#g: Gibson Les Paul Standard

[waterparksdrama]

awsten and geoff's guitars

disclaimer: honestly i don't know much about guitars but i can provide some more visuals and context from some of their gear listed here and here. i can't tell you jack shit about some other ones they haven't used as regularly bc i won't have room for that and i'm not gonna go over acoustics.

prs guitars

both of them tend to lean towards prs guitars most of the time. there's a few ads and music videos of them using them among many live performances. during double dare, awsten used a seafoam green s2 standard 22 and geoff used an antique white s2 mira.

during entertainment, awsten tended to use that firemist purple s2 starla before switching to the jewel lime s2 mira during fandom.

during greatest hits, awsten used a custom s2 he spray painted himself.

geoff tended to use that s2 mira for a while until fandom when he switched over to his se santana which he used during greatest hits as well.

currently, he uses a charcoal cherry burst modern eagle v.

awsten's other guitars

his fender stratocaster is probably the oldest guitar he has. awsten has made every demo for waterparks (and likely some pre-waterparks) with it.

another notable one he used was his daisy rock stardust elite venus. daisy rock, otherwise known as daisy rock girl guitars, is a guitar company specifically designed and catered towards women for their feminine and lightweight designs.

awsten actually had two of these guitars: the stardust elite venus is the one that he tended to use during live performances even before waterparks all the way up to cluster while the stardust elite isis is the one he broke and is memorialized on the inside of the black light cds.

awsten mentions using a couple other guitars for recording since cluster: a suhr classic s and a gibson les paul.

(i cannot for the life of me find an image of awsten using a gibson les paul; there's a lot of old images of him using a les paul but it was an epiphone les paul because of course an emo kid is going to use the kind of guitar frank iero is known for)

the guitar awsten currently uses is his now refurbished gibson flying v also from when he was younger.

(it's so old that awsten doesn't have bleach patches and is wearing zebra print in that first photo)

geoff's other guitars

before the release of double dare, geoff tended to use a white epiphone sg g-310.

he also seemed to use a see thru blue esp ltd mh-203qm, mainly around 2013-2014.

bonus

here is awsten being a judgemental bitch about geoff's gear when they first met.

[raytorosaurus]

hi nic! as someone who seems pretty knowledgable about guitars and music theory etc (especially when it comes to ray!!), can you help with this -- why is it that the guys change guitars throughout the show (aside from the fact it means they don't need to be constantly retuning?). do different ones have different sounds? from seeing the paper setlist with the notes next to it, i guess partly it's for sentimental reasons - like, session guitar for their first song etc. but how else do they chose specific guitars for specific songs, i've always wondered...

oooh ya i'm definitely not an expert in this but yeah different guitars have very different tones and also physically feel pretty different to play!! both of these things depend on a lot of factors in their build, shape, weight, string action, pickups (the things that "pick up" the string vibrations and transmit them to the amplifier to actually produce the sound), neck joints, bridge type, additional parts like whammy bars etc etc etc. like for example ray has historically favoured les pauls (and les paul juniors), which is the shape of his session guitar and most of his main guitars over the years (also of pansy etc), and they're known for their really full, rich tone compared to strats or teles, which tend to be brighter and cleaner (part of the reason a proper gibson les paul's tone is so nice is because they're so heavy lol, which is mainly why frank stopped playing them so much and something ray's also complained about before. but there are advantages and disadvantages to every type of guitar and different sounds and playing techniques you can get out of all of them - ray and frank don't have so many just for aesthetic reasons).

but beyond that a lot of the variation in guitar tone comes from which effect pedals the guitars are hooked up to at which settings, and the tone differences between guitar types interact with the tone differences created by pedals etc etc. when they started my chemical romance neither frank nor ray were very into gear so they just used straight-up overdrive and distortion, but over the years frank in particular has gotten really into collecting pedals. their tones sound sooo fucking good this tour because they dropped $$$ for them lol. but yeah beyond different tones, some my chem songs are also played in different tunings, which is when the open strings of the guitar aren't tuned to the standard E-A-D-G-B-E pattern, so if you had just one guitar you'd have to retune it to different notes between songs which a) is a time-consuming headache and b) can make your guitar less likely to hold its tune and shorten the lifespan of your strings. so i assume they'll each have like, a guitar on standby in half step down or drop d tuning or whatever. also honestly i'd say when you have so many nice guitars you kind of just wanna have a chance to take them out for a spin lol. and i assume using the same guitar to play the same song each time ensures not only a consistent tone but like a familiarity that probably helps with muscle memory for each song etc etc. ANYWAY this got long but yeah they would have put a lot of thought + rehearsal into the guitars and pedals they picked for this tour and which they use for each song. oh to be a fly on the wall.....

[slapthebass]

DIR EN GREY - DUM SPIRO SPERO - VANITAS (In studio footage)

Part 2 [Part 1]

Bonus:

[sweetdreamsjeff]

Sunday Sessions: Jeff Buckley’s Guitar Gear

by JEF STONE 18th Apr 2021

Leave a Commenton Sunday Sessions: Jeff Buckley’s Guitar Gear

In this weeks Sunday Session we look at the late Jeff Buckley's guitar gear.

Jeff Buckley’s Grace album is a tour de force in songwriting and it also features some exceptional guitar playing and recorded guitar tones. In this weeks Sunday Sessions I’m going to go through that gear, and talk about how to grab some of those tones and integrate them into your own rig.

Jeff Buckley 

Jeff Buckley’s album Grace is often seen as the perfect debut album by many.

In the early 1990s boutique amplifiers and effects just weren’t a thing. Yet Jeff’s whole album is full of sweet guitar tones and to this day it inspires many guitarists to go seek out those guitar tones.

It features beautiful melodies, amazing song writing and moments of complete abandon on the guitar. What stands out the most for me personally, is the depth of guitar tones on the recordings. With just a small amount of equipment, and none of it particularly fancy, Jeff Buckley created something which still resonates with listeners to this day.

Jeffs Guitars

Most players will be familiar with the 1983 ‘Top Loader’ Fender Telecaster that Jeff wielded as his main guitar, along with a 1976 Gibson Les Paul Custom in the classic black finish, which he was also seen using frequently.

The Norlin Custom

I suspect that once he had the money, he went out and purchased the Norlin era Gibson ’76 Les Paul Custom. We know its neck was completely broken off at one point, as it was repaired in around July 1995 in Amsterdam. This guitar was featured in an exhibition at the Rock & Roll Hall Of Fame And Museum, in Ohio for two years, along with many of his possessions, handwritten lyrics, poems and some clothing.

As far as I am aware the this Les Paul Custom was completely stock with no modifications. These are great guitars and when you find a good one, they are worth holding on to.

Jeff’s Telecaster

The borrowed guitar

What is interesting is that this Telecaster was actually borrowed from Janine Nicholls, a director at a local arts institution in New York while Buckley was still playing cafe shows in 1991. This guitar is a Butterscotch 1952 style Telecaster and apart from the bridge which is a top loader and had six individual saddles, rather than three brass barrels, and that hot stacked bridge pickup its a pretty standard Telecaster to look at, just with a chrome mirrored pickguard.

The guitar was returned to its original owner, after Buckley’s tragic death in 1997 and they eventually sold it on auction in 2011, selling for over $50,000.

As we now know Muse frontman Matt Bellamy purchased the guitar in 2020 and he is now the proud owner of this instrument.

Rickenbacker 12-String

On occasion you would also see him with a Rickenbacker 360/12 “Fireglo”. Buckley bought this 12 string Rickenbacker 360 with the money from his first advance after getting signed with Sony. This 12-string was mainly kept in Open G tuning, and live he would use it on the songs ‘Last Goodbye’ and ‘Vancouver’.

The Flower Guitar

Acoustics

The Guild F-50 was his main acoustic throughout the recording and touring of Grace, and you’d often the guitar covered in duct tape to help quash feedback issues when he played it live. It’s a guitar that is similar to the twelve string model his estranged father Tim Buckley had used.

Whereas the smaller, warmer sounding Gibson L-1 which Buckley got sometime around 1994, and often used for his finger style playing. Buckley used this guitar on many of his demos and at his smaller shows.

Amplifiers

Amp wise his usual setup was a ’90s Fender Vibroverb ’63 Reissue, and live you would also see him using a Mesa Boogie Dual Rectifier Trem-o-verb Combo.

Twin Amps

And in the mid-nineties the Mesa Boogie Dual Rectifier Trem-o-verb Combo was seen as the top end of amplifiers by many and so I can see why he used one. In the studio and live he often used these two amps together, with the Fender providing the cleans and the Mesa Boogie handling all his gain tones.

Effects

Guitar Tunings and chords

Jeff is known to have used Dean Markley Blue Steel strings on his electrics, and I’d assume he played 10s. He used Open G on Last Goodbye, which is D-G-D-G-B-D and Hallelujah is achieved by using a capo at the 5th Fret which gives you  A-D-G-C-E-A.

He also uses a lot of 6th chords, where you use a standard triad (the 1st, 3rd and 5th) with the 6th added. With both major 6th and minor 6th chords featuring frequently in his repertoire.

These 6th chords have a lot more drama in them and so that major 6th has a nice pleasant welcoming warm sound, whereas the minor 6th has a much darker and more haunting sound.

For example Dream Brother uses Bb6 – Cm6 – Dm7 – Ebmaj7 and the song Grace uses Em – F#m6 – G6 – A6.

I’d suggest brushing up on your 6th chords will really help you to cop some of that tension and drama that Jeff always coaxes out of his songs.

Grace Tones

My advice would be when attempting to get some of the tones that Jeff achieved on Grace, don’t be afraid of reverb and letting it create space in your tracks.

Look for a good warm, Fender-style clean tone, and if you are using a modeller or software, look for something which has a Fender Vibroverb or similar, to achieve this. Fender has reissued these amplifier a few times, so you can find them, and I know of a few boutique amp builders that will make you one.

His driven tones are definitely that Mesa Boogie sound and again you can find these within software and modelling. Originals are loud, very loud, so if you re going to hunt one down be prepared for the volume.

The videos below discuss some of his recorded tones and how to achieve the ‘reverb’ sound, which he is famous for. You can certainly still pick up the Alesis Quadraverb models used, but there are also plenty of plugins which emulate them. Something along the lines of the Valhalla Vintage Verb will get you in the ballpark.

I hope this article helps you on your quest for great guitar tones, and if you have the time, pop Grace on your stereo and go immerse yourself the wonderful layers of guitar tones.

[thoraway125]

Tegan and Sara’s Instruments and etc

Fun fact they used Chocolate Covered Sunflower Seeds for the shaker in ‘Back In Your Head’

Tegan’s stuff

Guitars

Art & Lutherie Ami Cedar (black)

Epiphone Coronet

Fender Acoustic (gloss sunburst)

Fender Stratocaster

Gibson Blues King

Gibson G6128TCG Duo Jet 

Gibson Les Paul (goldtop)

Gibson Les Paul Junior

Gibson Les Paul Studio Gold Series

Gibson Maestro

Gibson Melody Maker Special

Gibson Joan Jett Signature Melody Maker (white, w/Zebra humbucker)

Gibson SG Junior 60’s 

Martin X Series LX1E Little Martin Acoustic

P-90

Martin 00 Acoustics

Seagull Acoustics

Vintage Gibson Melody Maker (natural Mahogany)

Yamaha APX-3M

Pedals- Upper Row: Boss NS-2, OD-3, LS-2, and TU-2. Lower row: Ibanez TS-9, Boss CE-2, MXR M-133 MicroAmp, Boss DD5 and a Zvex Fuzz Factory. 

Boss SD-1, RV-5. TR-2, DD-3, TU-2s

Keyboards

Alesia Micron

Angel AX-25N2 Glockenspiel

MalletKAT

MicroKORG Synthesizer/Vocoder

Clavia Nord Electro 273

Roland Juno-G

Sequential Circuits Prophet- 5

Sequential Circuits 2

Amps

Acme Lulu head into Dr. Z closed back 1/12-inch cab (miked with Heil PR30)

Fender Hot Rod Deluxe Amps

Other

Dunlop Capos

Dunlop Nylon .73mm/.6mm picks

Couch Black Byloos

Gibson Masterbuilt Premium Phosphor Bronze Wound

Gibson Red Lightning Bolt strap

LP Shake-It Shakers

Ultra Feedback Buster

Victorian Strap

Sara’s stuff

Guitars

Art & Lutherie Ami Cedar (black)

Danelectro ’67 Dano Heaven Hawk Series (creme alligator)

Epiphone Les Paul

Fender Jaguar (olympic white finish) 1995

Fender Telecaster (sunburst)

Gibson Blues King

Gibson CJ165 (rosewood)

Gibson ES-335

Gibson Everly Brothers J-180 Acoustic 2005 (Chris Walla’s)

Gibson Les Paul Goldtop

Gibson Les Paul Junior Special P-90 (satin cherry)

Gibson SG Junior 60’s

Gibson SJ-300

Gretsch Duo (jet black)

Gretsch G6131MY Malcolm Young Signature II (the yellow one)

Gretsch Malcolm Young (red)

Martin X Series LX1E Little Martin Acoustic

P-90? idk this might go with ^

Martin 000M Acoustics

Regal RC-1 Duolian Resonator (Nickel Plated Steel or 2003 Polychrome Grey)

Takamine EAN30C

Vintage 1972 Fender Telecaster Thinline (black, w/Wide Range Humbuckers)

Pedals

Boss output selector; Liele input selector; Pro D2 stereo direct box; and Boss overdrive, chorus, reverb, delay and tuner out to amp.  Two DI’s, a dry DI signal. 

Keyboards

Alesia Micron

Angel AX-25N2 Glockenspiel

LP Shake-It Shakers

MalletKAT

MicroKORG Synthesizer/Vocoder

Clavia Nord Electro 273

Roland Juno-G

Sequential Circuits Prophet- 5

Sequential Circuits 2

Amps

Acme Lulu head into Dr. Z closed back 1/12-inch cab (miked with Heil PR30)

Fender Hot Rod Deluxe Amps

Other

mac tower

Protools rack

D'Addario strings

Dunlop Tortex Standard Guitar Picks 0.06mm

Dunlop Acoustic Guitar Capo

Dunlop Capos

G7th 405 Capo

Gibson Masterbuilt Premium Phosphor Bronze Wound

LP Shake-It Shakers

Planet Waves Delrin .61mm picks

Other band members

Edward ‘Ted’ Gowans Guitars

1975 Fender Stratocaster 1965 RI Jazzmaster E1 Moog Fender American Deluxe Tele Fender Jaguar Gibson ES-335 (satin finish) G&L ASAT Gretsch Malcolm Young (red) Martin Acoustics

Pedals Boss tuner, Zvex Super Hard On, Fulltone Fulldrive 2, Mosfet, Ibanez TS-9DX) Boss TU-2, LS-2, MXR Dyna Comp, Ernie Ball volume, Line 6 DL4, Voodoo Lab Pedal Power, Z.Vex Super Hard-On, Line 6 DL4, and vintage chorus and delay 

Keyboards Nord Wave synthesizer

Amp Acme Varsity, AC10 Shaun Huberts Bass

Fender Jazz (natural finish, maple, mother-of-pearl block inlays) Fender Jazz (sunburst finish, tortoise-shell pickguard, rosewood)

Pedals Ampeg SVT Classic rig, SVT-CL bass head with an SVT- 810E bass enclosure. Taurus 3 Bass Pedals

Theremin Etherwave Plus

Amp Amp SVT-CL head into SVT-810E cab and Eden World Tour 800 Head into Eden 410XLT cab

Johnny Andrews Drums a Yamaha Kit

Mics Shure MS91 and Yamaha Subkick (bass), Shure Beta57 (snare top), Neumann KM184 (snare bottom/hi-hat), Shure Beta56 (rack tom), Shure Beta52 (floor tom), two Audio-Technica AT4033s (overhead)

[thekingofgear]

Tree Synthesisers begins with a gentle fade-in, presenting a web of synthesizer trills which is led by a gently plucked solo electric guitar. Most of the synths flip between C and F, but each one speeds and slows at its own pace, giving no sense of a common tempo. Jonny initially plays straight quarter notes, but loops them and adds syncopated layers above them, adding to the sense of there being no dominant pulse. The guitar and synths are joined (0:24) by gentle high-pitched digital noise, which pans from right to left, adding the only “percussion” on the track (though it barely constitutes that).

Then the atmosphere is changed suddenly with the entrance of the rich polyphonic synthesizer which will dominate the rest of the track (0:57). While the initial “trill” synthesizers are all quite stable and clean, reminiscent of an old video game’s crispy square waves, the main poly-synth is incredibly rich, with its analog oscillators sliding in and out of tune with each-other and its timbre varied by slow, deep modulation. Part of why the poly-synth is able to take such dramatic command of the track is that, unlike the initial synths whose lowest note is still in the mid-frequencies, the sub-oscillator on the poly-synth’s bass voice reaches nearly to the bottom of the audible range.

A photo of Jonny playing his ondes Musicales Dierstein, from the 2015 performance by Jonny and the London Contemporary Orchestra in Dublin. Using the keyboard, the Martenot easily could have supplied at least a part of the track’s persistent trills.

The poly-synth’s homophonic part is iterated in two voices, with a treble that alternates between F and A three times before settling on E, and a bass that simultaneously alternates between D and F before landing on a C which is paired with a dissonant B after one measure to deny any sense of resolution. This initial progression forms the basis for the rest of the track, and rest of the synth’s playing consists exclusively of repeats or transpositions of it.

After a repetition of the progression (at 1:22), we get the synth progression transposed down a fifth (1:47). Next, we get a repeat of the original version the progression (2:11). It is followed again by a transposition down a fifth (2:36), but this time the treble voice plays an octave higher than before (up a forth from the original melody), giving a more brilliant version of the variation. It is followed by a new variation, this one transposed up fourth from the first transposition (3:00). The final progression (3:25) is a repeat of the first transposition, this one with a rich upper layer added to the treble part (3:32). Surprisingly, it cuts itself short, moving the its last note (A) after only two alternations of its first two notes.

A photo from the 2014 performance by Jonny and the London Contemporary Orchestra at the Royal Albert Hall in Manchester (mx-magpie).

The first string instrument to enter is a cello (presumably Oliver Coates), contributing A’s and D’s (0:46). More players join after after the main poly-synth enters (~1:04), and next a violin (presumably Galya Bisengalieva) joins the lower strings (1:09) and begins to play the sparse high notes which have become an essential characteristic of the more melancholiac tracks on Jonny’s recent scores. Total, there seem to be about four-to-six total string players. The two cellos are evident at 3:48, and a second violin panned alternate to the first trades notes with it. The occasional F’s of middling pitch might be played either by violas or by the violins. The strings serve only as an accompaniment on this track, but their sparse, delicate notes – best heard after the main synth delivers its final note (3:44) – provide a wistful edge to the track.

Each string player switches between only a few notes over the course of the piece, and they seem to do so without any clear pattern. Based on Jonny’s recent compositions, which make heavy use of aleatoric writing, it’s likely that each player is given a few options to choose from for each note. For example, the principal violin primarily plays D’s and G’s, but occasionally C’s and F’s are employed as well. It’s likely that Jonny offered all four notes as options, perhaps providing a choice of two for a given measure. This would explain why the violin sometimes leaps up to G from D, other times leaps down from G to D, and sometimes simply holds the high G for double the duration.

Both Robert Ames (viola and co-director, left) and Galya Bisengalieva (principal violin, right) are key players in the sound of this track, and the YWNRH soundtrack as a whole (photo by Isabel Thomas). 

Instruments

As was already suggested by Jonny’s performances of Sandy’s Necklace (originally “Microtonal Shaker”) and other pieces with the LCO, the thick, rich “humbucker” timbres employed across the YWNRH soundtrack confirm that his primary guitars were his 70′s Gibson Led Paul Standard and his vintage Fender Starcaster. While Jonny’s old Telecaster Plus also offers a thick “humbucker” sound, its Lace Sensor pickups have a more even/neutral and slightly “compressed” sound compared to deep, punchy sound of Led Paul pickups, or to the open, chiming sound of Starcaster pickups. The brighter sound of the Starcaster seems to feature on the soundtrack’s more intricate songs, such as Tree Strings and Nina Through Glass, while the punchier Les Paul seems to feature on more aggressive tracks like Sandy’s Necklace and Dark Streets (Reprise). In the case of Tree Synthesisers, the Starcaster seems the more likely option.

Jonny’s Fender Starcaster (left) and Gibson Les Paul (right) have been his primary guitars for work outside of Radiohead since around 2011. Photo is from Jonny’s performance of Electric Counterpoint at the Barbican Center in 2014.

Unlike the guitar, it’s hard to gauge which synths Jonny may have used on this track. The initial trills could have been created with anything, even Jonny’s ondes Martenot or Ondomo. The later synth must be a rich analog synth of some kind, but this could be anything from a Dave Smith synth to a patch on Jonny’s modular. There’s definitely a sub-oscillator used for the bass voice, so the Dave Smith Tetra which Jonny had on the 2012 tour is a likely option. It offers a sub-oscillator per voice, and allows a unique patch per each of its four voices: that could explain why the sub-oscillator is only present on the bass voice. Of course, Jonny also could have multi-tracked the synth. The sound of its filter can best be heard when the extra higher voice joins in (3:32), and its resonance is noticeably different from the filter on Jonny’s Minimoog Model D, for example.

For the score of YWNRH, Jonny mentioned working both with a full orchestra, and with a smaller group of string players at Radiohead’s studio. One can hear a similarly sized ensemble on Playground (Bass Clarinet), particularly when the other sounds drop out near the end of the track, and YWNRH also features a fairly small ensemble (the extra definition of the small ensemble adds an extra edge to the dense orchestral writing on that track).

Jonny’s Dave Smith Instruments Tetra can be seen below and to the right of his laptop in this crop of a photo, which was taken by Jonny during Radiohead’s soundcheck for their 2012 performance in Taipei (deadairspace).

[vaibhav313]

Things you should know about types of guitars

Playing various guitars at the music store is an incredible method for really getting to know the interesting characteristics of each model, however remember to remove any things that could scratch the guitar. A music merchant will allow you to give a shot however many guitars as you need, yet probably won't be excessively content with the little scratches left on your jacket's buttons. Your decision of guitar will typically be founded on the kind of music you need to play and the stylish allure of the shading and plan. Here is the list of Different Type Of Guitars.

 Acoustic guitar

There are two sorts of acoustic guitars: in particular, steel-string acoustic guitars and old style guitars. Steel-string acoustic guitars produce a metallic sound that is a particular part of a wide scope of well known styles. Steel-string acoustic guitars are here and there alluded to as level tops. The word top alludes to the face or front of the guitar, otherwise called the table. Traditional guitars have a more extensive neck than steel-string guitars and are joined to nylon strings. They are fundamentally connected with solo traditional guitar collection. Old style guitars are some of the time alluded to as Spanish guitars in acknowledgment of their nation of beginning.

 Electric guitar

Electric guitars are strong bodied guitars intended to be connected to an enhancer. The electric guitar creates a metallic sound with a long rot when enhanced. The state of an electric not entirely set in stone by the requirement for a profoundly full body and this has prompted the advancement of the formed and more slender bodied electric guitar. The two most well known plans are the Fender Stratocaster and the Gibson Les Paul.

Electric guitar strings are more slender and nearer to the neck than acoustic guitar strings and thusly require less power to squeeze them down. The straightforwardness with which you can twist the strings, clear admittance to the twelfth position, the utilization of a whammy bar and the control of pots and switches while playing have fostered a lead guitar style that is novel to the instrument. Do you know about the Factors of 13?

 Electro-acoustic guitar

Electro-acoustic guitars are ordinarily alluded to as semi-acoustic guitars. Electro-acoustic guitars have pickups that are explicitly intended to replicate the unobtrusive subtleties of acoustic guitar tone. Electro-acoustic pickups are intended for unbiased sound with little variety in acoustic tone. The Ovation scope of electro-acoustic guitars highlights under-the-saddle piezo pickups and an engineered bowl-back plan. The engineered bow-back guarantees an extreme development that faces the cruelty of the street while offering low responsiveness at high volumes. Applause was quick to give on-board evening out and this is currently a standard element. The Taylor electro-acoustic reach uses customary all-wood development and the neck of these guitars has gained notoriety for incredible activity and playability. Yamaha, Matton and numerous different organizations make electro-acoustic guitars and purchasers are encouraged to test various models in view of turned off and intensified sound and make the most that they would be able.

 Twelve stringed guitar

The twelve-string guitar is a straightforward variety of the normal six-string plan. The twelve-string guitar has six customary strings and a second arrangement of more slender strings. Each string in the subsequent set relates to the note of its standard string partner. The strings structure matches thus you play a twelve-string guitar the same way you would a standard six-string guitar.

Twelve-string guitars will quite often deliver a more brilliant and more jostling tone than six-string guitars. They are involved by guitarists for harmony movements that require thickness. The twelve-string is utilized basically as a percussion instrument, as there is extra exertion engaged with playing lead guitar utilizing matched strings. Twelve-string guitars have twelve tuning stakes and twofold bracket poles and are somewhat more costly than their individual six-string form.

 Archtop guitar

The archtop is an empty or semi-empty steel-string acoustic or electric guitar. The cut top, alongside the violin-style F-opening and interior sound-block, makes a tone that is acoustic and sweet. These two variables have made arctops a firm #1 with jazz guitarists.

Acoustic and electric archtops are comparable in plan, with the main contrast being the expansion of electro-attractive pickups and pots. Archtops can be either full-bodied or thinline. The full-body archtop holds great volume and acoustic reverberation when turned off, in spite of the fact that criticism can be an issue when enhanced. The slender line body limits the reaction by forfeiting acoustic volume and reverberation.

The archtop is one of the prettiest guitar plans out there, and makers by and large stick to exceptionally exclusive expectations of construct and playability. These elements guaranteed its proceeded with fame with guitarists.

[theultimatefan]

Joe Bonamassa Launches NFT Of “One Song Record Company”

Blues rock hero Joe Bonamassa is partnering with Heritage Auction House to announce a game-changing NFT collection that stands to reshape the music industry forever by tokenizing the original master and publishing rights to a brand-new song titled "Broken Record." This lot is truly unprecedented as the chart-topping guitarist is the first artist in music to sell his publishing in an NFT as part of this digital + physical collection, which also features his own “Holy Grail” 1959 Gibson Les Paul Sunburst guitar and 1963 Fender Vibroverb amp that were used to record the song. The auction is set for July 31. Bonamassa calls this lot "the one-song record company" because it totally transforms the way musicians can make a business from their intellectual property. Joe’s business partner Roy Weisman elaborates: “That is what this NFT concept gives artists — the opportunity to raise capital on an independent basis that will allow them to overstep the so-called gatekeepers of the music industry.” “One of the things that I like about being an independent artist is that Roy and I came up with this idea,” Bonamassa says. “We didn't have to run it up any sort of chain of command. It was like, let's do this because it feels right. And it's the next logical step in how independent artists are going to be on equal footing with major labels.” Weisman says “we’re now truly in a unique time in the music business where it is completely just supply and demand. People can find artists online anytime, people can buy their music, investors can invest in them with an artist having to go through that typical major label or even large independent label system that is heavily weighted against artists from the start.” This history-making auction from the music-business revolutionary is far from routine; then, nothing Bonamassa does is ever ordinary. Joe is breaking new ground in the music industry and playing by his own rules with this lot featuring highly collectible items, including not only some of the most prized musical instruments on the planet, but pairing them with a series of certificates of authenticity as cutting-edge non-fungible tokens (NFTs). The type of guitar has been used by rock royalty such as Keith Richards, Jimmy Page, Eric Clapton, Mike Bloomfield. The instrument with the “unmatched deep, throaty sound,” as David Schiller writes in his book Guitar, was the ax that built rock and roll. Non-fungible tokens are changing the business world and Bonamassa's clever use of the new technology is now allowing other artists to build what is their own business. Bonamassa's auction is unique and stands to reshape how musicians make and sell their art. This incredible lot includes 13 items individually tokenized on the Ethereum blockchain. Each physical item will have a digital NFT component. This lot is a dream come true for any serious collector of vintage gear or NFT investor looking to diversify their portfolio. It should surprise no one who follows Bonamassa’s career that he’s leading this revolution. No guitarist has ever received as much coverage in the music and business media as the two-time Grammy Award nominee who has topped Billboard’s Blues chart 24 times – at only the age of 44, no less. Only last year, in fact, Forbes heralding the guitarist for “Taking Control Of His Business, Building A Brand And Investing In Himself.”Bonamassa, a wunderkind who opened for B.B. King when he was just 12 years old, learned early on never to trust the industry: His 2000 debut A New Day Yesterday, released on a Sony subsidiary, was a critical smash, with Billboard hailing the comer as “a bold talent who rises above narrow radio formatics.” Problem was that major labels have no time for bold talents who don’t get played on the radio. Bonamassa and Sony parted ways. For many musicians, that would have been the end of the story. For Bonamassa, it was only the beginning of the beginning: In 2002 the guitarist and his longtime manager and business partner Roy Weisman created J&R Adventures – a self-contained label, management, marketing and

concert promotion company. Which has meant that for the last 20 years, they haven’t had anyone looking over their shoulder, anyone telling them what to do or where to go, anyone telling them no. “We go against the grain by nature, and that's how we've been successful,” Weisman says. “I'm not really looking to get the input of the industry because quite frankly, I think the mainstream industry won't like independence. And with this auction, we’re going to show the world how to merge their copyrights, their intellectual property and sell it directly to an investor without a middleman like a major record company taking a major piece of the money and leaving them without any core assets. Now with the NFT, artists have an opportunity to build capital for themselves to then build what is their own business. And that is a beautiful thing. It's a game-changer.” The way both men tell it, the idea of selling the guitar and amp and the song in a single auction lot was an easy one, just another inevitable next step in the evolution of their revolution. It took Weisman and Bonamassa all of 20 minutes to settle on the concept and its eventual execution, which resulted in a full-blown studio session during which the guitarist recorded something of which he’s extraordinarily proud … which no one, outside of the winner, might ever hear. Joe explains “if three people hear the song and that’s it, I'm still proud of the work. If it’s licensed for film or TV and everybody hears the song, even better. But the fact of the matter is, I'm proud of the song whether three people hear it or 30 million hear it. It doesn't matter. My approach would not have changed.” “And in the end, we came to the conclusion that if we’re going to do this, let’s make a splash. This is going to be really cool.” ITEMS IN THIS LOT: 1 Vintage Guitar from Joe's Collection -1959 Gibson Les Paul Standard, Serial # 9 0346 1 Vintage Amp From Joe's Collection -1963 Fender Vibroverb, Serial # 00352 1 Original Song by Joe Bonamassa -Track name: "Broken Record" -Written and Produced by Joe Bonamassa -Mixed and mastered by Kevin Shirley -Executive Producer: Roy Weisman -(will include WAV file for digital playback and Master for Manufacturing) -Master Rights and Publishing included - Rules as stated on Agreement 4 Videos -1 Full Live Studio Performance Video -EPK Interview about Song -Guitar "Origin" Video -Amp "Origin" Video Original handwritten Lyric Sheet - Signed by Joe 1 Original Cover Art design -1500x1500 digital JPEG image -J&R Retains Copyright of the design, NFT owner CANNOT use for Merch or Commercial use 1 Joe Bonamassa Hand-Signed Lithograph -Exclusive cover art printed and Hand Signed by Joe (1 of 1 original) -Framed, 21-inch X 21-inch 4 Concert Tickets & 4 Meet & Greet Passes to One Joe Bonamassa Show every calendar year. - Tickets and M&G passes must be used for the same show. - Where Joe Bonamassa is the sole headline artist (no festivals or special events). - Only if there is a scheduled Meet & Greet for the applicable show. - For as long as and until Joe continues to actively tour. - All costs to attend the show (travel, accommodations, etc.) other than the tickets and passes are the responsibility of the NFT owner. 1 Digital Photo Book - Includes 6 photos of Joe (in the studio and with the guitar & Amp) - These will be delivered digitally as JPEGs. - NFT owner will not own copyright of images A Personal "Nerdville" Museum Tour and lunch with Joe Bonamassa - Choice of either Los Angeles or Nashville location - Date and Time Subject to Joe Bonamassa's Schedule - Tour for Purchaser and 1 guest (2 people MAXIMUM) - Lunch will follow the tour at Joe's residence - Subject to signature by Purchaser and guest of a confidentiality agreement - No filming or recording of any nature permitted - This is a ONE TIME ONLY event - All travel, accommodation and other expenses are the sole responsibility of the Purchaser TOKENIZED ITEMS: (13 Different Minted items) -Song -Guitar -Amp -Tickets and Meet & Greet -Nerdville Museum Tour and Lunch with Joe -Full

Music Video -EPK Video about Song -Guitar "Origin" Video -Amp "Origin" Video -Digital Cover artwork image -Litho Print -Hand-written Lyrics Page -Digital Photo Book

[guitarplanet]

The Gibson Les Paul Standard HP (High Performance) 2017 is the flagship model of the Gibson range. It is the full ‘bells & whistles’ model with the latest modern high-tech and luxury specs that you don’t get on the T (Traditional) version.

The Gibson Les Paul Standard HP 2017 has an exclusive AAAA Flamed Maple top (the T has AAA) combined with the new Nitro finish, premium chrome hardware and genuine Mother of Pearl inlays deliver the luxury. Hardware upgrades comes from the prominent use of aluminum, steel, and titanium hardware (replacing traditional Zamac). Another new upgrade is the sculpted Fast-Access heel for improved access to the upper frets which is married to the Soloist neck with an asymmetrical slim-taper profile and a compound radius fingerboard. The new revolutionary wiring system gives you a total of 150 different tonal variations. Another difference with the T is the HP has a higher output bridge pickup in the form of the Burstbucker Lead Pro + which is aimed at more contemporary high gain rock and metal players. You’ve also got a 5 position DIP switch that works alongside the coil-tappable pickups.

As is standard for the HP range, this guitar features the latest version of G-Force, Gibson’s self tuning mechanism. Also improved for 2017 – G-Force now is even smoother and quieter gears! The HP models all feature an adjustable titanium nut – (can be changed with an Allen key). It also acts as a zero fret so you get the tone of a fretted note on an open string. Finally there is the chrome knurled ‘UFO’ tone and volume knobs to top off the futuristic look.

Details & specs: http://www.guitar-planet.co.uk/gibson-les-paul-standard-hp-2017/

[thetonecontrol]

Ep. 96 - Complete Butt Blood 

Derek’s new Les Paul! 

Gibson 2018 Lineup (stab: mr Black Supermoon)

https://www.themusiczoo.com/blogs/news/gibson-usa-announces-2018-collections 

Now there’s a regular line and an HP line, so no more “traditional”, this feels better to me. 

HP’s feature coil splitting/reverse wind/pure bypass switching,etc, as well as G-Force robot tuners, titanium nut. Higher grade flame tops, different neck width, etc. Bad. 

HP Les Paul Standards don’t appear to have pickup height adjustment. Bad. 

New Les Paul classic features P90’s. Good

Other models are largely unchanged from 2017. Good

SG Special has mini humbuckers. Good. 

HP SG Standard also doesn’t appear to have pickup height adjustment. Bad

Moniker Guitars: The Rival Series (stab: JHS Twin Twelve)

https://www.gearnews.com/moniker-guitars-rival-series-hollow-offsets/ 

Hollowbody offsets!

Heavily routed guitar bodies with an acrylic top that functions as a loaded pickguard

Body is made from maple, bolt on neck 

The faceplate holds the pickups, bridge, pots, and switches. Sits flush on the body. 

Natural finish back and sides, pick your color based on the faceplate 

Black, white, gray, seafoam, peach, and cream 

https://shop.monikerguitars.com/product-category/rival-series/ 

$875

[maki-alk]

リンク

□Twitter→ @maki_alk

□YouTube→ goo.gl/knvhF4

□参加作品(Youtubeプレイリスト)→ https://youtube.com/playlist?list=PLncOfheLbiaZg7Bkf_pyHqtL4LwQAy1he&si=GumViwygvGpWG2N2

連絡先

makiguitar09@gmail.com

使用機材

□ギター

Fender Custom Shop / Stratocaster

Gibson Custom Shop / Les Paul 1957 Reissuue

G'7 Guitars / SSHストラトタイプ

T's guitars / DST-22 (HSHストラトタイプ)

Music Man / JP7 (7弦)

dragonfly / M-TEE (テレキャスタータイプ)

□アコースティックギター

Taylor / 310e

□ベース

Xotic / XJ-1T 5-string

□アンプ

Bogner / Ecstasy 101B

Diezel / Lil Fokker

Fractal Audio Systems / Axe-Fx II

□IFなどその他のハードウェア

Unversal Audio / OX

Antelope / Discrete 4

□ソフト音源,プラグインなど

PreSonus / Studio One Professional 3

Steinberg / Cubase Pro 12

Waves / Plutinum

iZotope / Ozone 9 Advanced, RX8 Standard, Neutron 3 Advanced

Native Instruments / KOMPLETE 11

Slate Digital / Steven Slate Drums 5

など

[theguitars]

David Keuning

David Keuning is the guitarist for the American rock band The Killers. He's the author of the song you know for sure!  Mr. Brightside.

Let's list all the guitars that David uses:

- Fender Starcaster 

- Ibanez Destroyer 

- Fender Stratocaster candy apple red 

- Red Epiphone G-400 used in the early days

- Gretsch White Falcon 

- Ebony Gibson Les Paul Custom 

- Gibson Les Paul Custom Electric Guitar

and i wanna stop!

Gibson! Today’s Les Paul Custom is based on the model from the mid-1950s, but with several modern appointments. The body is crafted with a hand-carved maple top, which is fitted to a body made from a solid piece of mahogany with strategically routed holes to lessen the weight of the guitar, resulting in a Les Paul with enhanced acoustic qualities and improved resonance.

I want to highlight special quotes of David:

I’m certainly not the only modern guitarist who does this, but one thing I try to do is avoid power chords and straight barre chords. I’m always looking for unusual voicings, and I try to be as inventive as I can without over-thinking it. I’ve actually noticed quite a few wrong versions of my guitar parts making the rounds as tablature and sheet music. “When You Were Young,” for example, is not this [plays F, Gm, Am and C as a 6th-string-root barre chord progression up the neck]. It’s this [plays a similar progression, re-voicing the chords with a sliding grip that has his thumb playing the root note, and the third and fourth fingers covering the 5th and octave on the A and D strings respectively, and the first string throughout.) 

I used a Gibson ES-335 for most of the sessions. On previous records we had tuned the guitars down a half-step to Eb [Eb, Ab, Db, Gb, Bb, Eb, low to high], but on this one we were mostly in standard tuning, and my 335 is the guitar that I keep in standard tuning live. That’s a nylon-string on “I Can’t Say,” and the prechorus of “Spaceman.” I prefer the sound of a nylon-string to a steel-string. Live, I thought of putting the acoustic guitar on the stand, but I opted to just play the parts on electric, at least for now. full

[slapthebass]

DIR EN GREY - DUM SPIRO SPERO - VANITAS (In studio footage)

Hands

Part 1 [Part 2]

[claudecorry]

Gibson Guitars Exits Bankruptcy With New Investor

Gibson Guitars Are Back Under The Condition Their CEO Was Removed

Back in May, we reported that Gibson Guitars filed for Chapter 11 bankruptcy and reached a $135 million restructuring agreement with senior secured note holders to pay back their bank loans, which the Chapter 11 filing reveals is around $500 million. Chapter 11 isn't necessarily a death sentence for a company, and in this case it wasn't. Bloomberg is reporting that private equity firm KKR & Co. is has stepped in to lead Gibson, but under the condition that CEO Henry Juszkiewicz be removed from the board. Gibson Guitars will relaunch in November with approximately 800 employees. Bloomberg also mentioned that KKR director Matthew Ross says the company's new board will be mostly guitarists. The closing paragraph to Bloomberg's article is also the most important, as they point out that Gibson hasn't fought the biggest battle yet – the customers.

Gibson Guitars will have about 800 employees under a new CEO who hadn’t been formally named as of yesterday. The goal now is to convince Gibson’s most loyal customers that a financial player like KKR will protect a company long associated with the birth of rock and roll through its development of the electric guitar. I would like to think Gibson guitars could restructure and do well for themselves, but if they're just going to keep rolling out the same handful of models they've been rolling out for decades now, they're going to slowly but surely sink once more.

Products from Amazon.com

Gibson USA LPTDM15ANNH1 Les Paul Traditional Mahogany Top Solid-Body Electric Guitar, Antique Natural Price: $2,579.77

Epiphone Les Paul STANDARD PLUS-TOP PRO Electric Guitar with Coil-Tapping, Heritage Cherry Sunburst Price: $599.00 ‹ › jQuery(document).ready(function() { var CONSTANTS = { productMinWidth : 185, productMargin : 20 }; var $adUnits = jQuery('.aalb-product-carousel-unit'); $adUnits.each(function() { var $adUnit = jQuery(this), $wrapper = $adUnit.find('.aalb-pc-wrapper'), $productContainer = $adUnit.find('.aalb-pc-product-container'), $btnNext = $adUnit.find('.aalb-pc-btn-next'), $btnPrev = $adUnit.find('.aalb-pc-btn-prev'), $productList = $productContainer.find('.aalb-pc-product-list'), $products = $productList.find('.aalb-pc-product'), productCount = $products.length; if (!productCount) { return true; } var rows = $adUnit.find('input').length && parseInt($adUnit.find('input').val(), 10); var columns = $adUnit.find('input').length && parseInt($adUnit.find('input').val(), 10); if( columns ) { var productContainerMinWidth = columns * (CONSTANTS.productMinWidth + CONSTANTS.productMargin) + 'px'; $adUnit.css( 'min-width', productContainerMinWidth ); $productContainer.css( 'min-width', productContainerMinWidth ); $products.filter( ':nth-child(' + columns + 'n + 1)' ).css( 'clear', 'both' ); } if (rows && columns) { var cutOffIndex = (rows * columns) - 1; $products.filter(':gt(' + cutOffIndex + ')').remove(); } function updateLayout() { var wrapperWidth = $wrapper.width(); var possibleColumns = columns || parseInt( wrapperWidth / (CONSTANTS.productMinWidth + CONSTANTS.productMargin), 10 ); var actualColumns = columns || possibleColumns /** * The actual columns can be zero when the wraperwidth is less than sum of CONSTANTS.productMinWidth and * CONSTANTS.productMargin.The parseInt will use floor function and converts any value less than 1 to * zero.Therefore making actual columns 1 . **/ if( actualColumns == 0 ) { actualColumns = 1; } var productWidth = parseInt( wrapperWidth / actualColumns, 10 ) - CONSTANTS.productMargin; $products.css( 'width', productWidth + 'px' ); /** * Removing the Carousel navigation button when the number of products selected by admin is less * than the actual columns (the number of products) can be shown on screen **/ if( productCount > actualColumns ) { $btnNext.css( 'visibility', 'visible' ).removeClass( 'disabled' ).unbind( 'click' ); $btnPrev.css( 'visibility', 'visible' ).removeClass( 'disabled' ).unbind( 'click' ); } $productContainer.jCarouselLite( { btnNext : '#' + $adUnit.attr( 'id' ) + ' .aalb-pc-btn-next', btnPrev : '#' + $adUnit.attr( 'id' ) + ' .aalb-pc-btn-prev', visible : actualColumns, circular: false } ); } updateLayout(); jQuery(window).resize(updateLayout); }); }); /*! * jCarouselLite - v1.1 - 2014-09-28 * http://www.gmarwaha.com/jquery/jcarousellite/ * Copyright (c) 2014 Ganeshji Marwaha * Licensed MIT (https://github.com/ganeshmax/jcarousellite/blob/master/LICENSE) */ !function(a){a.jCarouselLite={version:"1.1"},a.fn.jCarouselLite=function(b){return b=a.extend({},a.fn.jCarouselLite.options,b||{}),this.each(function(){function c(a){return n||(clearTimeout(A),z=a,b.beforeStart&&b.beforeStart.call(this,i()),b.circular?j(a):k(a),m({start:function(){n=!0},done:function(){b.afterEnd&&b.afterEnd.call(this,i()),b.auto&&h(),n=!1}}),b.circular||l()),!1}function d(){if(n=!1,o=b.vertical?"top":"left",p=b.vertical?"height":"width",q=B.find(">ul"),r=q.find(">li"),x=r.size(),w=x0?z-b.scroll:z+b.scroll)}),b.auto&&h()}function h(){A=setTimeout(function(){c(z+b.scroll)},b.auto)}function i(){return s.slice(z).slice(0,w)}function j(a){var c;a=y-w+1&&(c=a-x-b.scroll,q.css(o,-(c*t)+"px"),z=c+b.scroll)}function k(a){0>a?z=0:a>y-w&&(z=y-w)}function l(){a(b.btnPrev+","+b.btnNext).removeClass("disabled"),a(z-b.scrolly-w&&b.btnNext||).addClass("disabled")}function m(c){n=!0,q.animate("left"==o?{left:-(z*t)}:{top:-(z*t)},a.extend({duration:b.speed,easing:b.easing},c))}var n,o,p,q,r,s,t,u,v,w,x,y,z,A,B=a(this);d(),e(),f(),g()})},a.fn.jCarouselLite.options={btnPrev:null,btnNext:null,btnGo:null,mouseWheel:!1,auto:null,speed:200,easing:null,vertical:!1,circular:!0,visible:3,start:0,scroll:1,beforeStart:null,afterEnd:null}}(jQuery);

Gibson USA LPTDM15ANNH1 Les Paul Traditional Mahogany Top Solid-Body Electric Guitar, Antique Natural Price: $2,579.77

Products from Amazon.com

Gibson SG Standard 2018, Ebony Price: $2,289.55

2007 Gibson SG Standard Cherry Price: Check on Amazon

2015 Gibson SG Special in Heritage Cherry Price: Check on Amazon

2015 Gibson SG Special in Fireburst Price: Check on Amazon ‹ › jQuery(document).ready(function() { var CONSTANTS = { productMinWidth : 185, productMargin : 20 }; var $adUnits = jQuery('.aalb-product-carousel-unit'); $adUnits.each(function() { var $adUnit = jQuery(this), $wrapper = $adUnit.find('.aalb-pc-wrapper'), $productContainer = $adUnit.find('.aalb-pc-product-container'), $btnNext = $adUnit.find('.aalb-pc-btn-next'), $btnPrev = $adUnit.find('.aalb-pc-btn-prev'), $productList = $productContainer.find('.aalb-pc-product-list'), $products = $productList.find('.aalb-pc-product'), productCount = $products.length; if (!productCount) { return true; } var rows = $adUnit.find('input').length && parseInt($adUnit.find('input').val(), 10); var columns = $adUnit.find('input').length && parseInt($adUnit.find('input').val(), 10); if( columns ) { var productContainerMinWidth = columns * (CONSTANTS.productMinWidth + CONSTANTS.productMargin) + 'px'; $adUnit.css( 'min-width', productContainerMinWidth ); $productContainer.css( 'min-width', productContainerMinWidth ); $products.filter( ':nth-child(' + columns + 'n + 1)' ).css( 'clear', 'both' ); } if (rows && columns) { var cutOffIndex = (rows * columns) - 1; $products.filter(':gt(' + cutOffIndex + ')').remove(); } function updateLayout() { var wrapperWidth = $wrapper.width(); var possibleColumns = columns || parseInt( wrapperWidth / (CONSTANTS.productMinWidth + CONSTANTS.productMargin), 10 ); var actualColumns = columns || possibleColumns /** * The actual columns can be zero when the wraperwidth is less than sum of CONSTANTS.productMinWidth and * CONSTANTS.productMargin.The parseInt will use floor function and converts any value less than 1 to * zero.Therefore making actual columns 1 . **/ if( actualColumns == 0 ) { actualColumns = 1; } var productWidth = parseInt( wrapperWidth / actualColumns, 10 ) - CONSTANTS.productMargin; $products.css( 'width', productWidth + 'px' ); /** * Removing the Carousel navigation button when the number of products selected by admin is less * than the actual columns (the number of products) can be shown on screen **/ if( productCount > actualColumns ) { $btnNext.css( 'visibility', 'visible' ).removeClass( 'disabled' ).unbind( 'click' ); $btnPrev.css( 'visibility', 'visible' ).removeClass( 'disabled' ).unbind( 'click' ); } $productContainer.jCarouselLite( { btnNext : '#' + $adUnit.attr( 'id' ) + ' .aalb-pc-btn-next', btnPrev : '#' + $adUnit.attr( 'id' ) + ' .aalb-pc-btn-prev', visible : actualColumns, circular: false } ); } updateLayout(); jQuery(window).resize(updateLayout); }); }); /*! * jCarouselLite - v1.1 - 2014-09-28 * http://www.gmarwaha.com/jquery/jcarousellite/ * Copyright (c) 2014 Ganeshji Marwaha * Licensed MIT (https://github.com/ganeshmax/jcarousellite/blob/master/LICENSE) */ !function(a){a.jCarouselLite={version:"1.1"},a.fn.jCarouselLite=function(b){return b=a.extend({},a.fn.jCarouselLite.options,b||{}),this.each(function(){function c(a){return n||(clearTimeout(A),z=a,b.beforeStart&&b.beforeStart.call(this,i()),b.circular?j(a):k(a),m({start:function(){n=!0},done:function(){b.afterEnd&&b.afterEnd.call(this,i()),b.auto&&h(),n=!1}}),b.circular||l()),!1}function d(){if(n=!1,o=b.vertical?"top":"left",p=b.vertical?"height":"width",q=B.find(">ul"),r=q.find(">li"),x=r.size(),w=x0?z-b.scroll:z+b.scroll)}),b.auto&&h()}function h(){A=setTimeout(function(){c(z+b.scroll)},b.auto)}function i(){return s.slice(z).slice(0,w)}function j(a){var c;a=y-w+1&&(c=a-x-b.scroll,q.css(o,-(c*t)+"px"),z=c+b.scroll)}function k(a){0>a?z=0:a>y-w&&(z=y-w)}function l(){a(b.btnPrev+","+b.btnNext).removeClass("disabled"),a(z-b.scrolly-w&&b.btnNext||).addClass("disabled")}function m(c){n=!0,q.animate("left"==o?{left:-(z*t)}:{top:-(z*t)},a.extend({duration:b.speed,easing:b.easing},c))}var n,o,p,q,r,s,t,u,v,w,x,y,z,A,B=a(this);d(),e(),f(),g()})},a.fn.jCarouselLite.options={btnPrev:null,btnNext:null,btnGo:null,mouseWheel:!1,auto:null,speed:200,easing:null,vertical:!1,circular:!0,visible:3,start:0,scroll:1,beforeStart:null,afterEnd:null}}(jQuery); Learn More At Gibson Guitars are back in business with a new CEO and around 800 employees The post Gibson Exits Bankruptcy With New Investor Under The Condition Their CEO Was Removed appeared first on Metal Injection. Read more: metalinjection.net Read the full article

[generouspolicellama-blog]

Comment on Gibson USA Les Paul Standard T 2017 Electric Guitar, Bourbon Burst by John G The post Comment on Gibson USA Les Paul Standard T 2017 Electric Guitar, Bourbon Burst by John G appeared first on - .