap-steel guitars, and other stringed instruments. However, bankruptcy eventually forced Framus into almost 20 years of hibernation before it was revived by Warwick in 1995. It has since flourished and become a major player in Europe once again, thanks to its wide range of guitars and amplifiers. This year, the company stepped up its game in the US market by opening a flagship store in lower Manhattan and releasing an Earl Slick signature model that was co-designed with the New York-based former David Bowie sideman.
The new 24 3/4"-scale Hollywood DC is based on the original Hollywood 5/131—a model that originated as Framus’ late-’50s bid to meet the demand for rock-oriented guitars. Produced until 1966, it featured a set neck, semi-hollow construction with a laminate top and back, and a pair of single-coils. This accessibly priced, Korean-made reissue retains the features, pawnshop attitude, and playability of the original—all with style that stands apart from the pack.
Sweet Cream
While there’s no shortage of retro-styled guitars today, many of them lack the visual balance that made the vintage classics so beautiful. In this respect, the Hollywood DC is a welcome breath of fresh air. Its curves are modest rather than wonky, its body is compact and ultra light, and its controls and hardware are cool yet functional and discreet. The polished cream finish on our review model has a quality look and is a great match for the dark rosewood fretboard and black binding. The aged plastic parts, bone-colored Graph Tech nut, and brass truss-rod cover with traditional Framus emblem complement the vintage look. The rotary pickup selector and universal Bass/ Treble tone knobs remind you that you’ve picked up something a bit removed from American design convention. The tailpiece and bridge are surprisingly austere—height is the only adjustment you can make on this slotted, palm mute-friendly bridge—and they contribute to the Hollywood’s funky vibe. A true headstock inlay (rather than a painted-on motif) would have provided the finishing touch. Instead, the headstock graphics are the most significant deviation from the original design.
The first thing I noticed when I picked up the Hollywood was its light weight. The solid rim and plywood top and back make the mostly hollow body a little Danelectro-like in construction (though Danos use masonite tops and backs). The mahogany neck has a substantial heel, but upper-fret access is still quite easy. In many ways, the Hollywood felt something like a Les Paul Jr./Danelectro hybrid—comfortable and impressively balanced. The neck profile is somewhere between a medium-to-shallow C and, combined with the relatively flat 14” fretboard radius, is fast playing and bend friendly. The fretwork was especially impressive—the nickel-silver frets were excellently leveled and crowned. All these points combined with the aforementioned features to add up to a quality, fun experience with very few rough edges to distract from the music-making.
Sturm und drang
The Framus’s unplugged character is light and bright, with a lively acoustic quality that you can feel in the body. It’s energizing to get this kind of volume from an unplugged electric, and it compelled me to play loudly right away. The Hollywood has a playful aura, one that inspires enthusiasm in a simple open chord. Plugged into a Carr Sportsman set to a clean, blackface-style sound, the neck pickup rendered these same acoustic qualities quite convincingly. There was a springy definition from the wound strings and a sparkling response from the higher unwound strings, that and it added up to satisfying tonal complexity. On both the neck and bridge pickups, the low-end response was tight and crisp—perfect for jangly, early-’60s rock rhythms. The Hollywood’s bridge pickup was bright and vocal, with a fair mount of twang that could cover a lot of surf- or blues-rock territory. But, as I was to discover when using a little overdrive, the Hollywood’s real bread and butter is churning out vintage rock bark, textured punk thrash, and cutting alt-rock tones.
I cranked the Sportsman for natural distortion and put a VHT V-Drive in the signal path for a slight gain boost and a bit of high-end texture. With the bridge pickup selected, I got biting, Vox-like grit that brought to mind the punchy, syncopated riff in “Paperback Writer.” As I cut back on the reverb, turned up the gain, and dialed in some mids, I was in a scorching Jack White tone zone that got better with the gradual onset of feedback. Compared to most solidbodies, the Hollywood DC made it fairly easy to coax feedback, which is undoubtedly attributable in part to the hollow construction. But the feedback was easily reigned in, too, and that controllable liveliness is one of the real signatures and surprises of this guitar. This is an instrument that can be pushed to the edge, but remain balanced enough to stay within the player’s control.
Framus also did a great job with the overall voicing of the Hollywood—the bass never got muddy, and treble, though ample, never became unwontedly brittle or piercing. In fact, it retained clarity at every gain setting I used, and remained capable of cutting through the densest mixes.
The Verdict
Whether you want a fresh showpiece for the gig or an all-around rock performer with bite, the Hollywood DC is worth serious consideration. Although many players will likely wish the bridge were something like an intonatable Tune-o-matic, I found the guitar hugely addictive, and loved the fact that it nails almost all the features of its popular precursor while achieving professional- level build quality—all at around a grand. Exotic but timeless, it’s a gimmick-free German design with lightweight simplicity and a bright voice and that begs to be slung over the shoulder and played.
Buy if...
you need a versatile, cutting rock instrument with major head-turning capacity.
Skip if...
you need warmer jazz sounds or can’t get down with the European styling.
Rating...
Street $999 - Framus International - framus.de |
We’re not slowing down! Enter Stompboxtober Day 15 for your chance to win today’s featured pedal from Solo Dallas!
Orbiter Fuzz Pedal
Discover the SoloDallas Orbiter Fuzz, a meticulously crafted effects pedal designed to combine genuine vintage tones with user-friendly versatility. Building upon the legacy of the 1966 Arbiter Fuzz, the Orbiter Fuzz adds fine-tuning circuitry to this already amazing vintage circuit.
Mastodon's lead guitarist teams up with the Does It Doom creator Steve Reis to make a dream V come true with a sleek silverburst finish and alnico-V PAF humbuckers.
Woodrite Guitars, alongside with Dirty B himself, proudly presents the 'Dirty B' Signature Vagabond, a high-performance guitar that delivers on both craftsmanship and tone. The instrument's mahogany body and bound mahogany neck a repaired with a sleek Macassar ebony fingerboard, featuring distinctive custom "Mastogyph" inlays. Its silverburst finish adds to the guitar’s striking appearance, while stainless steel frets, Tonepros hardware, and Grover tuners provide the durability and precision expected in a professional-grade instrument.
Designed to meet the tonal needs of heavy players, the Vagabond is equipped with a set of Woodrite Barbarian humbuckers. Utilizing Alnico V magnets and inspired by the classic PAF design, these pickups offer a rich midrange response that thrives in both clean and overdriven settings. Coupled with a GraphTech TUSQ XL nut and "straight string pull" headstock for enhanced tuning stability, the 'Dirty B' is built to perform under the most demanding conditions, making it a reliable choice for musicians seeking versatility and sonic power.
Specs
- Body Shape: Vagabond
- Body Orientation: Right-Handed or Left-Handed
- Body Material: Mahogany
- Finish: Silverburst
- Clearcoat: Gloss Polyurethane
- Neck Pickup: Woodrite Barbarian (7.8k, A5, 42AWG)
- Bridge Pickup: Woodrite Barbarian (13.0k, A5, 43AWG)
- Controls: 2 Volume, 1 Tone, 3-Way Toggle Switch
- Finish: Chrome
- Bridge: TonePros Tune-O-Matic
- Tailpiece: TonePros Stop Bar
- Pickguard: Black
- Control Knobs: Black Top Hats w/ Reflectors
- Switch Tip: Black
- Jack Plate Cover: Chrome
- Material: Mahogany
- Binding: Yes
- Nut: GraphTech TUSQ XL
- Nut Width: 1.69″
- Profile: 0.800″ at 1st Fret, 0.875″ at 12th Fret, Medium “C” profile
- Scale Length: 24.75″
- Fingerboard Material: Ebony
- Fretwire: Jumbo Stainless Steel
- Inlays: ‘Dirty B’ Custom “Mastoglyph”
- Fingerboard Radius: 12″
- Number Of Frets: 22
- Tuning Machines: Grover Mini Rotomatic
- Tuning: D-Standard (D, G, C, F, A, D)
- Strings: D’Addario EXL116 (.011, .014, .018p, .030, .042, .052)
- Weight: Approximately 7 pounds
- Case: Includes Custom Form-Fitted Woodrite Guitars Hardshell Case
- Country of Origin: Built in Indonesia by PT Wildwood (PRS, ESP)
- Price: $1,599
With its ability to dial in custom reverb, delay, and chorus settings without needing any extra equipment and intuitive looper and Bluetooth audio functions, the TAG3 C is designed to make it easier than ever to write, practice, and perform.
Building on its brand legacy of innovation and creating many of the world’s finest guitars, the TAG3C TransAcoustic guitar from Yamaha offers an unmatched experience in sound, versatility, and playability to spark creative expression – making it the ideal instrument for the modern guitarist. The guitar features a solid Sitka spruce top and solid mahogany back and sides, available in natural(TAG3 C NT) or sand burst finish (TAG3 C SDB), and includes a convenient magnetic charging port to enhance its functionality and ease of use.
“TAG3 C is the ultimate tool for players looking to push themselves artistically. The ability to dial in custom reverb, delay, and chorus settings without needing any extra equipment is a game changer for creative workflows, and the intuitive looper and Bluetooth audio functions make it easier than ever to write, practice, and perform,” says Brandon Soriano, marketing manager, Yamaha Guitars.“Even with TransAcoustic technology turned off, TAG3 C is a fantastic acoustic instrument built with all solid wood and high-quality craftsmanship. TAG3 C is a no-brainer for the modern guitarist!”
TAG3 C is equipped with powerful built-in tech and effects including but not limited to loop capability with touch sensitivity, a rechargeable battery, Bluetooth capability, new and improved user interface, controls, and indicators. Guitarists can also access the TAG Remote mobile designed for enhanced control and optimization.
TAG3 C Highlights At-a-Glance
- Built-in effects: chorus, delay and reverb
- Built-in looper• Bluetooth connectivity
- On-board tuner
- Solid Sitka spruce top
- Solid mahogany back and sides
- Dreadnought-style cutaway with ebony fingerboard
- Available in natural or sand burst finish
- Superior acoustic sound quality
TAG3 C | Yamaha TransAcoustic Guitars - YouTube
Ever watch a video of yourself playing guitar and wonder why you do “that thing” with your face?
When I was 16, my parents came to see me play in a bar. (Montana in the ’80s was pretty cavalier about the drinking age.) On a break, I sat with my parents, and my father said, “Boy, you really move your mouth a lot when you play. Why do you do that?”
“Do what?” I replied.
“Move your mouth when you play guitar.”
“I don’t.”
“You definitely are. It’s like you are trying to pronounce every note. Sometimes it looked like you were grinding your teeth.”
“Really? Tonight? Here?”
“Yes, you were literally just doing it pretty much on every solo. It’s a bit off-putting.”
My recent obsession with Corey Feldman guitar-solo videos reminded me of that conversation. I now feel a kinship with Corey. When the “Comeback King” and I play guitar, we both share that vacuous, dead-eyed stare into the distance, mouth chomping, teeth gnashing wildly. I bet, like me, Corey had no idea he was doing it until he watched a video of himself playing. Say what you will about Feldman, but when you watch his mouth, you know he is genuinely trying his best. He is in it, lost in the process of trying to make music.
Maybe you, dear reader, also suffer from guitar face. Most of our heroes do/did. Gary Moore, SRV, Hendrix, B.B. King, Joe Walsh, Steve Vai, Santana, Paul Gilbert—watch any of them play, and you will see some less-than-flattering involuntary facial expressions.
There are many types of guitar face:
Stank Face. Watch SRV cranking in “Cold Shot”—his face looks like he just walked into a porta potty on the third day of an Insane Clown Posse Festival. That’s stanky.
The Motor-Mouth. Corey Feldman and I are prime examples of motor-mouthing, but nearly everybody is guilty of it when working a wah pedal.
Angry Face.Joe Bonamassa is a philanthropist, great guy, and kind person, but when he’s playing, he hits those strings like they owe him money—the man looks pissed.
Surprised Face. Just imagine B.B. King with his eyes wide open, eyebrows raised in a lofting arch, and sometimes his mouth open in a perfect O.
I’m in Pain Face. Think John Mayer. The higher he sings, or the higher he plays, the more the notes hurt.Sometimes the grimaces are accompanied by loud groans, luckily usually drowned out by a loud band, but audible in acoustic settings. I saw famed classical guitarist Christopher Parkening in concert, and his guitar mic caught every loud groan and “aahh.” It was distracting. (Same with pianist Keith Jarrett. Listen to his Köln Concert and try not to be disturbed. Though that’s probably more a symptom of piano face, a related phenomenon.)I don’t think guitar face is one thing. Guitar face is probably at least partially an expression of emotions and the connection to the music. It’s also a reflection of the physical demands of playing guitar, like athletes grimacing as they sprint. It’s also one of those tics of concentration, like sticking your tongue out when you draw or paint.“Think John Mayer. The higher he sings, or the higher he plays, the more the notes hurt.”
I read a Quanta Magazinecolumn by R. Douglas Fields where he maintains that “hand and mouth movements are tightly coordinated. In fact, that interplay often improves performance. Martial artists scream short explosive utterances, called kiai in karate, as they execute thrusting movements; tennis players often shout as they smack the ball. And research shows that coupling hand movements with specific mouth movements, often with vocalization, shortens the reaction time needed to do both.”
To this day, I’m embarrassed when I see videos of my mouth moving. I’ve tried to control it, but have come to the conclusion that I can either try to connect with music or try to control my face. I cannot do both. I have found that smiling does mask it or make it less distracting. As an added bonus, smiling releases that happy hormone, dopamine. The smile trick works great on “Lay Down Sally,” but I wouldn’t try it on, say, “Tears in Heaven.”
I’ve been making an effort to be aware of where I’m holding tension when I play and making a conscious effort to relax my arms, shoulders, and butt, so maybe I can work my face into that.
I’ve made peace with this embarrassing quirk. Every now and then, I’ll see a video where it’s particularly bad, and I’ll feel that barb of shame nick me. But if it sounds okay, I’m okay with this degrading side effect.
Ultimately, connecting to an instrument is like mainlining deep emotions. Deep emotions get ugly, painful, pitiful, and ecstatic. In an age where half of America stares blankly at a screen, how lucky musicians are to dive deeply into something that puts them so firmly in the now that they lose control of their faces. Besides, if you play something genuinely moving, nobody will care how you look.