Pickworld Custom Guitar Picks Review

Aloha!

I do not know if it is hubris or a marketing ploy, but at some point in time many guitarists think about getting personalized guitar picks made up. In the old days this would have been a pretty tough task, but in the age of the internet this is a surprisingly easy task.

After searching around, I decided to order my picks from pickworld.com, which is a division of the Wilmington Fibre Specialty Company in Delaware. My decision was based on checking with other bands and musicians to see who they used, as well as their prices and options, which are all pretty darned good.

There are myriad choices and prices for their picks, all of which are clearly listed on their website. You can choose any shape or color you can imagine, in a variety of materials, including, celluloid, Delrin and PVC. Printing can be done on one or two sides, in oodles of colors, and you can even have them imprinted in gold foil (very classy). And you can order any amount you want, in quantities as low as 25 for $25. What a cool Christmas of Hanukah present that would be!

Oh, yeah. And their picks are all made here in the United States.

I stuck with traditional heavy thickness celluloid tortoise shell 351 picks. This is the most common shape around, and these are the ones that I actually use when playing guitar. Ironically, I do not use picks when playing bass, even though I run rexbass.com.

It was easy to order, as I submitted my art via email and placed the final order via phone. It took only a few weeks to get my bag of picks, and they looked exactly like I thought they would. A 1000 screen-printed picks with my web address on one side and my logo on the other set me back $260, which not too bad when you consider I can reach that many new viewers for only 26 cents each.

The picks have worked out well, and I pass them out like a mad man. Other musicians love to get something for free (that they can actually use), and it is a great promotion for my blog. By the way, I have never seen anybody throw away a perfectly good guitar pick!

Mahalo!

Fender Jim Root Signature Telecaster Electric Guitar Review

Aloha!

One of the cool things about some signature series guitars is that they can be completely off-the wall interpretations of guitars that have been around forever. Today we are looking at a Jim Root Artist Series Fender Telecaster that is quite a stretch from the original that was introduced 60 years ago.

You may not be familiar with Jim Root, the lead guitarist for the bands Slipknot and Stone Sour. Generally their music does not appeal to me, but I love his heavy guitar tone and I greatly admire this killer axe that he helped design.

You will notice that the Jim Root Telecaster has the traditional body and headstock shapes, and that is about it – everything else is different.

The body is made of mahogany, and it is set up as a string-through the body hardtail. This one is sprayed with a coat of matte white nitrocellulose (black is also available). It has single-ply black pickguard that matches the black hardware and gives it kind of a Duff McKagan Jazz Bass Special vibe.

The 25.5-inch scale neck is maple with an ebony fretboard (black ones get a maple fretboard). The nut is 1.650 inches wide, and the fretboard has a fairly flat 12-inch radius. The factory installed 22 Dunlop 6100 jumbo frets, and sprayed the back of the neck with a satin polyurethane finish. Though this guitar has no tremolo, Fender specified deluxe locking tuners, which are a godsend and make string changed a snap.

Root’s electronics package is not very Tele-like, either, as this is a hard-rocking machine. They went with two EMG active humbuckers: a 60 at the neck and an 81 at the bridge. There is a master volume knob, no tone control, and a 3-way pickup selector. Not exactly a versatile set-up, but this is a purpose-built instrument.

The Jim Root Telecaster is built in Mexico, but before you sniff and turn up your nose at it because it was not built in the US, you might want to see what a great job they did on this instrument. The finish is beautiful, the neck pocket is tight, and the frets are cleanly trimmed and are perfectly level. This is a well-built instrument using first-class materials and it lacks for nothing.

This guitar is very comfortable to play with a pleasant C profile to the neck. It came out of the box with a perfect set-up with 0.009s and intonation was spot-on (6-saddle bridge, you know). Strummed without amplification, it has a resonance at a level I have not seen on a Tele before and it sings. I’m going to need to put some 0.010s on it soon, though…

It is a fine playing guitar, but the true magic is in its tone -- this thing is the hammer of the gods. The EMG pickups have tons of headroom and can attain amazingly clean tone or a thick distortion like nobody’s business. This is obviously not going to be a good country guitar anymore, but it will do rock and metal all day long, with most any tone you are looking for by varying the volume and switching the pickup selector. If I was expecting this to play all genres of music I would miss the tone knob, but I understand the purpose of this instrument and it is truly the best tool for the job.

So what is the bottom line? The Fender Jim Root Artist Series Telecaster is one of the most expensive Mexican-built Fender I have run into, with a list price of $1469 and a street price of $1199. Before you shake your head and walk away, remember all the good stuff that goes into this guitar, not to mention the included deluxe black tweed hard case. It is one hell of a value, and if you are looking for an awesome hard rock guitar, you should check one out.

Mahalo!

Ibanez Soundgear GSR200 Electric Bass Guitar Review

Aloha!

The entry-level bass market is the best it has ever been, and it is possible to get surprisingly good instruments for not a lot of dough. A good example of this is the Ibanez GSR200 electric bass that I am reviewing today.

Ibanez is a Japanese company that has been building guitars since 1957, and over the years I have played quite a few of them, such as their Les Paul copies and their Roadstar and Soundgear basses, and have not really found anything bad to say about any of them. The GSR200 is part of the Soundgear series, and can be offered at a lower price dues to use of cheaper materials and lower-priced Indonesian labor.

I have always thought that the Soundgear instruments are rather handsome and the GSR200 maintains these good looks, but if you look closely, you will see that it has a smaller body and a thinner neck. This bass is specifically marketed to smaller people, and to those that need something lighter because of back or neck problems. However, it is not marked to southpaws and you will not find a left-handed version.

The body is smaller, but it still maintains the pleasant shape of the original, with slightly pointier horns than its Fender counterparts, and rounder edges too. The aggressive heel cutout for access to the higher frets carries over, which will make the shredders happy. The body is made of agathis, and this one was shot with a thick coat of black polyurethane finish.

Though this GSR200 bass is a bit smaller, it still maintains a 34-inch scale length. The neck is maple with a rosewood fretboard, and there are 22 frets hammered into its 12-inch radius. The nut is a bee’s dick wider than a Jazz nut (1.614”), but it has a smaller profile that would be nice for those with smaller hands. The headstock maintains the traditional Soundgear asymmetrical taper and it is finished to match the body.

Stuck all cockywobble on the headstock are the sealed-back tuners (I know they are supposed to be crooked, but it bothers me anyway), and they are of acceptable quality. They hold well, but do not turn smoothly, and the chrome is not good quality. The same can be said for the chrome on the bridge, which is otherwise a serviceable piece of equipment with a thick base plate and beefy saddles. This is a budget instrument, so you are not going to Schallers or Hipshots.

The electronics package is predictable, with a humbucking P pickup in the sweet spot and a single coil jazz pickup at the bridge. Ibanez calls them POWERSOUND pickups, and I am not sure what this means, but having the name in all caps certainly makes them seem more impressive. The controls are fairly simple with a volume knob for each pickup, one tone knob and a PHAT-II bass boost EQ knob (see my previous comment about POWERSOUND). This bass has 9-volt active electronics, which always makes it sound like you are getting something awesome, but on cheaper instruments this usually means that they are making the bass louder to make up for cheaper pickups and woods.

Craftsmanship of this Ibanez bass is good for the money, and the black finish is amazingly nice and blemish-free. The fretwork is ok. They are mostly level, and though the edges are not pretty, they are smooth, and the E and G strings do not try to fall off the edge of the board when fretted. The nut has well-cut string slots, but is actually quite sharp around the edges, and if I was going to buy one of these I would have to smooth it out a bit. But none of these things are deal breakers, especially when I consider that this bass plays well and sounds good.

Right out of the box, the bass was playable, and after a quick truss rod tweak it fell right into line with a medium-height action. The neck is a tad thin for me (I am mostly a P-bass guy now) but it would certainly be great for someone with small hand and stubby little fingers. Even with the smaller body it balances well on the strap, and it is pretty light, coming in at a bit under 8.5 pounds.

The GSR200 is capable of getting quite a few usable tones, from a P Bass thump to an edgier Jazz Bass sound. I have always been a fan of P-J basses, so I was able to get into this one right away. I felt that the PHAT-II bass boost was overkill in an exaggerated boomy way (almost like a cheap bass effects pedal), and I could not think of any styles of music where I would feel comfortable turning it all the way up. But that is just my opinion, and it could be your cup of tea. It is not the end of the world; I just backed it off and played the bass like god intended. I see this as a good funk, rock, or metal bass. Stick with your P Bass for the blues…

All-in-all, this is a solid instrument, and since the Ibanez GSR200 is an entry-level bass it is priced accordingly. The solid-color models have a list price of $285.70 and a street price of $199.99, which is pretty darned cheap even when you consider that no case is included. And, if you are willing to forgo buying new (and not getting the one-year warranty), these basses can be had for under a hundred bucks on eBay and Craigslist.

Mahalo!

Review of Musical Theatre West’s Young Frankenstein

Musical Theatre West has kicked off their 61st season with Mel Brooks’ Young Frankenstein, and unfortunately it was not entirely what I hoped it would be…

Musical Theatre West has been around since 1952, when it started out as the Whittier Civic Light Opera. Their productions evolved over time, and they went from being an all-volunteer operation to producing full seasons. They currently perform at the Richard and Karen Carpenter Performing Arts Center at Cal State Long Beach, which is a lovely venue with plenty of conveniently located parking.

This musical is based on Mel Brooks’ 1974 film, Young Frankenstein. After Brooks had such a huge success with his stage production of The Producers (also adapted from one of his movies), he went to work on this one. He wrote the songs and lyrics and Thomas Meehan contributed to the book. The show opened in 2007 and played on Broadway for a little over a year; since then it has been through a couple of national tours, and now it is available for regional productions.

The plot and characters mirror the movie fairly closely, and the few changes that Brooks and Meehan made do not alter the final outcome. This is a musical, and all of the leads (the good doctor, Elizabeth, Inga, Frau Blucher, Igor, the Inspector and the monster) each get to take on at least one song.

Young Frankenstein was well casted, and all of the leads did a super job. Their singing, dancing, acting and comic timing were spot on. The male leads include Zachary Ford as Dr.Frankenstein, Ben Liebert as Igor, and Danny Blaylock as the monster. They put on the big boy pants by taking on the roles that are personified by Gene Wilder, Marty Feldman and Peter Boyle. Liebert stole the show because his personality shined through consistently, and his character had the best lines which he nailed every time.

The ladies did a lovely job too, with Andi Davis as the lovely Inga, Tracy Lore as Frau Blucher and Rebecca Ann Johnson as Elizabeth (the doctor’s girlfriend). Each of these characters was more lewd than the next, culminating in a refreshing bit of girl/girl touching. All three are very good singers, and I could find no flaws with their performances, which is quite a compliment and they also face comparisons with the top-flight movie cast.

Lauren Kadel did well to follow the original direction and choreography that was put together by Susan Stroman. This is a complex (and lengthy) show, and it flowed nicely from scene to scene with no distractions. The sets were clever, but seemed a bit worn in spots, but keep in mind that my seat was very close to the stage. From that vantage point I did have the opportunity to see how good Jamie Brown’s costumes were. Jean-Yves Tessier’s lighting was very effective making the shadow dance scene come off wonderfully. Oh yes -- I loved the giant monster puppet.

The 14-piece orchestra was under the direction of Corey Hirsch, and they did well, but I was puzzled that the musician’s names did not appear in the program. A big plus was that the sound was right on track with a good mix, and the actors/singers were easy to understand.

It sounds like all of the right pieces are there, so what is my problem? Young Frankenstein is weak and is just not a very good stage musical. Unlike Brooks’ The Producers, this show is based on a hugely popular movie, so many of the comedic gags have been seen before. With most of the surprises gone, the flaws in the simplistic songs and awkward lyrics are very obvious-- Mel Brooks should collaborate more when he writes his musicals. Brooks’ score is simplistic and derivative of other works, and the lyrics were overly complicated and relied on dated comedic references. As a whole, none of the songs stood out as being the least bit special. Also, the nearly three-hour run time (an hour and a half to the intermission!) is a bit much to take.

If you decide to check Young Frankenstein out, it is playing through this weekend, and seats are still available. Be mindful that there is plenty of bawdy adult content, and I would certainly not take a child to this show.

The Musical Theatre West 2013-2014 season is looking up after this one, with The Music Man, ‘S Wonderful and Beauty and the Beast on tap. Check out their website at musical.org for details about tickets and packages.

Gay Marshall Go Back Where You Stayed Last Night Album Review

Hello!

This CD review was originally published in the April 18, 2013 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com

Gay Marshall – Go Back Where You Stayed Last Night

Self Release

www.gaymarshall.com

Record Company Web Site

15 tracks / 56:22

Most musicians have other artists that inspire them, and Gay Marshall is no exception. But listeners of her latest album may be surprised that the reason she got into music was the songs of Edith Piaf, the legendary French singer that performed ballads and café songs in the 1940s and 1950s.

Music was not the path that Gay originally headed down, though. As a Midwestern child she yearned to be an actress, so after attending the Interlochen Art Academy for secondary school she was off to study theatre in England. After discovering Piaf, she studied her music and began to perform it in coffee shops, eventually augmenting her repertoire with show tunes, jazz and Dixieland blues. Along the way she wrote a few one-woman shows, participated in gobs of musical theatre, and recorded a CD of Edith Piaf tunes.

On her latest CD, Go Back Where You Stayed Last Night, Marshall shares classic blues tunes from the 1920s and 1930s. These songs were originally recorded by legends such as Ethel Waters (another of Gay’s inspirations), and Sidney Easton. These are other people’s songs with some new lyrics added here and there, but they still maintain the intent of the original versions. She is joined on this album by Roy King on drums, Mike Sands on piano, Martin Block on bass, Tony Koussa on saxophone and Bruce Lehtinen on trombone.

Gay Marshall’s positive spirit shines through in all of her work, and this album is no exception. The fifteen tracks were carefully chosen so that all of these vintage songs have this same upbeat attitude. From the first track, “Brother You Got me Wrong,” you will hear that she is not going for a modern take on these songs. She has affected a 1920s singing style and the band has a gloriously acoustic sound. The score is well-arranged and Sands’ melodic piano work is the proper counterpoint to the vocal line.

The title track is a fine Ethel Waters mid-tempo blues tune that would be at home in any vaudeville revue. Like the rest of the album this one has neat horn parts and fine piano playing, but the stand-out performance on this song has to be Block who thumps out surprisingly complicated lines on his upright bass.

My favorite track on this disc is Joe “King” Oliver’s “West End Blues,” which gives everybody in the band a chance to shine. This leisurely 12-bar blues song lets Marshall cut loose, and she can really belt out her part. Koussa takes the intro and also plays a solo with his killer saxophone tone, and Lehtinen is given the opportunity to work a muted trombone solo in. But what is really cool about this tune is how well the band works as a group to put out a seamless piece of music.

The album ends up with Sippie Wallace’s “You Gotta Know How” and Marshall once again uses her playful vocal style to match the clever lyrics. Koussa weaves his sax in and out of the verses as Sands hammers out a honky-tonk piano part to help keep the beat with King’s drums. This was a great song to finish up with, as it is a fun and upbeat piece.

Go Back Where You Stayed Last Night is a neat piece of work, and an enlightening snapshot of what was going on in the musical world during the years between the wars. Thanks to fine vocals and the prowess off the band everything comes together well for this project. The album cover advertises this as foot-stompin’, hand-clappin’, good time blues” and Gay Marshall certainly delivers the goods.

Mahalo!

Genz Benz: 1984 to 2013

Aloha!

I just heard that the Genz Benz brand has been discontinued after almost thirty years in business, and SWR is facing the same fate. Both of these brands are owned by Fender.

Genz-Benz was founded by Jeff Genzler in 1984, and over the past decade they introduced a lot of innovative and well-regarded amplifiers, especially their Shuttle series of hybrid bass amplifiers. I have used the Shuttle 6.0 for a longer than any amp I have owned, and its tone and portability have been a godsend for me.

The company was part of the Kaman Music Corporation, which was absorbed by Fender for $117 million in 2007. Fender has had financial troubles this year, and their initial public offering was cancelled in July of this year as they were unable to sell 10 million shares at $13 each. Apparently the company is not as valuable as they thought it was.

It is sad to see this company go out of business, but if you have been looking for a Genz Benz amplifier now is the time to buy. I have seen the Shuttle 6.2 selling for $399 and the Shuttlemax as low as $649. As far as I know, Fender will honor the 3-year warranty for these products.

Mahalo!

Pignose Legendary 7-100 Guitar Amplifier Review

Howdy!

The world is chock full of useless little guitar practice amps, and the genesis for all of them is the Pignose 7-100. This model has been around since before I started playing guitar, and I have never taken the time to play one until now. Hmmm.

Pignose has been around since the early 1970s, and they introduced their first amplifier, the 7-100, at the 1973 Summer NAMM show. This amplifier was a hit, and continues to sell steadily to this day with very few changes. Since then they have gone on to make bigger amplifiers, guitars, stomp boxes, megaphones and some amazingly cheap wireless microphones.

But we will focus on the Legendary 7-100 today. For starters, it is truly tiny and portable, measuring about 6 x 5 x 9 inches, and weighing around 6 pounds with 6 AA batteries on board. It is a nifty looking box, covered with brown tolex and hinged on one side so that you can pop the latch and open it up to access the batteries or a cavity where you can store the optional AC adaptor. In keeping with the portability theme, they included to strap buttons on the amp so you can hook up a guitar strap and sling it over your shoulder. A wandering minstrel sort of thing, I guess – but don’t trip on your cord.

The mechanics of this unit are dead simple. There is a ¼-inch input, a single volume knob (shaped like a pig’s snout), an 1/8-inch jack for the power supply and a ¼-inch output. The amplifier is capable of putting out 5-watts into its 5-inch onboard speaker or providing a pre-amp signal so you can run the preamp through something bigger and better.

When I opened my factory-fresh unit, there were no surprises. It is made overseas, but the quality was very good, with clean cabinet joints and wiring. I ponied up $15 for the genuine Pignose AC adaptor, as I will mostly be using this thing in my studio and in hotel rooms, and I hate buying batteries. If you choose to run it unplugged, it will run through those 6 AA batteries in somewhere around 5 hours, which is not too bad, really.

With only one knob and one input I got the Pignose up and running in a hurry. I cranked my Strat and Les Paul through it and I really like the way it works. It puts out a fairly decent amount of volume – certainly enough for practicing at home or hanging around the campfire. It is not ear-splitting or anything like that, but it gets by. At its highest levels the sound breaks up a bit, and not in a pleasant way, so I do not take it much above 8/10ths.

The sound is not exactly as advertised by the Pignose folks, though. Their promotional materials state that the 7-100 “…features a full array of tones from clean to crunchy.” Nuh uh. There is no clean to be found here. This amp has one sound, and it is a nice dirty crunch that is marvelous for rock or blues. If you are looking for super-clean sounds, this is not the amplifier for you. In my case, I love its tone, so I have no gripes about the sound. By the way, I used the ¼-inch out to send the preamp signal to my mixing board, and I got the same tone.

If I could add one thing to the amp it would be an auxiliary input so I could plug in an iPod to practice along with, but I am cool with it the way it is. They have stuck true to their design over the years, and for the money I think it is a great deal.

If you like the way the PIgnose 7-100 sounds, it is not going to cost you an arm and a leg to pick one up. The brown tolex ones sell for around $75 online and the tweed print models sell for around $90, and those prices include a 6-month warranty. At this price point I would stick with buying a new one to avoid the headaches of buying somebody else’s abused old junk. Check one out for yourself!

Mahalo!