TECH TIPS

Observação e Improvisação!

2012-01-31T17:53:00.000-08:00

Um dos lugares mais legais com muita coisa inspiradora e dignas de gambiarras maravilhosas, são as papelarias. Outro dia fiquei horas dentro da Kalunga - que é uma megaloja de informática, papelaria e artigos de escritório. A papelaria Universitária também é outro lugar sensacional...onde vez ou outra deixo alguns dinheiros em troca de traquitanas.

Bom, na Kalunga, minha real intenção era apenas comprar etiquetas e uma fita vermelha demarcadora de piso. Mas como num supermercado....muitas vezes, a gente anda, olha, anda, olha, anda, olha, anda, olha e começa a comprar!

E foi assim que comprei esse kit para montar 5 pastas com: suporte de canaleta tamanho A4 com capas de plástico (polipropileno) - excelentes para classificar, proteger e apresentar documentos, relatórios e trabalhos digitados. Vocês devem estar pensando: bom...o Henry é luthier e técnico de palco, mas é professor de luthieria e dá cursos...provavelmente utilizará essas pastas na escola para apresentar trabalhos didáticos! Será???

Sim, com certeza...pensei um pouco nisso! Mas NÃO é bem assim...Minha ideia era outra, completamente diferente. Mas eu não sabia se encontraria esse kit na papelaria.

Mas encontrei e acabei comprando meia dúzia de kits! E vocês devem estar pensando: legal, o Henry vai montar uma apostila nova para o curso de formação para técnicos de palco e roadies!
Resposta: sim, já fiz uma apostila totalmente nova. Mas na verdade, estou pensando em outra coisa!
Bom, olha as canaletas que vieram neste kit das pastas. São peças mistas de várias cores e de formato triangular. Basta inserir a pasta de plástico na minúscula fenda na ponta do triângulo da canaleta e pronto!

Além dessas peças de cores mistas, comprei um pacote de 50 canaletas avulsas de cor preta por 19 reais. A propósito, o preço desse kit misto é de 7, 50 reais.

Pois é, o que significam essas canaletas coloridas de pasta junto com essas algemas de plástico coloridas? Então...será que o Henry vai utilizar isso para alguma outra coisa?
Está evidente que sim...é justamente a ideia que tive outro dia! Mas não sabia se daria certo. E até hoje, não vi algo semelhante. Mas logo depois que surgiu essa possibilidade, lembrei que tinha visto algo na Kalunga que poderia servir para tal propósito! Vocês devem estar pensando: ixi, o Henry vai fazer alguma gambiarra pra usar esse material! BINGO!

Por isso que digo: sempre bom reparar nas coisas. Um dia, você vai se lembrar e pode ser que sirva para o que você está querendo!
Nesta foto abaixo, utilizei as algemas para fazer a fixação das canaletas! Ué???? fixar as canaletas onde??? Pois então, as canaletas amarela e vermelha fixadas em algo preto???

Sim, esse "algo preto" é a base superior de um pedestal de microfone. Fixei duas canaletas de cada lado utilizando duas algemas de plástico nas extremidades.

Agora sim hein! Ficou fácil de saber do que se trata! Olha a foto abaixo! As canaletas de pasta se transformaram em suportes de palhetas para guitarristas e baixistas!

Como disse anteriormente: comprei um pacote com 50 canaletas pretas avulsas. Mas resolvi comprar as canaletas coloridas para tirar as fotos para o blog - para facilitar a visualização! Como as canaletas pretas se confundiriam com o suporte do pedestal do microfone (que também é preto), resolvi utilizar canaletas coloridas. E olha que eu curti as amarelas,vermelhas e azuis!

Nesta foto abaixo, coloquei várias palhetas de medidas de espessura diferentes, tamanhos diversos e formatos variados. Ou seja, a canaleta suporta e fixa palhetas de dimensões diferentes. Na verdade, a maioria dos guitarristas e baixistas utilizam sempre palhetas de padrões iguais!

Na foto seguinte, palhetas brancas inseridas na canaleta preta fixada no pedestal de microfonação do amplificador. As canaletas avulsas que comprei são um pouco menores que as coloridas, mas funcionaram perfeitamente!

Nesta foto abaixo, usei uma fita crepe azul da scotch para fixar a canaleta com as palhetas no cabeçote. .

Outra foto com diferente perspectiva do suporte de palhetas.

E aqui na foto seguinte, o suporte de palhetas da Dunlop, que custa em média de 15 a 20 reais no mercado. O referido suporte agrega até 6 palhetas perfiladas.

O meu suporte improvisado agrega até 10 palhetas perfiladas e o pacote com 50 canaletas custa 19,90. Uma média de quase 4 centavos cada canaleta + custo de 2 algemas de plástico. Ou seja, ainda é BEM mais barato que o suporte da Dunlop!

Um detalhe: em vez das algemas de plástico, o roadie pode utilizar Silver Tape, Gafer Tape ou espuma dupla face para fixação das canaletas. Mas eu prefiro as algemas plásticas. As fitas ou espuma dupla face deixam a "gosma" do adesivo no pedestal.
Dica de hoje:
Bom, eu sou "daqueles" que compram coisas e a deixam guardadas! Um belo dia, descubro uma maneira de utilizá-las, em prol de algo relacionado a luthieria, ao trabalho de palco ou para minha vida pessoal!
Estou sempre "olhando as coisas"...entro nas lojas de miudezas, loja de presentes, loja de cacarecos, loja que...as vezes, não tem nada a ver comigo...olho tudo. Um dia, se você tem uma ideia e precisa de um dispositivo ou algo que possa ajudá-lo a executar algo - você vai se lembrar de alguma coisa que viu! De alguma coisa que poderá utilizar! É o improviso consequente da constante observação!
E a ficha nunca cai na primeira vez. Por isso, tem que ser persistente. Criatividade nasce com poucos indivíduos! E como eu não fui privilegiado com isso - tenho meu esquema, meu jeito! Encontre a sua receita também! Abrax!

Roadies = Edward Mãos de Tesouras?

2012-01-30T05:03:00.000-08:00

Multímetro é um equipamento que mede grandezas elétricas e grandezas eletrônicas, utilizado pela maioria dos técnicos do ramo. Pois é, antes que me perguntem...eletricidade e eletrônica são basicamente a mesma coisa, o que as difere: são as grandezas (as medidas).

Voltando ao assunto...o multímetro é também um aparelho importante para o luthier e imprescindível para técnicos de palco e roadies!

Eu tenho um multímetro mais sofisticado para minha bancada e levo dois multímetros compactos para trabalhos de campo (palcos e eventos). Todos são digitais alimentados por bateria de 9 volts.

Para quem não sabe, o multímetro agrega dois condutores que possuem nas extremidades ponteiras de metal que são utilizadas para medição. Minha dica é com relação a elas! Substitua uma das ponteiras por um "jacarezinho" - que é nada mais que um pregador de metal.

Na bancada do luthier, não é necessário porque eventualmente temos que encontrar um "curto" ou checar a cadeia de sinal num circuito. Neste caso, as ponteiras são mais eficientes. Mas na estrada trabalhando como técnico - segurar as duas ponteiras, e às vezes, segurar também a peça, cabo ou componente é um malabarismo exacerbado!

Na foto abaixo, os multímetros: o amarelo mantido com ponteiras originais e o preto com uma das ponteiras substituidas pelo jacarezinho.

Utilizando o suporte para soldar a malha do condutor ao jacarezinho.

Soldagem feita!

Para medir componentes, o suporte também ajuda...mas com o jacarezinho fixado em um dos terminais facilita bem mais! Na foto abaixo, medição de um potenciômetro de 500 Kohms.

Na foto abaixo, fixei o jacarezinho em outro jacaré maior para checar o cabo P-10! Uma das mãos segurando o cabo com a ponteira e a outra dando "click" na câmera"!!!

Outra foto da dupla: o jacaré e o jacarezinho!

É uma dica simples que diminui os "malabares"...principalmente porque muita gente acha que roadie é como Edward Mãos de Tesouras!

Novo suporte para soldagem de cabos e componentes!

2012-01-28T11:31:00.000-08:00

Quando vocês olharem, vão perguntar...mas que porra é essa? Um pedaço de MDF quadradinho com dois pregadores de madeira? Sim, a sensação visual não é muito boa!
Esta traquitana surgiu no Japão, época que trabalhei em loja de instrumentos musicais, a DR SOUND, pertencente a rede Kurosawa Music Shop. É uma história um pouco longa, mas vamos lá...
Meu gerente, Imaisan, resolveu consertar uns cabos que utilizávamos para testar instrumentos. O referido não era propriamente habilidoso com as mãos e logo essa incumbência passou para quem vos fala.
Bom, terminei em minutos e na semana seguinte, pediram ao Imaisan uma indicação - de alguém que pudesse ser técnico de cordas na loja da matriz, num evento onde estaria presente o guitarrista japonês Rei Ohtani. O gerente me indicou e foi provavelmente meu primeiro trabalho como roadie.
Argumentei na hora que meu japonês não era assim tão fluente e que nunca tinha feito algo similar em termos de trabalho. Imasan apenas disse: eu entendo você perfeitamente falando...muito mais que alguns japoneses que trabalham aqui! E quem "manja" de regulagem e solda cabos rápido, é "roadie de nascença".
Depois dessa, só me restou pegar uma sacola de plástico, encher de ferramentas e ir pra matriz. Era uma demonstração de produtos da Maxon (pedais de efeitos). Não tinha muito que fazer. Não tinha palco, apenas um lugar num canto da loja com um banquinho, duas guitarras (1 Greco preta Les Paul e uma Greco Ikebe Custom azul), um cabeçote Marshall JCM800, uma caixa Soldano verde e um show room com os pedais. Logo que cheguei, me apresentaram a ele. Peguei as guitarras e fui afiná-las e preparar os pedais, playbacks e levei algumas latinhas de chá para deixar perto dele. Loja vazia de gente, atrasaram o horário do evento. Sorte minha, resolvi fazer um checkline para saber se o sinal estava em ordem. Tudo certo, mas um dos cabos estava com mal contato.Peguei um cabo da própria loja e comecei a consertar o do guitarrista. Neste ínterim, começa o evento...a cena é dantesca: eu sentado no chão num cantinho apertado, me matando pra soldar um maldito cabo e prestando atenção no músico. Ou seja, um olho no gato e outro no peixe! Não tinha onde apoiar o ferro de solda, não tinha como segurar o plug do cabo, segurar o soldador e segurar a solda, tudo simultaneamente! Olhei pro lado e tinha uma lata de chá vazia, foi onde enfiei o ferro de solda. Respirei fundo e consegui soldar um dos lados do cabo. Resolvi olhar o lado oposto que funcionava normal, mas estava ruim também! Quando terminei, o guitarrista pede o cabo porque queria ficar de pé. O cabo consertado era bem mais comprido e funcionou até o final! Foram 3 músicas, um pouco de "blá blá blá" e termina o evento. Arrumei as coisas, me despedi de todos e no trem de volta para minha loja - já estava pensando num dispositivo.
Dia seguinte, trouxe um pacote pregadores comprados numa loja de 100 yens e cortei um pedaço de madeira quadrado....assim surgiu esse "SUPORTE DE SOLDAGEM DE CABOS"

Nesta foto, dá pra ter uma ideia do dispositivo! Simples, pequeno e funcional. Fiz apenas uma ferramenta e ficava na minha bancada. Depois fiz um suporte menor com um "jacarezinho" de multímetro preso num arame flexível. Também funcionava bem!
Quando voltei para o Brasil e comecei a trabalhar em shows, voltei a utilizar a versão do primeiro suporte. O das fotos acima, está comigo desde 1999! E toda vez, roadies ou técnicos me perguntam, mas o que é isso? Dei um desses pro roadie Asti do Cradle Of Filth em 2001, quando trabalhei para eles. O próprio Christofer Johnnson da banda Therion me pediu também - quando fui no hotel consertar o headstock da Gibson dele que quebrou no vôo para São Paulo.
Quando dei um curso de técnicos de palco e roadies na extinta Companhia da Música, todos os alunos faziam um suporte similar em aula. E um sem número de amigos, alunos e conhecidos copiaram esse suporte. Importante lembrar que ferramenta para roadie tem que ser pequena, compacta e multifuncional. De tanto que copiaram, resolvi fazer um novo suporte com mais uma função. Peguei um retalho de madeira Tauari (que utilizo para fazer braços na escola de luthieria) e cortei nas seguintes dimensões:
140 mm de comprimento x 92 mm de largura e 17mm de espessura.

Dei acabamento na lixadeira e arredondei as laterais com uma lixa de massa numeração 220.

Eu prefiro os pregadores de madeira. Os de plástico não são ruins mas quebram com facilidade. E em contato eventual com o calor, derretem. Usei a mini retífica da Dremel e uma furadeira de bancada para fazer as furações.

Importante fazer as marcações primeiro e furar tudo antes de montar as partes.

Os pregadores de madeira são desmontáveis, rebaixe a cavidade dos parafusos, parafuse e depois monte novamente os pregadores.

Essa é a inovação nesta nova versão do suporte. Compre uma trena de medida (dessas bem baratas) que possuem o gancho para fixação no cinto da calça. Retire o gancho da trena.

Eu usei um parafuso de 10mm de comprimento e duas arruelas para fixar o gancho no base do dispositivo.

Veja na foto acima, a posição ideal do gancho fixado no suporte.

E aqui (foto acima), o suporte que tenho utilizado normalmente em shows para o ferro de soldar. Um trambolho que já estava me incomodando. Além de grande, é o tipo de coisa que não entra direito dentro da mala - não tem posição, não tem lugar que o deixe bem encaixado. Agora vai ficar em casa!

Aqui, nessas fotos...o ferro de solda apoiado corretamente no novo suporte! E pode crer que aguenta a temperatura e a fixação é segura!

Uma foto macro para vocês notarem a ponta do ferro apoiada no gancho.

Um cabo prestes a ser soldado. O parafuso e a borboleta encaixados no furo da base do suporte são para travar o cabo. Utilizo um parafuso maior quando quero fixar a base numa mesa que já tenha uma cavidade para tal.
Espero que gostem! É uma ferramenta simples, mas funciona bem. Com esta nova versão, me livrei do suporte trambolho do ferro de soldar. Abri mais espaço na mala! Este dispositivo é a "Terceira Mão" quando você precisa soldar potenciômetros, jacks e outros componentes de parte elétrica de instrumentos.

Menos é mais!

2012-01-27T18:22:00.000-08:00

Curte tecnologia? Tem profissionais que a utilizam e outros que são tradicionalistas...Eu sou daqueles que parecem transitar de um lado para outro...mas tendenciando bastante para o lado tecnológico!

Uma vez estava no backstage ajudando os roadies do Savatage (eles tinham um laptop na época, 2001). Estava tudo na máquina: input list, rider, os samplers, procedimentos, etc...e o stage manager olhava pra mim, para o laptop e dizia: é o futuro! É a tecnologia! Pois é! o melhor jeito de prever o futuro é inventá-lo!

Laptops no palco e no backstage ainda reinam absolutos, mas os tablets estão chegando aos poucos e reforçam o lema: menos é mais! Quando a gente trabalha na estrada, não tem como levar "tudo". Em geral, optamos pelo mínimo indispensável. O laptop vai na bagagem de mão e trocá-lo por um tablet com a mesma performance, é abrir espaço para mais uma calça ou 2 camisetas pretas! Sim, tô falando sério!

Estou utilizando um tablet de 7 polegadas e entupi de programas: afinador digital cromático, gravador multipistas, backtracks, analisador de espectro, calculadora científica, drum kit, teclado virtual e tocadores de áudio. Ele funciona com sistema operacional Android e o editor de textos é bem decente. Armazeno arquivos como: riders, mapas de palco, set list, check list, input list, manuais de equipamentos, esquemas técnicos, diagramas e galeria de fotos.

E não faltam softwares usuais como GPS, mapas, programas de compartilhamento de informações (que indicam o que tem nas redondezas: bancos, restaurantes, lojas, serviços e etc...)que é ótimo quando estamos na estrada. Tem ainda previsão do tempo, trânsito e acesso as redes sociais, email, comunicadores....tudo via Wi-Fi ou 3G!

O HD externo para backup será dispensado em breve (o meu tem 2 partições). O pendrive e os cartões SD já estão em relacionamento sério com o tablet. Desta forma, sai o HD e abre vaga na mala para mais um par de meias! Sim, eu tô falando sério!
Comprei um Bluetooth USB Dongle - conversor para Bluetooth, do tamanho de uma unha de polegar. Ele não serve no tablet, mas em breve acharei um compatível com o Android. Ou seja, um cabo a menos na mala! E falando em bluetooth...esse protocolo vai substituir a maioria das conexões de áudio via cabo. Aliás, pude comprovar isso recentemente num evento corporativo. Ou seja, os cabos sempre existirão, mas o bluetooth deve diminuir a quantidade dos mesmos.
Já ouviu falar do iShower? Graças ao bluetooth, muita gente já toma banho escutando música debaixo do chuveiro - utilizando um controlador que edita ou executa funções do iPhone (via bluetooth). E as caixas de som também são acionadas, via idem! Com uma interface iRig MIDI e um iPhone, você pode até dispensar o tablet e abrir espaço na mala para mais uma camiseta preta! Sim, eu estou falando sério!

Bom, hoje comecei a arrumar minhas ferramentas e cheguei a conclusão que não cabem todas na minha mala (de ferramentas, diga de passagem). Estou reprojetando algumas e a regra do "menos é mais" vai ter que prevalecer. Pelo menos minha bagagem pessoal vai ficar mais leve por conta da tecnologia! Mesmo que digam que a humanidade está adquirindo toda essa coisa HI-TECH CERTA, mas para todas as razões ERRADAS! Sobre isso, eu não sei...mas tem facilitado minha vida...e olha que eu estou falando sério!

A Ferro e Luz!

2012-01-27T05:22:00.000-08:00

Reiniciando os trabalhos por aqui, quero mostrar um artificio simples mas extremamente útil para quem usa ferro de solda. No dia-a-dia, é fácil contar com a luz do próprio dia ou de uma luminária por perto. Mas num backstage escuro e apertado, atrás de um palco - onde nem sempre a luminária é benvinda, essa é uma improvisação bem legals.

Materiais:

- Ferro de solda de 60 watts com voltagem de 127 ou 220 volts ( eu tenho ambos, porque se você viajar 100 kilometros, já encontra voltagem diferente).

- Luminária portátil com base em formato de CLIP, escolha um modelo pequeno a qual seja possível separar a base (CLIP) da lanterna. Este modelo da foto custou 6 reais e utiliza 3 pilhas do tipo LR44.

- Travas ou algemas plásticas descartáveis pequenas.

Material separado.

Algemas plásticas fixando a base da lanterna (CLIP) no corpo do ferro de soldar.

Pronto! Coloque a lanterna na base(CLIP) e prontinha para usar!

A lanterna é móvel, ou seja, a parte de cima que é fixada ao CLIP gira para os lados e tem ajuste de altura.

Desta forma, é possível direcionar o feixe de luz. No Japão, eu utilizava um ferro de solda que já agregava um LED, alimentado pela próprio cabo de força do ferro (bastava acionar uma chave on/off). Mas esse referido ferro de soldar era de 100 volts (voltagem do Japão) - não o trouxe comigo!

No mercado, encontram se disponíveis pistolas de solda com luz, mas são enormes e os roadies necessitam de ferramentas compactas, mas eficientes. Esta é uma alternativa além de paliativa, uma boa solução!

Curtiu! Pois é, este ano estou voltando a dar o Curso de Técnicos de Palco e Roadies! Novidades em breve! Este blog consiste em complementar e atualizar todos os cursos que ministro.

Valews! Em breve mais gambiarras!

Marshall JCM800 Head REPLICA!

2011-02-06T19:01:00.001-08:00

It was time that I had no news of my friends, Robert Gabriel, Silmara and Iris ... ... all of Hobbertt Technology Company that sponsors me with guitar effects pedals! They came to visit me at my luthiery school!
And they brought me a replica of the legendary Marshall JCM800 head series for testing. The version is the JCM 800 2203, known as MK2.
It is also the version used by Zakk Wylde, with some additional increments.Roberto made some modifications to the original design on request! This one is custom made!

Specs
The HBT 800 model is 50-watts, 2 x SV6555 Svetlana power tubes, 3 x Sovtek 12 AX7 pre tubes, Trans hand-rolled by Hobbertt, the sockets are ceramic, the plate is in fiberglass, the circuit is point-to-point (PTP), glass panel with LED illumination (on request) or be a standard panel type. Like the current model of Marshall Zakk´s signature, this HBT 800 has PCI-loop circuit with bypass switch and level control signal. Fuses are individual for each power tube - which ensures greater safety and LED indicators, on failure of every tube. The switch impedance is 4ohms or 8 ohms. And any kind of change or “mod” can be request and made to the user.

Clean sound - very articulate and more bright than the original. And the simple reason for entering power tubes SV6555, which “spawn” more gain than the original EL34. I liked this channel. It is possible to play different styles with good sound options! The presence control is responsive! Effects like chorus, flanger, phaser, added on this channel is a fun! If you want to use distortion, always use high gain model!
Drive channel – it´s easy to find the Marshall´s DNA on this channel! I had a great time playing this amp and remembering my first JCM800 that I bought in Japan! This HBT800 is an excellent option for anyone who wants the classic Marshall taste!.... but adjust the treble and presence control in ZERO!!! ... just like that Marshall works without being nosy but ... Roberto can fix it (just ask a mod ... what it does).
A good overdrive pedal is enough to "push" to gain more playing heavy stuff ... or metal pop, hard rock, hard blues to extreme metal ... but the distortion of the channel itself is already pretty decent to make rhythm and soloing!!! For me, as I like a little more gain... a pedal drive is appropriate. The loop on the back is pretty cool ... is the modern look of the device, among other details. This configuration of power tubes rather reminded my Marshall Slash signature with KT-88 tubes. I liked a lot!!!! .... and I recommend!!!!!

More details and price conditions and payments:

hobbertt@hobbertt.com.br
www.hobbertt.com.br

Gary Moore 1952-2011 RIP!

2011-02-06T12:47:00.000-08:00

Unfortunately died on Sunday morning, the Irish guitarist Gary Moore. he seems to have been a heart attack during sleep. Gary was staying in a hotel in southern Spain.

He was a remarkable influence on many musicians like John Sykes, Vivian Campbell and one of the guitarists who influenced me the most ... especially during hard rock scene in the '80s.
I never had the opportunity to see him playing alive ... now he is playing with Ronnie James Dio, Phil Kennemore (Y & T), Pete Steele, Steve Lee(Gotthard) and other Bonhan as John, Tommy Bolin, Keith Moon ... Hendrix, Janis,Morrison ....
Rest in Peace Gary!

Happy New " Metal" Year - 2011

2011-01-01T08:20:00.000-08:00

Thanks to all who honor my work and my blog! Wish a Happy New " Metal" Year...always...all year...all day...

Glen Hughes Brazil Tour 2010

2010-12-01T05:23:00.000-08:00

More Info:

http://www.awo-mkt.com/glenn_hughes_27.html

Raven & Steve Grimmett Brazil tour 2010

2010-11-21T17:09:00.001-08:00

It was a long time since I left work at concerts. So recently I received an invitation, but I rejected to make a drum tech job for Raven and Steve Grimmett & band. For those who don’t know: Raven is a legendary British band formed in the '70s, which was devoted after the rise of heavy metal in the 80s in the NWOBHM. And Steve Grimmett was vocalist for bands such as Grim Reaper and Lionheart. Steve is another icon of the era.
I've done drum settings a few times and always found it "boring and tiring. And considering that there were two bands with an interval of half an hour, sharing the same drum kit - I wondered it would be like the hassle and rush! I declined and choosed my friend Saulo to replace me, who took the responsibility - would be the second international show for him (the first was with me when we did the bassist Magnus Rosen - former Hammerfall).
The invitation was made to me by a former student of my guitar craft school, Sylvia D'Antonio, - she would be a Guitar Tech of these bands ...
Well, everything was set. My friend Saulo was ready to do the job. After all, he’s Guitar Tech, but also knows the drum settings. All right, all settled between the parties, I was quiet ...
The show was a Saturday (day 13/11/2010 at Carioca Club). Friday night, I dropped the Saulo wishing "good luck" and despite having promised to appear on the show, I gave up going because of personal matters.
On Saturday morning I went to work very early and then when I turned on my cell phone, a couple text’s messages already indicated a setback with to the technical things of the gig. I called the producer Fernando Goulart from AWO promoters... and I got knowing that Sylvia (originally a Guitar Tech of those bands), failed to come to work in concert ....!!!
I had to make a few phone calls and ended up having to replace Sylvia go on the show. I was still in my school during the morning…after spent at home to get changed clothes and get the tool case, which is always ready for any emergency.
Well, the idea was to take an extra person to help us. I called my friend Paula, but she had an engagement. Paula would be nice because she know how to set up a drum, she is guitar “craftwoman”, speaks English and has no bad time for her ... So I had to decide: between calling someone without experience and work in just two techs- well…I decided just me and Saulo!!!
I've given a course of roadie and stage technicians for two years. And the rule is this: how to deal with the unexpected situations and solve problems. That in itself was an unanticipated and a problem. Yeah, I’m back on stage and backstage area again!

The Raven first came over the soundcheck. The guys are friendly and very humble. It is a pleasure to meet people like that. Mark and John hugged me when I told them they were revered in Japan The drummer Joe Hassalvander and Saulo began the drum settings . Saulo although not speak English very good, but he did well with hand gestures. We did the set up of the equipments and gear…I was in my makeshift table by adjusting Mark’ guitars, thinking…It will be a hard job!
Mark brought a couple detonated guitars! a Zoom pedal (for wah and delay only), an A / B box, a power amp by Rocktron, and pre amp rack by Mesa Boogie (Triaxis) and tuner rack from Behringher. He brought his own cables. Mark used two Marshall cabs of four available.
John Gallagher brought two instruments (the legendary red Explorer -and 8-string amazing bass). John uses a microphone for voice-type headset wireless system and also for your basses. He used the Ampeg SVT head with 4 x 10 cab. He brought a pedal Boss GT3 (delays and compressors) in the input of the amp and a rack of SansAmp PSA1 in the loop’s head. The signal is divided into two ways: one for Direct Box and another direct the input of amplifier.
Sound check was cool. The guys are badass! Mark asked me to fix some cables and Saulo memorized the drums setting and we were waiting for the sound checking the next band.
Steve and the band took a while, but when they arrived, we had to make changes on stage. Saulo and the drummer Andrew initiated the changes on drums parts. I was with Marcel (guitar) and Bruno (bass). For Marcel, I selected one of the Marshall head and two remaining speaker cabs. He used only one Boss pedal as a booster for solos. The guitar was a Washburn N4 with the Dimarzio pickups and tuning half step down.
For bassist Bruno I decided to use a another Ampeg head and the main cabinet. But I don’t know why I decided to change (which was a good decision and made a difference then, with to "get time"). Well, I just modified the adjustment of the amplifier and marked the previous settings. Bruno played with a simple adjustment and a Boss Chorus pedal. Sound check went smoothly and we would map out all the sound adjustments (amps) and physical (drums, microphones and pedestals).
After the soundcheck, we finalized things on stage and made a lunch…"pushing sandwiches and potato fries down ours throats."

Saulo was taking pictures and I was checking water bottles, towels and the set-list. Then I went back ….me and Saul to check the settings of amps and guitars and we relaxing with friends who came earlier and were inside the house.
This interval was very short. Soon we were preparing the last details for the presentation of Steve & Band. ….Backstage, onstage, backstage, onstage…dressing room, stage, a run ...
We turn on the amps, set list on the floor, bottles of water on stage, towels, organizing tools on backstage ... etc ...etc…
On the show, do not have much to say. Awesome show! We liked and enjoyed very much. Steve is a charismatic singer and the band was fantastic. Bruno, Andre and Marcel, you rocked!
Before the presentation, Steve gave me a hug of thanks. This kind of thing that makes everything else is very cool!
After this presentation we had just half an hour to set up the next band, Raven!
Change of guitar amplifiers, checking guitar signal, change arrangement of the pieces of the drum, set list on the ground, water, towels, improvisations, replace of guitar’s pot in the last seconds and finally the show begins!
Raven’s live was awesome! They kicked ass! Totally old school and high quality heavy metal stuff! We loved it!
Well, both shows we had to be alert and invaded the stage several times, what can you show us videos and photos. There was very good…well…small stage, two bands, only 2 techs! We did a killer gig!
But in the end, everything worked out and the thermometer is best when producers, bands, artists and even hearing, look for us to say that the work was professional and relevant. John Gallagher sent me a nice message on Facebook, and the Grimmett Band (Bruno and Marcel) have already contacted us after also thanking!
Well, disassembly is terrible. As there would be another event at the house after the show, we had to run ...run…run… fatigue is to dismount, take things to the dressing and arrange everything so that bands could get away. We finished everything, took pictures with everybody and finally me, Saulo, Saulo’s wife and Alex went to dinner…and after….my bed is my kingdom!

Me and Mark Gallagher from Raven!

Saulo and Joe Hassel from Raven

Steve Grimmett band (André, Marcel and Bruno) and me!!!!
Just so you have an idea of what can happen, some situations we faced:
- The sub Marshall head JCM900 Head was burnt. Fortunately there was no need to use it.
- We didn’t know what the configuration of the Raven amps, it was all the kick!
- We hadn’t a map of the drums for both bands. Saulo was based on pictures of the show and the height of the Raven’s drummer! Well, on the configurations of drummer André (Steve Grimmett) had not thought of anything.
- The bass cabinet (Ampeg 4 x 10) was without the front legs, two feet had to improvise with my wood tools.
- A lot noise from the rack tuner(Mark Gallagher). We had to reduce the output gain power and add gain at the mix house.
- I replaced the output jack of the Mark’s guitar!
- I changed the volume pot of the Mark’s guitar!
- Fixed the cable send / return of mesa Boogie Triaxis (Mark).
- Bass amp’s direct box was low with poor contact in the active position of the key, had to improvise a lock.
- We had to put a little piece of wood below on the bass drum pedal …damaged during the presentation of the Raven.
- We had to change the Ampeg SVT head during the Raven’s live by overheating… was lucky enough to have left the sub head near the main system!
-Saulo had to map the positions of a couple drums with a lot of brain memory!
- The Steve Grimmett band's guitarist Marcel was without sub-guitar. Well, still nothing happened, like broken strings!
- My Tuner Korg DT-7 crashed during the Grimmett show. And…returned to normal during Raven’s show'???
- Our lights stopped working simultaneously at a given moment of the show?? Then they went back to work after???
- The guitar cables insisted on shuffle or roll, I had to go on stage several times to unroll them.
- Steve Grimmett brought a folder with the lyrics on the stage ground, we had to come on to get the folder saved!
- A lot of people stormed the stage during concerts. saulo did well with the situation until I call a security guy and put him on stage - because it is not our function.
- Pedestal and microphone went flying off the stage at the Raven’s show. I Almost had to give a "mosh" to retrieve them, but returned saved by a dude in the audience.
Videos

EUROPE BRAZIL TOUR 2010

2010-11-07T11:26:00.000-08:00

Europe Brazil Tour 2010
HSBC Hall - November/05/2010
Pics: Henry Ho

A night of rain and traffic chaos, I avoided going near the vicinity of another big show scheduled for the same day, the rapper Eminem. Fortunately, the rain gave a break and the best was to come! The band came on stage with a delay of "long"ten minutes...LOL. But the wait was worth it! Right away, they detonated the song “Last Look At Eden”, hit of the recent self-titled album!

Band Line up:
Joey Tempest – vocals/guitar
John Norum – Lead Guitar
Mic Michaeli – Keyboards
John Leven – Bass Guitar
Ian Haugland - Drum
For me there are two types of singer. The real singer! People who have a privileged throat, that it is only the voice and voila! Singers like Geoff Tate, Ronnie Dio (RIP!) and Glen Hughes.
And has the type "Frontman" - one that is not as perfect as a singer, but by the simple presence onstage is enough to mesmerize the audience. This is the case of some: Dave Lee Roth, Ozzy and Alice Cooper.

Joey Tempest, lead singer of Europe is inserted into these two categories. It is an excellent singer - perfect for the sticky hard rock style (marked characteristic of the band’s earlies), but knows in his voice sounds louder and agressive. He has a wide and versatile vocal register. Live, he is awesome! As master of ceremonies, Joey captivated the audience showing a lot of charisma and sympathy.
The guitar hero John Norum used and abused the Gibson Les Paul guitars. Norum is one of my favorite guitarists. He is melodic, melancholic and knows how to play fast. …has earned the show!!!

Keyboardist Mic Michaeli was not as charismatic as Norum or Joey, but he is responsible for much of the arrangements. The sounds of the keyboards were perfect.
Bassist John Leven and drummer Ian Haugland were cohesive and heavy! It's the kind of backing that I like to have in my band! Heavy, no-frills and a lot efficient!
The Set List was based on several times of the band. The older songs thrilled the old fans - the band did not change the original arrangements.
Rock The Night, Let The Good Times Rock, “the ballad” Carrie, Seventh Sigh, Wings of Tomorrow, Cherokee, Superstitious and Final Countdown!
And the newer sounds not so enthralled. A pity, because the most recent albuns are very good, lacked some of the songs from the album Start From The Dark, but the audience left satisfied with the concert.
For many guys here in Brazil, was the first time. For me, this was the third time I saw the band. And by the way, I will review them more often!

Joey & Norum

John Leven & Ian Haugland

Mic Michaeli

Set List
Prelude
Last Look At Eden
The Beast
Rock The Night
Scream of Anger
Let The Good Times Rock
Carrie
Seventh Sign
New Love in Town
More Than Meets The Eye
Wings of Tomorrow
Forever Travelling
Love is Not The Enemy
Cherokee
Superstitious
Encore:
Ready Or Not
The Final Countdown

Halford Brazil tour 2010

2010-10-26T15:16:00.000-07:00

Always playing in big arenas with Judas Priest, I thought Rob Halford deserved to make this concert a larger place and more worthy of your majesty. After all, he is definitely the "Metal God"! Halford and band showed that the location does not matter as much and probably this is the chance of "Metal God" to be closer to the audience, doing shows in places with more intimate environments.
I arrived early with friends and I went to a special place beside the sound mixer and stayed there throughout the show. With a maximum capacity of nearly 2,500 people who flooded the place, the band came in and rocked!
The band's line up:
Rob Halford - vocals
Metal Mike - guitars
Roy Z - guitars
Mike Davis - bass
Bobby Jarzombek – drums

The show started at 9:30 PM and then the introduction, Rob showed who came to hold the throat with heavy sounds! The band was sharp playing the songs.
Metal Mike and Roy Z, the badass duo turns the guitar solos and backing with great competence. I like more about Metal Mike on solos - it has a more refined sense of melody and construction of phrases and licks it's totally "old school" Roy Z plays very fast, but overlaps many licks cliches in cascade…sometimes it´s boring!
Metal Mike already stands out as the main composer of Halford´s solo career. Both he and Roy used a variety of Jackson Flying V's and Roy also played with a Fernandes guitar Ravelle model. Great combination: Jackson guitars + Marshalls amplifiers = made of metal!!!!!!!!!
Bassist Mike Davis used an Ernie Ball / Music Man Sting Ray bass in most songs.
Highlight for drummer Bobby who has been here recently by playing in the band of Sebastian Bach (opening act of Guns'n'Roses tour here).
The house sound was very loud, but I would have done different adjustment - sound w/a little more daring and less bureaucratic in respect of textures.
On the set list only 4 songs from Priest, half cover the cover was ... The Green Manalishi and Diamonds and Rust ...the audience asked for Painkiller, but without success!
The other songs revisited Metal God ´s solo albuns - and focusing on his latest work: Made of Metal.
For those who think that Sunday is to stay home wearing cheaper clothes, watching TV or sleeping ... or just having lunch with family ... The Metal God closed our sunday with a golden key!
SET LIST
Resurrection
Made In Hell
Locked and Loaded
Drop Out?
Made of Metal
Undisputed
Nailed to the Gun
Golgotha
Fire and Ice +
The Green Manalishi (With the Two-Prong Crown)
Diamonds and Rust
Jawbreaker
There's no Tomorrow
Thunder and Lightning
Cyber World
(ENCORE)
Heart of a Lion
Saviour

Pics: Saulo Peghin and Dida

Jeawbreaker!!!

Expomusic 2010

2010-09-26T20:34:00.000-07:00

I want to thank everyone who has been with me through this Expomusic 2010. It is very gratifying to know that you follow my work - whether as a musician, guitar builder and guitar magazine columnist. I am very honored and happy with all this openness. At the musicians who gave me CDs and DVDs, I hear and see soon! I´ll post here on the blog, my impressions about it! My students... it's always good to see you all!

I thank the following companies, professionals and artists:
Equipo (Marcão, Wilsão, Koji, Kadooka, Harrison, Larrisa, Alex, Jean...outros), Pride Music(Viola, Sergio), Royal Music, Habro (Leandro), Guitar Player Brazil Magazine (Teresa, Jaques Molina, David Hepner, Flavio Gutok), Música e Mercado Magazine (Duda, Carla, Daniel), Comando Rock Magazine (Marcão), NIG STRINGS (Marcão, Majú), Andy Timmons, Eagle (Daniel, Pedrão, Charlie), Hard Alexandre, Andrés Recasens, Vera Kikuti, Snake (Cláudio), luthier Pablo & Wife, Deval (Alberto), Joe Moghabi, Clement Zular, Bruno Maia (Tuatha de Danann), Edu Ardanuy, Bose (Klaus, Edinho, Miguel), Sound Maker Amplifiers(Carlinhos), Basso Straps (Marcão, San Campos), Rafael Bittencourt, Pierre & Betty (AlôArtista), Dema K, Marcos DeRos, Ricky Furlani, Rafael Nery, Pedro Wood, Sound on Sound Magazine, Roadie Crew Magazine (Tonão), Meteoro Amplififers (Zé Luis), Cover Guitarra Magazine friends, Wolf Music (Sandro), Luciano Renan (Giannini), Ozielzinho, Yamaha Music (Vera), Roland, Quanta, Pro Shows, Antoniel Up Gospel, Italo&Angela, David Vincent (Morbid Angel), Marcelo Severo&Wife, amigos do Facebook, amigos do Orkut, Chris Jarrouge, Vivi, Fabinho Rock Studio, sêo Tito (lightning staff), Gera, Darkest Seed, Fabio Laguna, fiéis amigos de labuta dia-a-dia (Pauleira, Lú, Felipe, Claudim), Endo, Polacow, Airton Mann, Favoretti's pedals, Deep Trip Land Menegozzo, Panta, Gustavo Benedetti & friends, Limão, Rita, Déia, Zezo Ribeiro and friends of Promosom!!!
The guys who took pictures with me ... if they want to send me: hh777@bol.com.br
I will post the photos here and on Facebook, etc ...

More pics about the Expomusic:
http://www.pauleiraguitars.com/materias/expomusic-2010/%20#

http://www.expomusic.com.br/2010/codigo/galeria_fotos.asp?idioma=1&nome_item=Imprensa&nome_subitem=Galeria de Fotos#

News ... Basso straps is my new sponsor!

http://www.bassostraps.com.br/
thanks you all guys!

me, Pauleira, Luciano (giannini)

Precision Bass

2010-08-26T20:51:00.000-07:00

Hi Folks!
It's been a while I builded this bass, but just now... I had time for pictures ...
I'm more a fan of Precision bass than Jazz Bass model!!!
Nothing against the JB,nation just I think the Precision is the best design: simple and basic!

I´m not a bass player...anyway...if you need a good one to play hard rock and metal...you can call me!!!

body: marupá (brasilian wood - similar to alder, but the sound is more less low.
neck: maple
fingerboard: jacaranda (brasilian rosewood)
hardware: gotoh
pickup: Malagoli/Sound PB Alnico custom shop...great pickup!!!
pickguard: acrilic
1 vol, 1 tom, jack and slaps!!!

gotoh tune machines and spaguetti logo!!!

machines, woods, craftman, precision and a lot dust!

Interesting link to see!

2010-08-24T09:34:00.000-07:00

I received this link by email (from Carrie Oakley) and I really thought it was very good!
The topics are well organized and could help many guitarists who are at the beginning of learning....and then comment on my page.

http://www.onlinecolleges.org/novice-to-slash-100-free-resources-for-teaching-yourself-guitar/

Carrie's blog has other lcool matters. Check it out!

Natasha Wood

2010-08-12T20:58:00.000-07:00

I will post an interview I did with a friend musician, Natasha Wood! This matter is part of the 181 edition of Brazilian magazine: Cover Guitarra - for which I am responsible for equipment test. This edition will be completely reformulated in terms of layout, design, content and editorial direction. Well, I'll reproduce in full the material to be published:
In this new column, I talk with several (as) guitarists from all over the planet. We take advantage of the boom of the internet and social networks to intercept and discover old and new talent, using only a simple criterion, the passion for music. We don´t discriminate style or nationality, may participate professionals, amateurs and string´s lovers - they have their work posted on the network.
In this column of "opening" I have the privilege of giving the "kickoff" I talked to a guitarist who discovered through MySpace and Facebook. She is Natasha Wood, who although American is very Brazilian at heart!
She is a guitarist, pianist, singer and songwriter. Born into a family of musicians and since the early times had a passion for brazilian artists.
Natasha formed the band Fala Bashu with bassist Matt Gordon and drummer David Gardner. The band released their first album, "Drifting Into Unconsciousness" in 2008. I talked with Natasha, she told me of his passion for brasilian music and also spoke of details about her musical career!

In your profile on the MySpace, you quote concerning your brazilian mother. How the brazilian music and the bossa nova became a major influence for you? What albuns or artists you used to listen to?
Growing up, I listened to a lot of samba and bossa nova because my mom and my grandparents always played albums by Antônio Carlos Jobim, Elis Regina, Gal Costa, Beth Carvalho, Martinho da Vila, and Maria Bethânia, to name a few. We even listened to some forró music every now and then. As I got older, I started listening to artists like Marisa Monte, Djavan, Caetano Veloso, Banda Black Rio, Olodum, and instrumentalists like Baden Powell, Romero Lubambo, and César Camargo Mariano. I also started attending live shows by local Brazilian artists, such as Kátia Moraes and Sambaguru. The list could go on and on.

How do you get inspiration for compose? Do you prefer to compose on the guitar or the piano?
I usually write songs about friendships and relationships, interesting people in my life, places I’ve traveled to, and my animals (after all, I’m a veterinarian!). For the past few years, I’ve composed most of my music on guitar, but since I’m a pianist originally, I’m trying to shift toward writing more on piano. It’s an instrument that offers a whole different realm of possibilities. I’m also starting to compose more songs in Portuguese, even though it’s a bit challenging for me. It’s always easier writing lyrics in one’s native language.

His musical work has many “colors” and influences from jazz. How do you do improvisation? Do you like to phrased linear or do you play with on a vertical way, valuing the chords?
I’m very melodically-driven, so when I improvise, I always have the melody of the song and the chord progressions in mind and sort of play around that. But I’m challenging myself to incorporate a more vertical approach and step outside of the chord changes from time to time. A little bit of dissonance can be a good thing.

Are you following the current scene of brazilian music? Any artist in particular has deserved your attention?
I’ll admit I love the artists of the past, but some of my favorite Brazilian artists are more contemporary ones like Marisa Monte, Maria Rita, Daniela Mercury, Chico César, Djavan, and of course the legends who are still performing, like Gal Costa and Caetano Veloso.

What are the musicians who often play with you?
I play mostly with L.A. based musicians from a variety of musical backgrounds ranging from Afro-Cuban jazz to American folk-rock to Indian Carnatic music. My most recent adventure took me to the Cook Islands, where I had the pleasure of collaborating with local singer/guitarist Tok Haurua. I’ve also been collaborating with my cousins, both marvelous jazz musicians. Their dad, John Wood (my uncle on my dad’s side) is a professional jazz piano player who has influenced us a lot. I feel lucky to have the opportunity to work with such talented artists who bring many different styles and experiences to the table. Every jam session or rehearsal is an adventure. We’re always learning from each other.

Tell us about your gear (guitar, effects pedals, amplifiers and strings) for concerts, gigs and recordings?
DeArmond X-155 hollowbody electric guitar, Martin Shenandoah acoustic guitar (a very special instrument as it was given to me by my grandpa, music producer Randy Wood, who founded the Dot Records label in the ’50s-’60s), Yamaha CG-100SA classical guitar (my very first guitar); D’Addario strings; Yamaha S90ES synthesizer; Roland, Fender, and Danelectro amplifiers; Shure microphones.

Finally, what are your plans and when you will play in Brazil?
I’m hoping to get more involved in the Brazilian music scene in L.A. I’ve also started performing my original material with a new band and hope to play as many venues as possible. I want to start incorporating more of a world music sound into my arrangements, so I’d like to collaborate with more artists from diverse cultural backgrounds. I’m working on new compositions and look forward to recording a new album of original material sometime in the near future. Honestly, finding the right balance between music and veterinary medicine (my other career) has always been very challenging because succeeding in both takes a huge amount of commitment. I’ve never really thought about becoming a famous musician, particularly in today’s music business where everything is so ephemeral, at times it’s disheartening. But in my opinion, the good thing about music is that if you push yourself, you can keep growing for the rest of your life, and you never know what unexpected opportunities might come along. As for playing in Brazil, hopefully soon! It’s been several years since I last visited, so I think I’m due for another trip, and this time I’ll be taking my guitar with me.

Photography by Brandon Peters
http://www.blogger.com/www.myspace.com/natashawoodmusic

Ernie Ball coated guitar strings

2010-07-20T19:18:00.000-07:00

Ernie Ball Slink’s stringing coated line for electric guitar and acoustic guitar.
By: Henry Ho

Many companies are going ahead and producing a long term guitar strings with several technologies and different abilities. Two famous companies utilized the process of an extreme cooling a cryogenics one to decrease the raw material and others manufacturers utilized Teflon layer hyper-fine as string covering. Only Ernie Ball, one of the most well thought companies – took a long time to put a product with this kind of characteristic in the trade.
And when we imagined that there couldn´t have anything to be conceived anymore, the same Ernie Ball innovates it with a peculiar and amazing technology. From all long term stringing, the coated line has a killing timbre and long durability is prove of a plenty running.
Stretching out and running strings.
We chose a reply of a guitar HH Telecaster model to test the new stringing coated a set of .010 calibers. The measure is from the finest to roughest: .010; .013; .017; .026; .036; .046. After put it, we stretch out the strings to fixate the tuning. The initial sense is that we are handling nicely the stringing.
In visual terms the product shows brightness and has a perfect building. The strings marbles has no space and lengths of all are in the right measure.
In relation to sounds one thing that is troublesome for me is an excessive brightness at strings, soon after put them. But, in this case the product showed a balanced sonority and there is not an excessive sharpness – typical characteristic of strings newly taken from the packing.
The maple of the coated line is tough and has tuned a solid sound with excellent dynamic sense. To play the basis, power chords and riffs in a general way, the performing is comfortable and soft.
The fine strings show a cut timbre with good support and attack. The sharp intonation in each scale was perfect.
We tested also strings from coated line to folk acoustic guitar. We settled up a Japanese Yariri acoustic guitar with a set of .011 calibers. The measure is from the finest to roughest: .011; .015; .022; .042; e .052.
The texture of the stringing is softer. The visual aspect is also excellent. In terms of sounds, the feature is a solid grave and hot. The sharp sonority has an amplitude, support and brightness in the right measure.
From all stringing “long term” type, the coated line from Ernie Ball has a good textures. Probably, the additional layer of titanium besides to reinforce the mechanical properties, it supplements the sound with a little bit of harmonics.
As a long term product, the relation cost benefit is greatly good. In terms of durability I am using this stringing for almost two months and also I clean the strings with a dry cloth. The brightness is still intact as visual as sound field.
The coated Slinky line for electric guitar and acoustic guitar utilizes a wrapping that remember energetic drinks. Strings were wrapped one by one in envelopes of recycled paper.

Musical calories
The new manufacturing process of the coated line adopted by Ernie Ball is innovative. All rough strings are covered by micro layer of titanium that will assure the reinforcement and durability – for about five times more than a common one. The flat strings receive an anti-oxidation shield and a fine layer of titanium that minimize the possibility of a string common breaking. Besides the physical and mechanical durability, the stringing shows an excellent tuning, soft touch texture and matchless timbre. A conditioning exemplar sound !

Hard Blast!

2010-07-01T05:30:00.000-07:00

Hi guys!
http://www.hardblast.com/resenha/resenha-ufo-0610-en.asp

New review of the UFO´s concert in Sao Paulo.
This text is different from other published reviews. Take the opportunity to know the website of my friend Maila:
www.hardblast.com/index_eng.asp

Cover Guitarra Magazine

2010-06-23T06:45:00.001-07:00

Cover Guitarra magazine - the Brazilian Guitar Magazine!

This edition contains:
Steve Vai and new band, Jeff Beck interview and transcriptions, Home Studio special part III, CDs and DVDs reviews, columnists (Kleber K. Shima, R. Scarton, Pollaco, Luiz Cláudio, Andre Martins, Gariela Gonzalez, Mateus Starling, Marcio Alvez, Mello Jr, Steve Fister, Roger Franco).
Transcriptions: Burn(D.Purple), Give me The Night (G.Benson), This Cat´s on a Hot Tin Rool (B. Setzer) and Blue Bossa (P.Martino).
Gear test made by me: Sound Maker Amplifier Destructor 210 model.
My column: OFICINA about gear, equipments and guitar repair.

From the next edition, many changes in editorial.

Henry Ho signature guitar pickups!

2010-06-20T19:27:00.001-07:00

According to friend request, here you are a text and some pictures of my electric guitar pickup signature: HH777 Hellbucker (bridge position).
This text is referred to process of making a pickup, all planning, tests and about my partnership and sponsor: Malagoli Electronics Products
In 1994, I was a part of a luthier team that was involved to pickup projects in Japan. Matsushita´s Corporation that produces pickups to companies as Yamaha, Gotoh, Ibanez, Fernandes, ESP, Tokai, Greco and Stafford sponsored this project. It was a period of a good learning and an exquisite experience. Until then, my knowledge about electromagnetic pickups was a bit narrow-minded in terms of differential equations related to Faraday´s induction law principle and “perceived” sound by ear. We have utilized the war arsenal: lot of guitars, valve amplifiers, multi-track recorders, microphones, spectrum analyzer, voltmeter and a lot of meter. We always “surfed” on sine curve produced in the oscilloscope screen. To destroy notable pickups is an ingrate routine in benefit of a noble cause. This magnetic day after day required almost twelve months and when the projects were concluded the “black box” with all information was “strategically” with me. To understand how a pickup works it is not a thing that belongs to other world. However, to project them is a little complicated. When I came back to Brazil and established my Guitar Craft School I was already thinking of produce pickups by my own. I was searching by a know brand and brazilian manufacturing, but the partnership conditions don´t make me satisfied. Later, I knew Érico from Malagoli Electronic and perspectives of reciprocal work were favorable. It took a long time to become real and now here we are… involved in this saga!
We started with projects in the middle of last year. The first prototypes were tested in that time at Brazil´s Music Fair 2005. Hellbucker HH777 is a high end double coil pickup. We started the test producing several prototypes, experimenting magnets, coils, cables blending and other technical details. We have accomplished comparative tests, parameters monitoring and when the results started to cross the acceptable boundary to a desirable, we started to accelerate this development. I don´t like to use the DC R as a primordial reference. I prefer to handle magnetic flux and work with resonance peak values. Subtlety related to pickup building will also follow a technical reasoning. I have opted to utilize screw poles: Minus & Allen mark (instead of taper pole) by account of magnetic flux image that have timbre incompatibility inside high frequencies.
In relation to coils, all items are analyzed and tested: The reels (stuffs, poles spacing, internal spacing, durability and finishing); copper wire (stuffs, depth, cleanness, tension, weight, external covering, resistivity, etc,) poles (stuffs, diameters, highs) covering tape, external conductor, shield and soldering tasks. In relation to magnets, the HH777 utilizes a variation of magnetos with ALNICO V AND ALNICO VII formulas.

Technical details:
Sound Hellbucker pickup HH777 – for bridge position
Magnet: rectangular ALNICO bar – in millimeter: 60X4X12.
Poles: Minus & Allen screws.
Reels: in ABS: white, black, yellow, green and cream pigmented.
Coil wire: 44 AWG cradle: brass and nickel version.
External conductor: Standard Belden RG – 4 conductors + ground. (It allows a configuration type: serial, parallel, coil cancellation, out of phase binding, inverse phase binding).
DC R: 16.8 Kohms.
Inductance: moderate – predominance of low passages.
Values used with Gauss-meter: measured at the poles surface: 350 measured at the rectangular Alnico 600 bar surface.
Values used with Flux-meter: measured in the magnetic flux of the rectangular bar: 1, 91 mVs.
Resonance peak: 5.2 Khz :
Output: 360 milivolts, spacing poles: the HH777 has an intermediate pole spacing between traditional Humbucker and a Trembucker (SD) or a type of: “Floyd Spaced” (DiMarzio). That is, there is “relevancy” in both situations.
Gain and timbre: in terms of gain, the HH777 is comparable to Seymour Duncan JB (SH-4 or TB-4) or we can refer to it as a Seymour Screaming Demon (SH-12 or TB-12) with more volume intensity. As for sound, the referred is not similar to JB, Custom 5, Screaming Demon or Tone Zone. The HH777 has no keen sound in “cascade”, and not as JB´s medium wall or as Custom 5 model.
In relation to Screaming Demon, the HH777 has more volume, however, will exhale less harmonic (the HH777 has resonance peak lower than Screaming Demon). On the other hand, in the visual aspect, one is similar to other. Compared to Tone Zone, the HH777 has a “biting” less sharp than that one. It is possible to “listen to” similarities from HH777 as a Gibson Dirty Fingers in terms of mids and bass. The HH777 gives me a clean sound and more sweet and a dirty textures that is not harsh. The JB was only sensible to a clean sound and efficient to dirty sound, but mid / sharp went far from. I like high end pickups because I play rock, hard rock and metal style. I use less clean sound, but I have single coils guitars and low end humbuckers and was utilized eventually to recording.
Finishing: I am satisfied to general, the cream reels are pigmented and the result is excellent. Since the beginning of this partnership, Malagoli Electronics has let me to feel free to experiment and exhibit my ideas. The company always showed me available to and careful in all circumstances and job situations. The high-tech process of the company coincided with this project and I have made some fixing in others pickups from Custom and Standard lines. Particularly, I think that is important to encourage brazilian production.
Tests with Humbucker HH777 were done by following equipments:
Guitars:
Fender Strat Plus (Alder body, maple neck).
Stratocaster Henry Ho Custom with Floyd Rose tremolo.
Stratocaster Henry Ho STD.
Stratocaster Henry Custom.
Jackson Custom Japan (mahogany body, maple neck, rosewood fingerboard).
Gibson Les Paul Studio 1987 .
Amplifiers:
Rotstage CJ 50 + cab 2X10”
Rotstage CJ 50 Plus + cab 2X10”
Marshall Slash JCM2555 (with KT88 and José Arredondo´s mods) + cab 4X12” Marshal 1960.
Fender Twin Reverb 1968 (George Alessandro´s mods).
Zepphir GD60
Effects: Boss OD-20 Drive Zone Boss Line Selector LS-2 Hobbertt Simulamp Loop Selector Hobbertt Landscape Tri-Efx Landscape Reverb Pedal board Landscape PB-2 and Pb-1 + Yamaha ED-Stomp Guitartech the Bomb Booster.
Strings: NIG hybrid HH: .010, .014, .017, .026, .038 and .048 DR Extra Life Red Devils: .009, .011, .016, .024, .032 and .042.
Cables: Reference Canare

Meaning of numbers “777”
As soon as I arrived in Japan, I had to choose the ideograms (Kanjis) referred to my complete name. The Japanese choose the ideograms before their child birth, based on several reasons: numerology, meaning, and family tradition, visual letters and etc. In the foreigner case, it is an optional subject. I have decided to do. My Occidental name has seven letters: HENRY HO. Then, I chose 3 ideograms and each ideogram has seven traces. That is, was done the relation 777. The HH are the Occidental initials, name and surname. When I did this project of pickup signature obviously that, I had thought on HH777.

Some pix!

Black HH777

Trad Zebra HH777

Yellow HH777

Green HH777

Custard Cream HH777

Covered HH777

White Room HH777

New Color HH777

World Cup Soccer Version HH777

http://www.captadores.com.br

http://www.malagoli.com.br

Guitar Cleaning Products

2010-06-18T19:50:00.000-07:00

My new Sponsor - Sobrol Guitar Cleaning Products.

I tested 2 new products:

Fast Fret: good for clean and humidify the fingerboard.

String Cleaner Polish: good to clean the guitar strings.

Vinnie Moore Guitar Clinic on Blackmore Rock Bar - May, 30, 2010

2010-06-06T19:44:00.001-07:00

After the Brazil´tour with UFO, Vinnie Moore returned to Sao Paulo to do a guitar clinic on Blackmore Rock Bar. It was a cloudy Sunday, I arrived before the time and met a public of guitarists and some fans . Vinnie arrived shortly before the schedule accompanied by the promoters and guitar tech Sylvia, who also made the translation of questions and answers.
Vinnie played instrumental songs from solo albums: "Time Odyssey", "Meltdown" "Out Of Nowhere" and from the latest album "To The Core."
He played with playbacks and used the UFO`s concert backline: the same amps, pedals and guitars. He explained details and functions of each pedal, adjusting of the amplifiers and some details of the guitars. Technically, Vinnie show us a very expressive musical vocabulary. His phrasing has changed since the "shred era”. He played a lot of pentatonic licks with chromaticism, hybrid picking and used an Ebow on certain melodic riffs. He played some songs of his early career with a lot of harmonic minor scales, arpeggios diminished and melancholy phrases.

Vinnie answered all the questions in a good mood! He spoke of feeling when you accomplished as an UFO´s guitarist – "something surreal become guitarist for a band he admire and "copy " the riffs and solos". He explained how was the first tour with UFO, spoke about the pressure and anxiety. And when approached on the track he did for the Pepsi commercial, he didn´t remember how to play that solo! Vinnie said he doesn´t know Brazilian music very much and then ended the workshop playing the beautiful "Meltdown." After the clinic, he autographed CDs and took photos with all the people. Vinnie went to the south of Brazil to do more guitar clinics followed by Hangar´s drummer, Aquiles Priester.

Shred Soloing!!!

Meltdown!

Me and Vinnie!

Pix: Henry Ho, Miwa Sato

UFO Brazil Tour 2010 Report

2010-06-03T19:26:00.000-07:00

The legendary British band UFO was in Brazil for the first time. In addition to Sao Paulo, the band also played in Goiania, Recife and Belo Horizonte. The band's current line up includes three members of the classic era: Phil Moog on vocals, Paul Raymond on guitar and keyboards (joined in 1977) and Andy Parker on drums. And lead guitar, Vinnie Moore! He joined the UFO in 2003. Vinnie emerged in the late '80s, an era in prolific technical guitarists. He also played in the Alice Cooper band!
On bass, bassist Barry Sparks replaced Pete Way (of the classic line up), also was replaced by bassist Rob De Luca. Rob played with UFO during their American tour in 2008 and currently member of Sebastian Bach´s band.
The concert was in Sao Paulo at Carioca Club – WOW, an unusual name for a live house in Sao Paulo city, because “Carioca” means Rio de Janeiro!
Hours before the concert the audience was of the old fans, teenagers who like classic rock. Totally mix!
I entered to the room through a side door. Few hours before the show I received a call from Vinnie's roadie, Sylvia Dantonio (my former student, she is a guitar repair woman and guitar technician). One of the Vinnie´s guitars was with a broken tuner!
I went to the Carioca Club earlier to bring spare parts and repair the Vinnie´s guitar.

The band played a selection of classic songs and showed an exciting performance! Set List : Let It Roll, Mother Mary, When Daylights Goes To Town, Out In the Street, This Kids, Cherry, Only You Can Rock Me, Hell Driver,Love to Love, Aint No Baby, Too Hot To Handle, Lights Out, Rock Bottom and Doctor Doctor.
Vocalist Phil Moog continues to sing like the old days. Paul Raymond showed efficiency as rhythm guitarist, Andy and Rob showed an impeccable “cuisine”. As for Vinnie Moore, the expectation was too great and the comparisons with his predecessor Michael Schenker would be inevitable. But he did very well. Vinnie has kept the original licks of Michael, in songs where he really could not modify. He also improvised and imposed his phrasing on others songs that could be modified!
On the beautiful Love to Love, he blended both styles and did a great job. Rock Bottom! He blasts with very technical playing! Regarding the sounds, Vinnie maintained an unique sound pattern!

Backline - Guitars

Dean Vinnie Moore signature model
Lead guitar with translucent red finish. Alder body with quilted maple top. Maple neck and fingerboard, 22 frets higher!
The pickups: Dean DMT Vinnie Moore Signature (bridge) DiMarzio noiselees single (middle) and DiMarzio Fast track1 (neck).
Hardware: Floyd Rose bridge and gold Grover tuners.

Dean Vinnie Moore signature model prototype
Sub- guitar with white finish. Alder Body, maple neck with indian rosewood fingerboard. 22 frets. The pickups: Deam DMT Vinnie signature (bridge) and DiMarzio PAF Pro (neck). Hardware: Floyd Rose bridge and chrome Grover tuners.
Vinnie´s guitars on backstage
Sylvia, Vinnie´s guitar Technician (my ex-student!!!)

Monitor House

Amplifiers
Vinnie is sponsored by ENGL amps, but for this tour in Brazil, he rented two Marshall JCM2000 heads and four Marshall cabs 4 x 12 ".

Effects
Vinnie uses two delays: MXR Carbon Copy Delay and Boss DD3 Digital Delay in the amplifier´s loop. One is set to short time to give more consistency to the tone and the other is set to provide more depth.
The input of the amp, he uses: Xotic Effects BB Pre-amp/Overdrive, and Jim Dunlop Crybaby Boss TU-2 tuner.
The BB pedal just "pushes" the distortion obtained in the amp´s dirty channel, especially in solos. In the clean sounds, Vinnie uses much the volume knob on the guitar.
Strings and picks
Daddario .010 and Jim Dunlop .88 mm Picks customized.

ROCK BOTTOM

LOVE TO LOVE!

GRAND FINALE! WHERE PHIL MOOG???? ....LOL....

AUDIENCE!

Thanx to AWO production & management (Fernando, Milton&daughter, Chico, Rodrigo), Sylvia, João Miguel and Miwa Sato.

Pix: Henry, Miwa Sato, João Miguel.

Dr Jivago

2010-05-24T06:54:00.000-07:00

Dr Jivago
It was in the dawn when I saw this movie for the first time, at Globo´s channel when I was sixteen. I was impressed with the drama, a picture and music. Then, I remember to see it for many times, always at the dawn, till get it recorded in VHS. When I was in Japan in 1989, I rented the original American version and legend was in Japanese language. That is, this version allowed me to listen to original voice (since my copy was dubbed).
I recorded the original version as soon as “I had time” I watched the movie as was the first time.
When I came back to Brazil in 1998 the VHS tapes are not with me anymore (were damaged or moldy in 1994 or 1995). By DVD launching occurred I bought and finally I can see it at my time.
I have two DVD´s (one will be sealed and my store and other to any eventuality)…
I am Omar Sharif’s fan and especially Julie Christie (from her I have many DVD´s).

Dr Jivago is an epic movie based on Boris Pasternak´s homonymous romance. Issued in 1958, the masterpiece was considered as audacious challenger in time of Russia’s censorship and repression.
The drama will tell you poet doctor´s saga and shared by two loves. The background scenery will show you the Russia’s revolution (transition period from Russia Czarist to Bolshevik) soon after the first big world war. That is, devastated Russia full of social contrast, chaos, cleansing and on the verge of civil war.
Narrative is an anachronous made by Yevgraf character (Alec Guinness). He is a red army general who is looking for your half-brother´s niece Iuri Jivago interpreted by Omar Sharif. All Iuri´s Jivago life paths are shown on screen.
Jivago is an intellectual human doctor a guy divided by two women Tonya (Geraldine Chaplin), he got married with her who knows her since the childhood and Lara (Julie Christie) whose he strongly loves. Iuri and Lara will life an odyssey of meets and fail lead by destiny and especially an uncontrolled sense or a sorrow comprehension by each other. The movie is directed by David Lean and show a scene of intense poetic richness, unforgettable remarkable moments.
Awards: Oscar for best adapted screenplay, art director, pattern, soundtrack (Maurice Jarre), best movie, best director, supporting actor (Tom Courtenay) sound and issue.
In 2002 was done a movie re-issuing for TV in series HBO format. This version is real to book and can show us the following actor, actress:
Hans Matheson (Iuri Jivago), Keira Knightley(Lara) and Sam Neill(Victor Komarovsky) and Alexandra Maria Lara(Tonya).
This television version is really real and well produced. However, no doubt, the original one is my preference.

RIP Ronnie James Dio

2010-05-16T19:49:00.000-07:00

Ronnie James Dio passed away at 7:45am, very sad news...
http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=140129
We worked together in Japan, once...and I met him again in Brazil (Magica Tour).
I´m very sad!
RIP my friend
You´ll jam with Bonzo, Randy Rhoads, Hendrix and others...

True or Fake?

2010-05-15T17:18:00.000-07:00

True or Fake
The music & trade magazine has prepared several special stuffs that will teach you to recognize some characteristics and this will allow you to differentiate an original instrument from a false one.
The number of falsifying products from Asia is increasingly and warningly. In Brazil, some products are being expanded and causing serious damage to trade. Beyond this obvious loss to store that work with used, are main victim, mark credibility loss is inevitable. It´s impressing the increasing of falsified guitars from China. Icon as Gibson, Fender, PRS, Ibanez, Gretsch, Taylor and Epiphone are strongly suffering to this parallel industry. The falsified one violates the copyright and feed the illegal trade.
It´s important to distinguish the falsification copy or reply. Reply is a perfect re-production. Willing to have same original re-creation that will aggregate concepts and historic factors. That is, is an art of re-issue a design or referenced one in an absolute detail. This kind of cloning will not generate trade sharing, will re-create only a piece based on concept. However, the copy is produced in a large scale without original manufacturer authorization. This means that, it´s a typical example of intellectual patrimonial appropriation with no intention “to pass” it as original, it is referred to traditional companies in the trade that produced similar samples or inspired on the original one, however, utilized your own logotype.
Now, the falsification is a low cost re-production that will emanate a decisive intention to trick the consumer. Utilize the original logotype in an improper manner and suggest in the technical visual form that the piece is genuine. The falsifications are far to standard defined by copyright law, patent rules and trade mark domain. They don´t pay royalties and are produced without original manufacturer authorization. It means to fake Gibson´s guitars- samples made in China and are sold in the electronic trade by low cost.
The falsification breaks out into ethic and aesthetic, and shows a keen project that will prompt desire and consumption. But this is the choice for unwise people.
See the differences between technical specifications of an authentic Gibson Les Paul and one false produced in Asia.

Headstock details

Original – centralized logotype and declined slightly. The utilized mother of pearl in the logo inlaying has a yellowish color. Tensor shield cover has 2mm depth with two hold-down screw “bell” format. The headstock angle is sharp in 14 to 17 degree.
False – “far centre” logotype sharp displacement in 14 to 17 degree. The stuff used in logo inlaying is an artificial mother of pearl, clear opaque color. Tensor shield cover has 0.7 mm depth with three hold-down screw and format is different from original Gibson. Headstock angle is subtle less than 7 degrees.

Neck details
Original – back contour with no format definition. No salience scroll. Nut made by Corian, synthetic stuff that will blend to natural minerals and pure acrylic polymer. Flattering and stringcourse side finishing is subtle rounded.
False – back contour with format definition. Salient one, Nut made with rustic plastic finishing. Flattering and stringcourse side finishing is excessively rounded.

Body details
Original – pickups cavity are clear and allow top frontal maple visualization. Electrical cavity is symmetrical carved and clear inward. Electrical components are set-up over metallic cover.

False – pickups cavity are dirty and covered in black dye. Most part it´s not possible to see the top frontal depth. The copies are rude and use plastic film that imitate upper top wood vein. Electrical cavity has different format from original and electrical components are directly attached to the wood.

Hardware
Original - original Gibson pickup. See bottom base pickup that shows Gibson´s logo. Bridges, headstocks and original hardware. Quality and electrical component supplied by brand´s companies. External lead cable from pickup is made by mesh and covered by stable plastic heat stuff.
False – pickup that has similar visual to original Gibson. However, the appearance is only in the visual matter. Bottom base from pickup is rude and has no Gibson logo. Bridges, headstocks and not original hardware. External lead cable is covered by a flexible plastic shielding.

Finishing
Original – nitrocellulose lacquer, fine overlaying, moderate brightening.
False – bi-component lacquer, extremely dense and brighten.

Wood
Original – types and usual woods: mahogany, maple, indian rosewood, brazilian rosewood and ebony.
False- use the following woods: nato, asian maple, sen, basswood, grenadilhe and kiri.

Serial number
False re-production has serial number inserted as silkscreen. Original show recorded embossed numeration over the wood. However, pay attention; some original models use a silkscreen process (custom shop and Les Paul Classic models). The numeration and manufacturing lot of the false guitars are not supplied during the year, as well.

The Chinese falsifier suffered a hard stroke in recent attempt from China legal authorities. The Chinese Yu Hui “pseudo” Li Dan businesswoman and some of your family were condemned to three years prison for crime against direct trading and falsification improper of musical instruments. The own China started a campaign in constraint to illegal retail, investing in building a new positive image related to the world. The moment is right to a “recall” so that we can ask for a key to consumption into social, economic, cultural context.

The “fake business woman” Li Dan that is going to see the sun grown up square only for a while…
This stuff is from site and magazine:
http://musicaemercado.com.br/revista/musicaemercado/noticias.asp?id=2610

Find a new Stradivarius??? - text by Henry Ho

2010-05-04T14:38:00.000-07:00

Stradivarius????
One more person asked me to evaluate a possible Stradivarius violin. 99,9% are counterfeit. I have already seen several instruments that are quite similar. Always similar history or commonplace: relative that caught from Italy, instrument that was kept with family by years and excited a “suspicious” interest of the son violin teacher, wife or nephew. The same tiresome talk… and repeating. That is, it´s improbable to be a genuine Stradivarius, it´s a counterfeit (99, 9% right). The label can not prove it. Can easily suffer adulteration. If I had to examine, I will be available, but it will cost expensive. In the affirmative case, the correct procedure is to send the possible Stradivarius to an international technical mastership (following international rule). The cost will be placed into owner account, however, it´s possible to negotiate and have an extremely positive report. In the negative case, only not. It´s very simple. People can´t understand or don´t have enough culture to understand it. Such procedure is an international standard. It´s not nice only professional thing. At last, a new Messias discovery, a Viotti, or a new Khevenhuller (Stradivarius violin names) is related to dollars full of zeros. It´s a serious thing and entirely foreseeable the counterfeit will also through decades and centuries to deceive whatever.
People fell offended when I tell what I need to. 99, 9% are counterfeit. And evaluation cost is expensive and technical mastership cost will be placed into owner account. They always follow me and ask for a service and also want to convince me that the Stradivarius is authentic (with a few history consistencies).
I should tell that the probability is good. History factor are favorable. My technical mastership is free and international technical mastership will be placed in my own account or be an international entities cost. The occasional owner could be a new millionaire.
People say that we need a new Stradivarius. If 99, 9% is against, find a genuine Stradivarius here is improbable 101 %. In time, even if an illustrious copy, such a Vuillaume the improbability will still be high.
Yo Yo Ma and Davidov cello, made in 1712. The same Yo Yo Ma, forgot the instrument inside the taxi in New York… he picked it up later on...

Yo-Yo-Ma

Bizarre Guitars

2010-05-03T20:23:00.000-07:00

Bizarre Guitars - text by Henry Ho

In the beginning of 90´s, I went to work with vintage instruments in Tokyo, used and seldom. In this referred store, I knew a guy called Naofumi Yasuhara, an expert (true freak!) in this subject.
He was a quiet man and serious quite not available to teach. I felt induced not to have contact with him, at first. However, one nice day, the guy started to talk to me and then – I was learning about old instruments, seldom vintage and especially the bizarre.
Naofumi hated the bizarre world. But had a dreadful knowledge related to story and label. I didn´t know anything. Our store was always supplied by guitar from The United States. The stuff was got in events named “guitar show” and specialized stores. I was quite always fascinated to see and play that rough instruments with single building, exquisite / bizarre visual and fine timbre.
“Bizarre Guitars” are a part of a parallel universe. Maybe will not be music artifacts that enjoy appeal of the major guitarists. But the nobleness calls attention and also is a part of the strings story.

Genesis
At the beginning of the electric guitar era, different labels equipments as Gibson, Fender, Gretsch, Epiphone, Rickenbaker were manufactured as effective cost instruments, whose origin were from "Yankeeland", Europe and Sun Flower Earth.
From Europe English labels as Vox and Watson were caught to America and sold for a low cost. Vox manufactured guitars in Italy (to escape for high tax from English treasury) in the same factory where were manufactured guitars whose labels as Eko, Goya and Elektra. Silverstone, for example, was one of the first pioneering labels to be expanded in America.
Manufactured in Japan by Teisco, these guitars were sold by Sears Store e by a low amount of 30 to 55 dollar (A Fender Stratocaster in that time cost about 240 dollars). That is, was considered formerly as an instrument of low cost, and nowadays they add a new concept: old, bizarre and seldom instruments. From others markets as Russia, Sweden, and England besides the bizarre, some instruments had hilarious appearance…
Pioneer
Teisco label is a binding reference in terms of bizarre guitars. The company that manufactured them, has arisen in 1946, is Aoi Onpa Kenkyujo. In 1952, they manufactured the first semi-solid electromagnetic pickup guitar and during all 50 decade, Teisco produced from American instruments a reduced cost copies. Let´s say, Gibson and Fender. Only semi-acoustic models had a different design, but influenced “slightly” by “American way of life”.
In the middle of 60´s, Teisco produced solid, bizarre design instruments. Were considered as foolish instruments by gringo, and these Japanese low cost guitars nibbled a subtle piece in the market. Because of cultural chauvinism from that era, however, in terms of market has not attained to. Nowadays, they are loved and brawled by compulsive collectors. Teisco guitars can be found in different several logotype and terminology. Here are some examples: Teisco, Teisco Del Rey, Kawai, Kingston, Kent, Heit, Kimberly and Silverstone.
I had the opportunity to play and later sell many Teisco guitars.
In Japanese market, the price can vary the average between 300 to 800 dollars, depending on model and the maintenance state.
In America, about 150 to 200 dollars, it´s possible to buy an old Teisco. The models the most disputed as Teisco “May Queen” of 1968 cost about 1500 dollars.
The first Teisco that arise “Del Rey” firebird model has respectively very strange rough ergonomic design. The price? Sold by 500 dollars with original case. To who may like Teisco or want to know it access:
http://www.teiscotwangers.com/

References:
I feel certain, that Teisco instruments can help you to re-define some market concepts. If that time, the low cost labels were parallel passing through to manufacturer as Fender, Gibson, Gretsch and Rickenbaker offering lower prices, and also a far visual concept from Strato / Les Paul standard. Making one a part, will never like Rickenbaker, I consider him bizarre in the opposite side. That is, rough and bad related to building. My friend Naofumi as well.
However, the bizarre universe isn´t restricted to only Teisco instruments or Vox. We made an interesting list. Some are familiar “brands”, but others not as many as.
That´s it, labels and sub labels that made instruments history for 50, 60 and starting of 70 decades.
Alamo, Kay, Valco, Harmony, Hagstrom, Guild, Stromberg, Mosrite, Baldwin, Larson, Supro, Gilchrist, Burns, Goya, Electra, Eko, Norma, Framus, Davoli, Galant, Egmond, Crucianelli, Levin, Marius, Zerosette, Orfeus, Hohner, Polverini, Dixon, Maya, Aristom, Dynacord, Welson, Gemelli, E-Ros, Excelsior, Melody, Wandre, Sekova, Crest, Univox, Bigsby, Ampeg Dan Armstrong, Maccaferri, Veleno, Kalamazoo, Danelectro, Dynelctron, Watson, Hofner, Airline, Fasan, Migma, Klira, Wilson, Harvey Thomas Guitars, Micro-Frets, Orpheum, Aelita, Amka, Watkins, Hoyer, Shiva, Mastro and Oahu.
And some Japanese as:
Guyatone, Kawai, Firstman, Galan, Hondo, Aria Pro, Tokai, Maya, Eros, Hitachi, Galama, Gaban, Navigator, Greco, Bunny, Thunder, Fresher, Joodee, Gibbon, Hisonus, Hosono, Westminster, Weldone, Sakura, Sakai, Stagg, Winston, Kasuga, Pro-Ceed, Fernandes, Rokugen, Alpha and Riverhead.
It´s not as many as labels, but the major seen before has through by our riddle in Japan. Were guitars that proposed the fragments rescue of guitars history.

Sound and Architecture
In terms of design, Americans can opt for pompous and colonial forms. The major manufacturer is proceeded from European East, that is, Anglo-Saxon side. From this, can explain some labels sumptuousness and over simplicity for others. No “mid-term”.
Japanese always copy Americans, but ransom came to Teisco and Navigator labels. Both changed the revolution of concepts and futurist citations, nowadays, are reverenced.
Italians that always flatter and consider themselves papa designer, don´t make any ostentation. Only some good ideas and no more.
But for Englishman, if you produce “ugly things” as Watson and Watkins guitars as said before my friend Naofumi “you will need improve more to call them bizarre or bad. And this: will be considered doubtable quality”.
Related to timbre, bizarre guitars will flirt better with classic rock, punk, blues and pop sound music. The bizarre guitars will be far from metal. Before someone ´s complaint, B.C. Rich, Kramer, Hamer, Jackson and others … only in 80´s. These are eighties arrogance we will see in the next stuff. Saying that 70´s and 80´s arrogance as Gibson as Fender also produced in this period “bizarre things”. Not even the big company seen before is immune to this. Who knows in the next future, I will be fully telling about it.
Backing to sound, it was rare to find a bizarre old guitar with good electrical parts. Pickups are noisy, low end and sound was fine thin. The components suggested a journey to retro time. The control knobs from an old Teisco, for example, are estimable pieces and found in any antique fair. Bridges, Peg heads and Shield always are a difference, exquisite visually and far common sense.
Bizarre or not
What is the real meaning of bizarre? The wisers says: noble, graceful, extravagant and strange.
Graceful and noble for some people strange and poor for others. The expert definition shows different taste and this we can´t discuss.
Imagine that you found a copy Gibson Les Paul guitar logotype Gibbon (that´s just it, isn´t that?) it´s bizarre, and a subliminal arrogance form.
Bizarre is that instrument that aggregate visual elements (future and retro), different technical supplies and sense that runs from sky to hell no more one second… that is, or you love or you hate…
If for some people a Japanese navigator Char model is considered bizarre, what can we say about 1916 Mozzani acoustic guitar / Lira Maccaferri? Or even Veleno guitar Traveler model one made for Mark Farner guitarist from Grand Funk?
This thing of bizarre has personal meaning. Do you remember the Hammer five arms guitar from Cheap Trick guitarist, Rick Nielsen ?
And the Foghat guitarist (Lonesone Dave Peveret) square guitar? Or Any Michael Angelo´s two necks or more guitar model?
For purists and traditional, the bizarre guitars are time loss or spent money. For that people who loves it, there is no more than disgusting and common a Fender Stratocaster and Gibson Les Paul. Who likes here are some links related to:
http://www.fetishguitars.com/
http://www.vintageguitar.com/
http://www.italiaguitars.com/
http://www.vintaxe.com/
http://www.edromanguitars.com/
http://www.voxshowroom.com/
http://www.hagstromguitars.com/
http://www.tymguitars.com.au/

One day Naofumi said: “good equipment must be: a good Gibson Les Paul, a Fender Stratocaster, or Telecaster, an acoustic Martin guitar and a guitar Floyd Rose pickup. But if you feel bored…buy a bizarre guitar”.

Metallica Brazil Tour

2010-01-31T05:02:00.001-08:00

Awesome, Metallica Kills!
bad pictures w/my cel phone at backstage in sao paulo show!

James...seeeekkkkkkk and destroy!!!!!!!!

Stage right, a lot of good noise!

James´ guitars at backstage

Kirk´s guitar at backstage waiting for the riffs...