Stratocaster Greats: Playing in the Style of Fender

Customer Review: History of the Fender Guitar
This is not really an instructinal DVD it is more of a history lesson about the Fender Stratocaster Guitar and its rise from the early 50's to today. Tom Kolb explains such mundane things as the Bridge section of the guitar and control knobs, tremelo,pickup's...ect.But the highlite is when he plays in different styles such as Jeff beck, Eric Clapton,Ritche Blackmore,and other great Strat players.Fun to watch if you are a huge Strat fan like me... but may bore others who were hopping to glean some riff's off of this DVD. After watching this dvd you do realize just how important the Strat has been to Rock and music in general.Its the only true example i can think of where they got something right the first time! the body and structure of the Srtat has not changed in 60 years....thats beacause it was perfect to begin with.
Customer Review: Don't waste your cash
I've played keyboard for over 25 years. I've now decided to start playing guitar and purchased this video. No doubt that Tom Kolb knows how to play a guitar. If I didn't have any previous musical knowledge I would have been completely lost watching this DVD. What it shows to you is a bunch of information about various styles of various guitar players. That's what it is suppose to do right? Well what is shown to you is a guy playing his guitar really fast and talks about nothing on how to apply techniques and use them. Then you are referred to look at a cheezy photocopied handbook that is suppose to explain everything. Wrong! Every "technique" that is shown... if you can pick it out during his fast playing... would already be known by an experienced player. Beginner.... forget it, you won't see anything that will help you. I could go on for hours on how useless this video is. But I'll keep it short. Spend your money on something else.

David Gilmour, like his Pink Floyd predecessor Syd Barrett, played a Telecaster initially, but he soon became one of the first British rock guitar legends to favor the Fender Stratocaster and to create a signature sound with the instrument. His parents bought the Tele for Davids 21st birthday, and he played it for a year (including on the Saucerful of Secrets record) until it was lost by an airline.

Upon officially joining Pink Floyd, Gilmour purchased a custom Stratocaster (the first of many) at a Cambridge music store. During the early Pink Floyd years, Gilmour played a Strat almost exclusively, taking full advantage of its wide tonal palette and vibrato bar in his style. He used a Lewis 24-fret electric guitar on rare occasions for its extended range, as in the solo of Money, and continued to employ a Tele sporadically in the repertory. Gilmour strung his electric guitars with Gibson Sonomatic strings made of a customized light-top (using the standard E and B for the B and G) and heavy-bottom set gauged .010, .012, .016, .028, .038, and .050. He used a Herco heavy-gauge pick.

David Gilmours earliest amp setup with Pink Floyd consisted of a Selmer 50-watt head with a 412 speaker cabinet. By 1970, he found his signature sound with a stack made of Hiwatt 100-watt heads with WEM 412 cabinets. The Hiwatt/WEM combination can be heard conspicuously on Meddle and Dark Side of the Moon. In the studio, he sometimes added a Fender Twin Reverb combo amp with two 12-inch speakers to his lineup for certain parts, as on Dark Side of the Moon.

David Gilmours early Floyd effects consisted of a Binson Echorec tape delay (like Barrett, he used this device from his first days with the band), a Dallas-Arbiter Fuzzface fuzz box, Uni-Vibe pedal, Vox wah-wah pedal, a DeArmond volume pedal, and Leslie and Yamaha RA-200 rotating speaker cabinets. The latter were routed through the output sections of Hiwatt heads and then to WEM 412 cabinets. In 1972, his effects boxes were mounted in a custom cabinet, and his array of processors grew to include a second Binson Echorec and a second Fuzzface, an MXR Phase 90, a Crybaby wah-wah, an Electro-Harmonix Electric Mistress flanger, Big Muff fuzz, an Orange treble and bass booster, and a custom-built tone pedal.

Additionally, Gilmour used studio effects like ADT (Automatic Double Tracking, a favorite studio processor first developed at Abbey Road Studios for the Beatles), Kepex for tremolo, various tape effects, studio echo chambers, and backwards guitar. He also employed an EMS Synthi Hi-Fi guitar synthesizer (heard on Time on Dark Side of the Moon), and usually played a lap steel or Fender twin neck pedal steel guitar for slide parts. He used various acoustic guitars on early Floyd tracks, later settling on Martin D-18 and D-35 models in the 1970s, and, depending on the song, alternated between fingerpicking and playing with a plectrum.

Andy Ng is a self taught guitar enthusiast. He have played guitar for the last 5 yrs and still going strong! He is also a leading expert on the art of building homemade effect pedals. Pick up tips, techniques and just plain guitar talk at his blog! http://www.guitareffectssecrets.andy-ng.com

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Acoustic guitars use the hollow resonating chamber of the body of the guitar to amplify and resonate the sound of the strings being plucked, but on an electric guitar, this isn't the case. The body of an electric guitar is usually entirely solid, and the sound of the strings being struck is picked up by something called a pickup, which basically measures the amount of vibration of a particular string, and transmits this frequency to an amplifier. The amplifier then magnifies this frequency to create a sound which is not only audible, but also usually modified or distorted in some way to create the distinctive sound of an electric guitar. Without a pickup or an amplifier, the sound of an electric guitar is less than impressive, and is by no means merely a quieter version of what you would hear with an amplifier.

The pickups work by detecting the amount of vibration of a string, because the amount of vibration is directly equivalent to the frequency, and it is the frequency of a string's vibration that generates the note. By holding a string down against one of the frets on the fret board or neck of the guitar, the length of the string is reduced, and as a result, the string's natural vibration of frequency is changed, and this in turn affects the note. There are different types of pickup that work in slightly different ways, but the most commonly found variety is an electromagnet. The electromagnetic pickups are bundles of copper wire wound very tightly into a small coil, and these are then positioned right underneath the strings. When the string is struck, it moves, and this generates a very small electric field measurable in volts, and this voltage is the signal which is sent to the amplifier.

Effectively such electromagnetic pickups work in the same way as an electric generator. These coils of copper wires are either found as single coils or as doubles, with the advantage being that double coil pickups are less likely to pick up noise from other nearby electric fields. In the 1950s the double coil humbucker was developed, and this used two separate copper coils, with one placed in the opposite polarity of the other, and this effectively cancelled out any problem as far as stray electrical field noise was concerned. These double coil humbuckers do create a different sound and tone to the single coil pickups, generally considered to be a much heavier sound, whereas the single coil pickups are used by those players looking for a much brighter sound, and usually with a much broader range.

Today the style of pickup is generally tailored to suit the type of sound that the player wants to try to achieve, and the general rule of thumb is that the smaller the amount of copper wire used in the coil, the brighter the sound, whereas the more coils used, and the more wire used in the pickup, the heavier the overall sound will be. There are also sometimes options to have the coil wired for extra switching, so that effects can be achieved by altering the way the coil works, and thereby changing the sound of the note dynamically. These effects usually require the guitar to have battery power to achieve the changes.

Although double coil pickups are usually the maximum, there are exceptions, and the Fender Stratocaster is one very well known example. The Fender Stratocaster actually uses three coil pickups, and this is what gives this particular model of guitar such a distinctive tone. In complete contrast, there are also piezoelectric pickups which use crystals positioned under each string, and when the string is struck, its vibrations very slightly alter the shape of the crystal. As the crystal changes shape, a very small voltage of electricity is produced, and by amplifying this, the sound is achieved.

Victor Epand is an expert consultant for electric guitars, humbuckers and Fender Stratocasters. You can find the best marketplace at these sites for electric guitars, humbuckers, sheet music, guitar.

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Back in the days of what was the explosive Woodstock music scene of Bristol and the West Country, a vocalist emerged from the new genre, known as indie, in the shape Gerard Langley. Hardly, as you would first think, a name to be reckoned with in the glitzy world of music showbiz, but a fairly stable name even so. Along with his brother, who took up the position of drummer, they soon gathered together a collection of some of the most talented and composed musicians in the city area. In fact, they were, as they called themselves, The Blue Aeroplanes, known to have the biggest musician - participation in, probably, modern music history.

Although their commercial contribution to the world of music looks vaguely more successful that a Pop Idol winner, their gritty and uniquely timed anthems had far from been on the same level. Langley, the headman was known, in the fast growing indie scene for his deep, menacing and half spoken vocals and other than supporting a then, little known U.S band called, R.E.M, although the band had collaborated with Michelle Shocked on one track.

It would appear that there seems to be a silent, yet, growing interest in this distant indie band who, tragically, graced only the bottom half of the Top 75 at any given time. It perhaps should be more the question of why didnt they ever make the grade? Well, that could be answered as simply as bad timing. Due to their haunting renditions of a familiar Smiths sound, they would have been noted as to be almost a decade out of date. I do believe that if they had been around a lot earlier, then their level of success would have vastly improved. That comatose style of backing vocal, at the time of, Jacket Hangs was the tones of Rodney Allen, Alex Lee, John Langley and Andy McCreeth, was more along the lines of The Waterboys, which, is certainly no bad thing, but on listening back to Blue Aeroplanes tunes today, we find ourselves puzzled as to why they werent better recognised. What we dont perhaps remember, is how much the talent odds were stacked against them. With a sound that was unique and so in tune with the outside world, it was also the backdrop of every other band at the time. Not to mention the members list grew to around thirty...

It is also arguable that there were far less talented bands around the time of the mid Eighties to the early Nineties, who, simply didnt deserve to achieve the success that they did. Who really could have forgotten that rhythmic perfect of John Langleys drum backing and that non melodic, jangle effect on guitars from Lee and Allen? They fused together as a band and never failed to let their fan base down. They might have been predictable in their approach to their own expression of indie music, but at least that meant never having to cringe ferociously at surprising and embarrassing diversions.

Their first notably successful album, Bop Art, in April 1984, may have sounded more like a Gene Vincent take on an old Transvision Vamp album, but it was surprisingly fresh enough to create a lasting appeal on certain listeners who, it would seem, became the backbone of the circle of devoted fans today. Although, since their early days, when their influences swayed heavily towards Elvis Costello and The Velvet Underground, they have somehow taken what they had learnt from these artists and actually drawn up, by themselves, a sound that, truly, came from themselves. We wonder how it came to be that they had come and gone from so many record labels. Their career path has certainly trodden a steady route through all the alternative labels of that time. Finally, standing firm behind the legendary label that brought us Icicle Works and Gene Loves Jezebel - Beggars Banquet, they had driven the idea through following bands, that it was the way that stable, tight knitted bands worked to get the maximum coverage.

Albums followed plus a couple of singles that failed to make any lasting notability with the regular record purchaser. Tolerance in 1986 and Spitting Out Miracles in 1986, after which, they enjoyed little in the way of pleasing positions from a string of EPs and one or two singles that followed.

They did, however, change their attitude through this far from joyful period in their early career. Shifting from Art Rock and layered pieces to dirty, simple guitar rhythms and slapping drums, their move towards the indie scene seemed sensible and optimistic. Two singles followed through another label, Chrysalis, Jacket Hangs, and ..And Stones, first in February and second in May 1990. Both failed to cut into the Top 70. Albums trailed accordingly in the shape of Swagger, (1990), Beatsongs, (1991) and Life Model, (1994). The middle of these, Beatsongs, graced the Top 35, but failed to hang around longer than three weeks. They had, already, toured with R.E.M in 1989 by this time, who, were enjoying critical acclaim with their politically observed, Green, the year before.

They had achieved as much as they could in those early times. They appeared in such audience participating venues such as the Town And Country Club in Kentish Town, North London; a venue known for the closeness felt through band and crowd. It was a favourite for indie and up and coming bands. Regulars there had been Hard Rain, Then Jericho, Three And A Half Minutes, not to mention, unknown Scottish smilies, Wet Wet Wet. Some, who got to see the B.As always commented on their live performances, noting them as born gig masters. After all, not all bands could boast their own Polish dancer in the shape of Wojtek Dmochowski.

It has undoubtedly crossed the minds of some of you when we say we must still remark on the history of The Blue Aeroplanes when they seemed to have achieved so little. One is for sure, they have remained true to themselves - never faltering in any shape or form, always pleasing to the eye and enjoyable to listen to. They take you back in time to a place in music history where bands were made up of young people who actually played instruments. Any band of that time, composed, rehearsed and performed over and over again to get it right. They worked hard, sweated and were devoted to their craft. Unlike today when a band is only made up of people who can just about sing and who couldnt compose a tune and lyric if their lives depended on it. This, I think it why, we should still celebrate bands like The Blue Aeroplanes for their determination and continuous contribution to British music. Whether it was experimental with different musicians and arrangements of sounds laced together with synths and percussions or taking the dive into all that was the bitter, edginess of the birth of indie, they have gathered up the growing trends into their arms and come with their own style of sound. They came back with gusto in 2000 with the album, Cavaliers/Roundheads, and now, just this year, 2006, we see the release of a long awaited, two CD set of a remaster of the 1990 album, Swagger, probably their most rewarding and well received album of the Nineties. This re working contains 14 bonus tracks and goes, unmistakeably as, Swagger Deluxe. The B.As are back, still standing strong and still eagerly eclipsing new sounds with traditional B.A rhythms and techniques.

We feel as if we know them know, but exactly where, when, how and why the band formed originally and who gelled with who is not entirely known. Their initial birth seems to be a mystery, and perhaps only known by Bristol residents and those who knew them, so it is with this, that they remain intriguing and their records, desirable. These ordinary student, type guys, who are now in their forties, still capture a moment in time when music was still exciting and new; when records were still bought in Woolies on vinyl and singles were only 45s for 45 pence. As far as The Blue Aeroplanes themselves go, all we know is that in Bristol and also in certain places of the Globe, this band still take a secret pride of place in the musical Hall of Fame.

Michelle Duffy 2006

Michelle is a freelance writer in the South of England and owner of the websites, http://www.generationsounds.co.uk, http://nevermindthebloggers.bravehost.com and their successful sister, Never Mind The Bloggers at http://paperback-writer29.tripod.com She has been writing over the last year, for five major consumer websites across the world and is one of the only two music category advisors for one website in the U.K. Her websites promote young, amateur and professional bands/artists and their fan clubs whilst also reviewing them for local and world wide promotion. She has also recently launched the blogs; 'The Ramblings Of An Old Rocker,' 'Bohemian Waffle,' The Rhythm Rock And Blues Machine and The Mopeds Musings and Generation Sound Suite. She is currently working on two shops selling her music styled artwork and now sells on Ebay.

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An electric guitar can have any number of a range of extra features, accessories and gadgets used to adjust, distort and affect the sound that it produces. But one item is an absolute necessity: no electric guitar can be performed or make any decent sound without an amplifier. A good quality amplifier can make a huge difference, and if you are looking to buy an electric guitar, or perhaps move on from a basic starter model, then a good quality and flexible amplifier unit to match the guitar will make all the difference. After all, it is the guitar which produces the signal, but the amplifier which makes the sound. It would be the same as considering a choir and the conductor. Both are important, but no matter how good the conductor, it is the choir which ultimately make the sound, and have the greatest impact on the eventual quality of sound heard.

Amplifiers that were created specifically for an instrument were first developed as part of the electric guitar development, and it was these instruments which first benefited from any kind of external amplification. These early units were developed in the 1930s, and it was the advent of more advanced electrics that enabled amplification units to be built that were both economic and of good quality. Of course, the amplification of guitars had been around for much longer, but simply for acoustic guitars, with microphones set up. The combination of electronic amplification units coupled to electric guitars gave rise to a whole new sound of music, originally popularised by the steel stung sound of the Hawaiian guitar.

Early amplifiers were fairly basic, and although they often had a range of controls, these didn't provide a wide range of controls to improve sound quality. Generally the early amplifiers were very good at boosting the treble signal, but the bass notes were poor, and the response was slow. As these early models developed, extra features were included such as reverberation effects and tremolo units.

In fact, Fender introduced an amplification unit which included a tremolo effect, although through an error of misunderstanding this was labelled as 'vibrato', with the lever included on the Stratocaster guitar which actually produced the vibrato effect labelled as 'tremolo'. These incorrect labels stuck, however, and today the most popular way of referring to the tremolo effect is through the word vibrato, and the vibrato effect is usually referred to as tremolo. This is why music written for electric guitar has these words used quite differently from music written for other instruments.

Many of these earlier models of amplifier could be reasonably easily overloaded, and some guitarists took to deliberately achieving this effect, creating a range of distortion effects. Indeed, it was Dave Davies, guitarist with the Kinks who first introduced a distortion effect which involved him connecting the output from one of his amplifiers into the input section of a second amplifier. This distortion effect created a unique, wailing sound, and was one which, whilst the designers at the time could never have imagined, was later introduced by many other performers and amplifier designers. Distortion effects today are so prevalent that it almost seems a requirement that a guitarist can produce such a sound within many genres of music.

Victor Epand is an expert consultant for guitars, drums, keyboards, sheet music, guitar tab, and home theater audio. You can find the best marketplace at these sites for electric guitar, amplifier, sheet music, guitar.

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