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François “Shanka” Maigret is certainly one of the best current French guitarists. Multi-instrumentalist, guitar teacher, guitarist with “France de Griessen”, with “No one is Innocent” and singer-guitarist with “The Dukes”… among others.
François kindly accepted to answer to our questions and to tell us about his career, his projects, and of course his guitars and gear !!
Could you please tell us a bit about how you got into playing music ? Do you remember any specific moments that sparked your interest in music and playing guitar?
I started playing electric guitar at the age of 14. The original spark has been Angus Young… When I first saw that guy rolling on the floor while playing killer solos, I said to myself: “That’s what I wanna do… Whatever it takes!”. So I started learning on my own, listening to CDs, watching videos, buying songbooks. I discovered other great guitar players like Paul Gilbert, Stevie Ray Vaughan, Zakk Wylde, Dimebag Darrell, Nuno Bettencourt and so on and began recording myself, which helped a lot to make progress! Then, the usual story: first bands, first recordings, left my hometown for Paris, first pro band, first tour… Since there was no artists or musicians in my family, I thought it’d never work, but it’s been 10 years now so I guess I didn’t suck that much!
Which musicians or bands have been the greatest inspiration and have had the greatest influence on your understanding of music and your playing?
As I said, Angus was the original spark. Then I’d say that Paul Gilbert was my greatest inspiration, as a guitar player and as a teacher. I always loved the way he explained things with both humor and kindness. And no need to say his playing is mind-blowing… Later on I started listening to jazz and country players like Jim Hall (the classiest an on earth), Mike Stern, Tony Rice… I studied harmony and ended up creating my own solo style, which is a mix of blues, metal and be-bop, using country techniques like chicken picking or pedal-steel-like licks. As I read my last phrase, I must say it sounds rather pretentious, all the more because most of the time I end up on stage rolling on the floor making random noise…
Have you already jammed with one of them?
I jammed with Paul Gilbert once (thanks to the French magazine Guitar Part)… I was completely stoked. Still today I don’t understand how I could play a single note, I felt totally paralyzed. I met a lot of famous musicians and I’m generally acting “normal” in that kind of situation, but this time I was completely shocked. I saw him performing a masterclass in my hometown when I was 16 and had the chance to shake his hand… I didn’t wash it for days!!! When I told him that story the day we jammed together, he laughed his ass off!
What advise you give to fans wishing to perfect their playing and broaden out their understanding of music, or what is the first advise you give to your guitar students?
I’d say : “don’t forget where you come from, little monkey”. Since we’re all monkeys (we evolved a bit, but still!), the best way for us to learn things is to first imitate them. “Listen and repeat” is the best way to learn music, it worked with all my students, especially the ones with rhythmic or melodic issues. Then, in parallel, you study theory and start building your own personality! But ear training is definitively very important.
How many days a year do you spend on road? Is it hard to be on a tour and still keep the mindset to create and produce music?
I’d say half of my time is spent on the road. I recently had the chance to have a chat with the great Reeves Gabrels (Bowie’s former guitarist) and he told me how he thought that our lives were very similar to pirate’s, it totally struck me : a bunch of guys going from town to town, taking whatever they can, moving to the next city… It’s a thrill, really. It’s hard to get back to reality when you get back home, but it’s really worth it! I have my own studio to compose, produce and record so it’s not that complicated to keep making music, even if the creative part of the day sadly remains the smaller one… One’s got to pay his rent, like anybody!
Can you please tell us about the guitars, amps and effects you are mainly using, and why you have chosen the guitars & gear you have?
I’m mainly using a ’67 Gibson SG Jr, a Fender Elvis Costello Jazzmaster, a Daddy Mojo CigarBox guitar (which is amazing by the way) and two Roadrunner custom guitars. One of those is equipped with a miniaturized harmonica mic hidden in the upper horn that allows me to be called “the guitar whisperer”… Concerning the amps, I’m using a ’70 Fender Bassman 50, a custom Orange OR50 and a custom Marshall JCM800. I also have a Fender supersonic 100 that is really great.
Do you use the same guitars and gear with “No One is Innocent” and with “The Dukes”?
Depends on the mood, but yes mostly!
Do the guitars & gear you play live differ from the guitars you’re using during recording sessions?
Yes, in the studio I tend to record on much smaller amps. I’m using a few teles and my old Fender mustang too that I almost never use on stage.
Are you into vintage guitars & old amps/effects? If yes which brands/models and why? Maybe you have a special story to tell around one or more of your guitars?
I always hated the kind of Parisian snobs who judge you by the amount of vintage guitars that you own… Then I found my old SG Jr and started becoming a Parisian snob myself! But I still don’t judge people according to their gear! My philosophy is: I don’t care if it’s old or new, it’s gotta work and sound good. I recently bought a very cheap acoustic guitar so I can play when I go to my parents’ place… Eventually I brought it back to my studio since it sounds far better than my Taylor! I tend to like original instruments, like my Team Laser guitar-sitar or my cigarbox. I don’t care if the guitar is comfortable or not, if it’s got the sound that I want, I just adapt my playing to the axe I’m using. I’m really proud of the two models we designed with Laurent Hassoun (Roadrunner guitars): they’re pretty original and sound killer. Laurent is the best rock’n’roll luthier in France, no doubt. His instruments are amazing and the guy is a true rocknrolla!
What are your future plans? With “No One”, “The Dukes”, or alone?
I’m going to record the Dukes’ second LP in Los Angeles this summer, I’m pretty excited about it. I’m also working on No One is Innocent’s and France de Griessen’s new LPs these days… Composing’s my own disease: I just can’t help it, I’ve gotta work on new songs everyday! I also started playing with Abel Croze, an artist who plays for the children, which is pretty amazing… The show is pretty rock’n’roll, you should see those kids yelling, dancing and raising hell with their teachers completely losing control, it’s really something!
Any famous last words?
Music saves lives, don’t kill it… I don’t care if you download stuff, but be responsible and support your favourite artists or they’ll die (and I’m not talking about Britney or Miley, if you see what I mean!!). And above all, dare to be curious, there are fantastic new bands fighting to exist everywhere, all you’ve got to do is to find them… And with the internet there are no excuses!
More information about Shanka’s bands:
http://www.nooneisinnocent.net/
http://www.francedegriessen.com/en/
http://www.myspace.com/wearethedukes
There is no way to start this article without paying a great deal of due to Gibson’s President during their “Golden Era” (1950s to early to mid 1960s) Ted McCarty. The man was a visionary and helped or invented futuristic models such as the Explorer and Flying V and had his hands dirty in the development of the Les Paul and Electric Spanish or ES series semi hollow bodies. Thanks Teddy!!
The Gibson ES-335, 345 and ES 355 guitars are probably if not THE most verstaile guitar ever … certainly amongst the top. The solid maple block running through the middle of the guitar is why it is called a “semi” hollow. It allows for the sustain of a solid body with the overtones of a hollow body and the Feedback issue is solved all in one brilliant move. This solid block however would come into play as a difference later between eras which i will soon address in the article.
The ES335 was introduced in 1958 with a market price of $267.50. I know … i know … if only today … but if it makes you feel any better .. you had to pay seperately for the case!! 😉
The very 1st releases were in sunburst or natural or what is also referred to as blond today. The early 1958s were slightly different in that they had no neck binding. Though early and unique most dealers and collectors sell or value these for slightly less than a bound model. By mid 58 this was a non issue as binding was introduced and by 1959 the model was really off and running whether 335 345 or 355. Players like BB King and Chuck Berry would help put them on the map.
Shortly after its release came the fancier models just mentioned. introduced in 1959.,…. the ES345 and 355. What set these models apart was mostly ornamentaion and the stereo option as well as a vibrola, usually a Bigsby but some sideways are seen too. The 1959 ES355 would also show off the upcoming cherry finish officially introduced in 1960 AND the fancier bound ebony fingerboard. You may have seen the early 59 ES355s and most of them were actually made from the same red anolyn die that faded out of all their other models so the 355s often took on a more reddish orange hue than its later 1960 release where they had solved the fading issue … much like in Les Pauls standards of that era. It should be noted that while stereo was a big part of these models that early ES355s were also made occasionally in mono which is a superbly collectable combo. By 1960 all 3 models were available in Cherry Red, Sunburst and Natural but natural was discontinued after 1960.
As time progressed some of the features would change and come seriously into play thus why certain eras are considered much better.
A very big one to me with ES335s was the history of the solid block. 1958-1961 “Dot Necks” (referring to their dot inlaid fingerboard) all had solid blocks through and through … but as Gibson’s production on this model would ramp up they in 1962 began cutting out the treble side of the block between pick ups allowing for a “universal” shell so that determination of model could come later in case they needed a 345 instead for example. The stereo models required a big choke and stereo splitter and this device was mounted between the pick ups so suddenly the ES335s were also cut out. This will not show from the bass side F hole but will from the treble with a light. Then earlier ones had merely a small pilot hole drilled in the block for wiring as on Dot Necks but in mid 62 you’ll see about a 1+1/2 – 2″ cut out between the pick ups TREBLE SIDE ONLY. In my opinion as a 335 owner and obsessed fan all of my adult life is that the earlier solid block had more sustain and a darker sound more like a Les Paul and the later ones a little jazzier tone. This is a very important to some … yet a little discussed turning point except between the deepest of “335 heads!”
This would be the start of a transitional era that eventually revamped many features of the model. Up to this point only minor mods like a knob change in 1960 had occurred. The changes in most cases happened in the mid 60s, These affected many Gibsons in that way. In later 62 the PAF decals were replaced by patent number pick ups though this was mostly a formality and didn’t amount to changes made right away. Also at this time block neck markers became stock though dots were still an option. In 1963 dots were no longer offered. The next evolution would be in the mid 60s late 64 into mid 65 when the well accepted wider fingerboard would disappear ….the nickel hardware would be replaced my chrome .. the stop tailpiece was then replaced by the trapeze, “T-tops” or later humbuckers were introduced and eventually what you wound up with was still a great guitar but certainly somewhat different than the original eras.
The 60s and 70s brought players that would also give ‘cred’ to the model Eric Clapton used his 1964 on Cream’s “Badge” … one of the best and most noted guitar solos of all time. In the 70s Fusion guys would put the dot neck into the history books forever with players like Larry Carlton cutting it up on Steely Dan’s “Kid Charlemagne” and Lee Ritenour showing up on the cover of everything with his red Dot.
By the late 60s the changes were mostly the same as other models in that Norlin’s signs would show up … like the head volute … “made in USA” stamp” But all in all stayed the same until the late 70s when small additions like coil splitters were added. But there is also another point regarding the center block to be made here and that is there was also a period early in the 70s where some but not all 335s were made with a total divide in the block from bass to treble side that you actually Can see through from both side F holes … or a non solid block. This may have a good clean sound but i have played several and feedback can be an issue at high gain and volume situations.
By the nearly 1980s everyone was aware that the earlier features were the ones they wanted and much like Fender … Gibson launched into the reissue business and the reissues are a very close aesthetic version of the originals … though most would argue not on a level of the guitar’s actual playability, sonics and desirability. Which would explain why the reissues go used for about $1500-$2000 and the orignals more like $25,000- $40,000 (and more for a blond!).
I too … have payed through way too much for a blond … but back to guitars … It is my humble opinion that the Gibson ES335 is the most versatile guitar ever. It can be used as a Rock and Roll overdrive guitar, a jazz clean guitar, BLUES guitar extrordinaire …. a country guy can use one on the treble pick up and so on.
If i had to part with all of my electric guitars and keep just one … you KNOW its going to be my 61 dot neck ES-335!!
Thanks for listening.
Dan Yablonka. Dan Yablonka Guitars.
Steve Marker is an american musician and a record producer. Internationally he is best known as the guitarist of the rock band Garbage.
Nicolai from Vintage & Rare had a chance to meet Steve at Northside Festival, held in Aarhus, Denmark. Steve is eloborating on gear and his Henman Guitars, which he tours and records with.
Enjoy watching the video interview and don’t forget to take a look at some photos from the concert.
We present you Croatian cellist Ana Rucner. Her parents are classically trained musicians so they were big influence on Ana, who started playing at the age of 7. Education is very important to her. That’s why she holds the title of cello professor. In her work she always tries to connect classical with modern music. Vintage & Rare talked to Ana about her work.
Could you please tell us a bit about how and when you got into playing music?
I was six and a half years old, almost seven when I told my mom I wanted to play cello just like her. My mom is a beautiful woman and in that segment of my life she was my role model and somehow I just wanted to be like her. It is great for a kid to have a role model like I had. That is how I started. My mom supported me of course, we bought a small cello. It all started 22 years ago.
When did you start playing electric cello?
It was exactly ten years ago; I have it at home for ten years. That all happened in period when my thinking about music was changing. I got the instrument that actually changed my whole life.
Your music has elements of classical, modern and ethno. Could you explain us why you initially got into the type of music and genre you’re playing?
I am classically educated, that is where classic comes from. Without it I couldn’t do anything else. As far as modern approach is concerned, growing drew me to do something different. When I create my music I always put myself into the listeners position, I want it to be pleasant and nice to them. That is how I do it. As far as ethno elements are concerned, I respect a lot Croatian tradition. It is my country, country where I grew up. I think that combination of traditional instruments and classical music through modern approach is amazing. It is available to everyone. In some spontaneous way, it all came together.
What musicians have inspired you the most over the years and why?
I think I will never forget one cooperation that happened ten years ago. I was playing at Maribor philharmonic as a part time member during my studies. Every month I used to go to Maribor,Slovenia; worked whole week there (rehearsals, project etc.). One day came a man called Lalo Schrifin. He created a hit ”Mission impossible”; great man, musician, conductor, pianist. He was playing his greatest movie hits on the piano and conducting the orchestra I played in. Lalo inspired me a lot.
Everything changed for me and I fell in love with classic and modern music. He is not the cause of my thinking but he helped me to grow. Of course my other role model is my mother. She is a great cello player and a woman. Every now and then musicians find new inspiration. But the most important is to know what you want and stick to that.
What do you prefer, playing solo and/or with other musicians?
I usually play solo. Playing solo is my favourite choice because I have complete freedom. But of course I am not always completely alone. Sometimes I have with me ‘’Gudački kvartet Rucner’’ where my mother and father play with two more musicians. I love to play with orchestra; they put some extra touch to the sound.
I also love to play Bach’s suites on acoustic cello; when the surrounding is good, special occasion, good acoustic that is a special moment just for me and my cello. That is special connection for me and I prefer that more than anything else.
Any artists and ensembles around the world that you would like to play and record with?
Of course there are lot of orchestras, musicians; at the moment I am not thinking much about that. In Croatia I played with ‘’HRT Symphony Orchestra’’. With ‘’Zagreb philharmonic orchestra’’ I just recorded project ‘’Ode to joy’’. That video got an award in Berlin; ‘’Das golden Stadttor’’, so-called tourism Oscar for the best video.
I had different co operations. Maybe I will play with amazing orchestra from Oman, composed with great musicians. I would love to make a project with them. But something completely different, maybe pop-punk-rock combination. I became really good at that. I hope that this will be achieved in the near future.
Can you tell us about the cellos you are using?
Acoustic cello that I have been using for 15, 16 years was a gift. I was 13 years old when I got it. That is really old but amazing instrument from Italy, 1845. Ladies cello, slightly narrower than the standard, but meets the standards of the entire cello. The sound is special, warm, and receptive; I coalesced with it and it is the most important to me, to have a good cello.
As far as the electric is concerned, at home I have two Yamaha cellos. One I bought in Birmingham, near London. It is produced by great man David Johnson from the Violectra Company. It was done by the extent of my acoustic one.
I also have few, made of carbon; I bought them for fun and dyed in crazy colours. I love to decorate them, they even have Swarovski crystals. Those are not the instruments for classical music, but they look really good on photography and recordings. For now I have six of them, but that is not the end, just the beginning of a beautiful friendship.
Does the cello you play in concerts and live differ from the ones you’re during recording work?
Mostly it does not. Actually, when I record in the studio, it is always acoustic cello. That sound cannot be compared to electric one. As far as modern expression is concerned, I have a good electric cello which can of course be very much strengthened and has many effects. These instruments cannot be use under all conditions. It is not wise to take acoustic cello on extreme temperatures. Even though I did that and nothing happened.
So basically I play classical music on acoustic cello, modern music on electric one and I always record on acoustic cello. As I already mentioned, I also have some cellos that are more for photos than to produce sound. With my white cello I would never play classical music because I don’t think it would give the same sound as acoustic one.
Any famous last words?
I would like to greet all the readers; it was really nice talking to you.
When you love what you do it is very important to be persistent, innovative and to have the inspiration. You simply take what you have and go all the way with it. It is also very important to have an instrument that breathes with you. There are a lot of good cellos, but not all of them suit everyone. Instrument must be your best friend.
www.anarucner.com
www.facebook.com/ana.rucner
itunes.apple.com/us/artist/ana-rucner/id519685590
Would you like to add something about Ana? Please leave a comment…
Those of you that love guitars and the history of guitars, may also feel an affinity with vinyl records. Here is a little piece about the cross-over between the two worlds, and the appearance of iconic guitars on vinyl record cover art
Rock My World: Guitar Cover Art
Sometimes the album cover is just as (or more) interesting and fascinating as the album itself. Great cover art catches the eye and makes any record stand out from the rest. Cover art also provides clues as to the band or artists’ intent – will this be an upbeat or melancholy collection of songs? Or will it be a journey through various musical stylings that will evoke a multitude of emotions and feelings? You can also determine the time period by looking at clothing, famous architecture, and icons (peace signs and smoke rings should be a dead giveaway) featured on the cover.
What Do Guitars in Cover Art Mean?
For many musicians, musical instruments are much more than just a medium on which to play – these instruments are an extension of the soul, spirit, and body. Featuring an instrument on the cover usually means more than, ‘Hey, you’re going to hear a lot of guitar work on this album.’ Usually portrait shots (Johnny Cash or John Lee Hooker holding their guitars) or abstract images of guitars floating in mid-air (Dire Straits Brother in Arms), the guitars featured can provide some clues as to the main theme of an album.
For example, Brother in Arms, features a steel blue National Style 0 Resonator, manufactured between 1930 and 1941. This guitar relied decorative steel sheets (also called cones) to help it produce a louder and more distinctive sound than traditional acoustic guitars. The design helped keep the instrument from being overshadowed by other instruments like the drums and horns.
Interestingly, the album features several songs including Brothers in Arms, and Ride Across the River that explore the nature or war and military life. The guitar on the cover was probably designed during WWII and, while beautiful, appears to have been pieced together with various metals (may cause some people to think of Mad Max Beyond Thunderdome – a post apocalyptic movie about people surviving war and rebuilding a society – the movie came out in 1985, the same year as Brothers in Arms).
Musicians Known for Their Guitars
Other famous musicians such as Eric Clapton, Santana, Hank Williams, and B.B. King, who named his original guitar and all those that came afterwards ‘Lucille,’ are known for their expert guitar work. King even wrote a song about his guitar, several of which have been featured on album covers.
This may be why Eric Clapton is seen holding a guitar on many album covers – Slowhand , Just One Night and 24 Nights just to name a few. The cover art for 24 Nights, a live album Clapton released in 1991, was done by Sir Peter Blake, who also designed the cover art for The Beatles Sgt. Peppers Lonely Hearts Club Band. The cover, a squiggly, free-hand drawn sketch of Clapton playing his guitar, is appropriate for the album because, according to Clapton, the album was not an easy one to produce. The album chronicles Clapton’s impressive 24 nights of performances at London’s Royal Albert Hall.
This piece was written by Sylvia from www.vinylstall.com
If you are looking for vinyl records on the internet, then please pay us a visit
Dating Fender Amps
1951-1967 – Tube chart on the inside of the amp is stamped with two letters (A – Q):
The first letter designates the year and the second letter designates the month.
A 1951 JAN
B 1952 FEB
C 1953 MAR
D 1954 APR
E 1955 MAY
F 1956 JUN
G 1957 JUL
H 1958 AUG
I 1959 SEP
J 1960 OCT
K 1961 NOV
L 1962 DEC
M 1963
N 1964
O 1965
P 1966
Q 1967
Mid ’70s – early ’80s – Amplifiers are dated much the same way as Fender guitars from the same era:
B + 5 digits 1975 – 1976
A6 + 5 digits 1976
A7 + 5 digits 1977
A8 + 5 digits 1978
A9 + 5 digits 1979
F0 + 5 digits 1980
F1 + 5 digits 1981
F2 + 5 digits 1982 – 1983
F3 + 5 digits 1983 – 1984
F4 + 5 digits 1984 – 1985
F9 + 5 digits 1979 – 1980
Dating Contemporary Fender Amplifiers
All Fender amplifiers manufactured from 1990 – present include a date code printed on the quality assurance (QA) sticker on the back of the amp chassis, and are dated the by the first letter as the year and the second letter as the month.
A 1990 JAN
B 1991 FEB
C 1992 MAR
D 1993 APR
E 1994 MAY
F 1995 JUN
G 1996 JUL
H 1997 AUG
I 1998 SEP
J 1999 OCT
K 2000 NOV
L 2001 DEC
M 2002
N 2003
O 2004
P 2005
ALL other Fender Amplifiers can be dated by the components inside:
In almost every Fender amplifier there are several EIA (manufacturer) codes followed by a date code, typically found on the speaker(s), transformer(s), tubes, caps, and occasionally pots. The EIA code will consist of 3 numbers followed by a date code of 3 or 4 numbers designating the year and the week. To give an example, a typical Oxford speaker from the ’60s will look something like: 465-217. 465 designating the Oxford EIA code, 2 designating the year 1962, and 17 designating the 17th week of ’62. Take a look at this ’62 Fender Princeton Amp, and you’ll see that exact speaker, as well as the typical Schumacher transformers (EIA 606) used in Fender amplifiers.
Serial Number ranges from amplifiers made between the late ’40s – late ’70s:
Bandmaster 5C7, 5D7 (tweed)
0001 to 0800 – 1953
5000 to 5500 – 1954
Bandmaster 5E7 (tweed)
S00001 to S00350 – 1955
S00350 to S01200 – 1956
S01100 to S01800 – 1957
S01700 to S02500 – 1958
S02500 to S03700 – 1959
Bandmaster 5G7, 6G7 (brown)
00001 to 0100 -1960
Bandmaster 6G7, 6G7-A (blonde)
00001 to 02400 – 1960
02300 to 05100 – 1961
49000 to 58000 – 1962
58000 to 59200 – 1963
Bandmaster AA763, AB763 (blackface)
A00001 to A01700 – 1963
A01400 to A08000 – 1964
A07700 to A17000 – 1965
A16000 to A22000 – 1966
A20000 to A27000 – 1967
Bandmaster AB763, AC568 (silverface)
A26000 to A29000 – 1967
A28000 to A34000 – 1968
A33000 to A34000 – 1969
A34000 to A45000 – 1970-72
Bandmaster Reverb AA768, AA1069, AA270, TFL5005 (silverface)
A31000 to A35000 – 1968
A35000 to A45000 – 1969
A45000 to A49000 – 1970
A48000 to A54000 – 1971
A54000 to A59000 – 1972
A59000 to A66000 – 1973
A66000 to A77000 – 1974
A75000 to A78000 – 1975
A78000 to A80000 – 1976
Bassman 5B6 (tweed)
0001 to 0300 – 1951
0300 to 0400 – 1952
0400 to 0600 – 1953
Bassman 5D6, 5D6-A (tweed)
0600 to 0900 – 1954
Bassman 5E6, 5E6-A (tweed)
0100 to 0200 – 1955
BM00001 to BM00550 – 1955
BM00550 to BM01200 – 1956
BM01200 to BM01600 – 1957
Bassman 5F6, 5F6-A (tweed)
BM00001 to BM00400 – 1957
BM00400 to BM01500 – 1958
BM01500 to BM03100 – 1959
BM03100 to BM04600 – 1960
Bassman 6G6, 6G6-A, 6G6-B (blonde)
BP00100 to BP01100 – 1961
BP01100 to BP05000 – 1962
BP05000 to BP08400 – 1963
BP08400 to BP12000 – 1964
Bassman AA864, AA165, AB165 (blackface)
A00100 to A03800 – 1964
A03800 to A15000 – 1965
A15000 to A25000 – 1966
A24000 to A33000 – 1967
Bassman AB165, AC568, AA270, AA371 (silverface)
A32000 to A40000 – 1967
A39000 to A49000 – 1968
A48000 to A58000 – 1969
A58000 to A60000 – 1970
Bronco AB764 (silverface)
A19000 to A21000 – 1967
A20000 to A26000 – 1968
A25000 to A28000 – 1969
A28000 to A29000 – 1970
A29000 to A32000 – 1971
A32000 to A35000 – 1972
A33000 to A39000 – 1973
A39000 to A42000 – 1974
A42000 to A51000 – 1975
Champion 800 (tweed)
01 to 1000 – 1948-49
Champion 600 5B1 (tweed)
01 to 1300 – 1948-49
1300 to 1700 – 1950
1700 to 5000 – 1951-52
5000 to 5500 – 1953
Champ 5C1, 5D1 (tweed)
5500 to 6600 – 1953
6600 to 8000 – 1954
8000 to 9999 – 1955
Champ 5E1, 5F1 (tweed)
C00001 to C00800 – 1955
C00800 to C03100 – 1956
C03100 to C06000 – 1957
C06000 to C08800 – 1958
C08800 to C12500 – 1959
C12500 to C15500 – 1960
C15500 to C16800 – 1961
C17000 to C19000 – 1962
C19000 to C21000 – 1963
C21000 to C23000 – 1964
Champ AA764 (blackface)
A00100 to A02000 – 1964
A01900 to A05200 – 1965
A05200 to A12000 – 1966
A12000 to A12200 – 1967
Champ AA764 (silverface)
A12200 to A13900 – 1968
A13900 to A18000 – 1969
A18000 to A30500 – 1970
A30500 to A32000 – 1971
A32000 to A35000 – 1972
A32000 to A42000 – 1973
A42000 to A50000 – 1974
A50000 to A63000 – 1975
A63000 to A85000 – 1976
Concert 5G12, 6G12, 6G12-A (brown)
00001 to 02400 – 1960
02300 to 05100 – 1961
49000 to 58000 – 1962
58000 to 59200 – 1963
Concert AA763, AB763 (blackface)
A00001 to A01700 – 1963
A01400 to A08000 – 1964
A07700 to A08800 – 1965
Model 26 Deluxe (woodie)
100 to 1500 – 1946-48
Deluxe 5A3, 5B3 (tweed)
001 to 800 – 1948
800 to 1900 – 1949
1900 to 3000 – 1950
3000 to 5400 – 1951
5400 to 6800 – 1952
6800 to 7300 – 1953
Deluxe 5C3, 5D3 (tweed)
0001 to 1500 – 1953
1500 to 3600 – 1954
3600 to 5300 – 1955
Deluxe 5E3 (tweed)
D00001 to D01400 – 1955
D01400 to D03000 – 1956
D03000 to D05000 – 1957
D05000 to D06800 – 1958
D06800 to D09000 – 1959
D09000 to D10000 – 1960
D10000 to D11000 – 1961
Deluxe 6G3, 6G3-A (brown)
D00100 to D00900 – 1961
D00800 to D03800 – 1962
D03800 to D04900 – 1963
Deluxe AA763, AB763 (blackface)
A00100 to A00500 – 1963
A00500 to A02800 – 1964
A02800 to A05600 – 1965
A05600 to A06100 – 1966
A06100 to A06500 – 1967
Deluxe Reverb AA763, AB763 (blackface)
A00100 to A00300 – 1963
A00300 to A03900 – 1964
A03900 to A13000 – 1965
A12000 to A19000 – 1966
A19000 to A24000 – 1967
Deluxe Reverb AB763, AB868 (silverface)
A24000 to A26000 – 1967
A26000 to A28500 – 1968
A28500 to A33000 – 1969
A31000 to A33000 – 1970
A33000 to A34500 – 1971
A34500 to A37000 – 1972
A37000 to A39000 – 1973
A39000 to A42000 – 1974
A42000 to A43000 – 1975
A43000 to A45000 – 1976
Dual Showman AA763, AB763 (blackface)
A00100 to A01400 – 1963
A01400 to A01700 – 1964
A01700 to A04300 – 1965
A04300 to A08000 – 1966
A07800 to A12000 – 1967
Dual Showman AB763, AC568 (silverface)
A12000 to A12500 – 1967
A12500 to A15000 – 1968
Dual Showman Reverb AA768, AA769, AA270, TFL5000 (silverface)
A13900 to A16500 – 1968
A16500 to A22400 – 1969
A21700 to A25600 – 1970
A25600 to A37000 – 1971
A37000 to A50500 – 1972
A50500 to A68000 – 1973
A68000 to A99999 – 1974
A81000 to A99999 – 1975
B01000 to B15000 – 1975
B15000 to B68000 – 1976
Harvard 5F10 (tweed)
H00100 to H00500 – 1956
H00500 to H01400 – 1957
H01400 to H02000 – 1958
H02000 to H02600 – 1959
H02600 to H03400 – 1960
H03400 to H03500 – 1961
Musicmaster Bass CFA-7010 (silverface)
A00100 to A04100 – 1972
A04100 to A07900 – 1973
A07900 to A09500 – 1974
A09500 to A09800 – 1975
A09800 to A10500 – 1976
Princeton 5B2, 5C2, 5D2 (tweed)
2500 to 3600 – 1953
3600 to 4400 – 1954
4400 to 4700 – 1955
Princeton 5F2, 5F2-A (tweed)
P0001 to P00350 – 1955
P0001 to P01100 – 1956
P01100 to P02400 – 1957
P02400 to P03000 – 1958
P03000 to P04300 – 1959
P04300 to P07000 – 1960
Princeton 6G2, 6G2-A (brown)
P00100 to P01000 – 1961
P01000 to P05100 – 1962
P05100 to P07200 – 1963
P07100 to P09900 – 1964
Princeton AA964 (blackface)
A00100 to A02500 – 1964
A02500 to A07000 – 1965
A05000 to A10400 – 1966
Princeton AA964 (silverface)
A10000 to A11000 – 1967-68
A11000 to A15000 – 1969-70
Princeton Reverb AA1164 (blackface)
A00100 to A02100 – 1964
A02100 to A07500 – 1965
A05500 to A14500 – 1966
A14000 to A18700 – 1967
Princeton Reverb AA1164, B1270 (silverface)
A18500 to A19500 – 1967
A18900 to A21500 – 1968
A21500 to A25500 – 1969
A24000 to A25000 – 1970
A25000 to A26000 – 1971
A26000 to A27500 – 1972
A27500 to A30000 – 1973
A30000 to A32500 – 1974
A32500 to A34500 – 1975
A34500 to A36000 – 1976
Pro 5A5, 5B5, 5C5, 5D5 (tweed)
01 to 600 – 1948
600 to 1100 – 1949
1100 to 1700 – 1950
1700 to 2500 – 1951
2500 to 3500 – 1952
3500 to 4800 – 1953
4500 to 6000 – 1954
Pro 5E5, 5E5-A, 5E5-B (tweed)
S00100 to S00800 – 1955
S00800 to S01200 – 1956
S01200 to S01800 – 1957
S01700 to S02500 – 1958
S02500 to S03700 – 1959
Pro 5G5, 6G5, 6G5-A (brown)
00001 to 02400 – 1960
02300 to 05100 – 1961
49000 to 58000 – 1962
58000 to 59200 – 1963
Pro AA763, AB763 (blackface)
A00001 to A01700 – 1963
A01400 to A08000 – 1964
Pro Reverb AA165 (blackface)
A00100 to A02700 – 1965
A02700 to A09200 – 1966
A07000 to A10200 – 1967
Pro Reverb AA1265, AB668, AA1069, AA270 (silverface)
A10000 to A10500 – 1967
A10500 to A12000 – 1968
A12000 to A13300 – 1969
A13400 to A14500 – 1970
A14500 to A15000 – 1971
A15000 to A15600 – 1972
A15600 to A17200 – 1973
A17200 to A19700 – 1974
A19700 to A20000 – 1975
A20000 to A21500 – 1976
Quad Reverb CFA7104 (silverface)
A33000 to A37000 – 1971
A37000 to A50500 – 1972
A50500 to A68000 – 1973
A68000 to A99999 – 1974
A81000 to A99999 – 1975
B01000 to B15000 – 1975
B15000 to B68000 – 1976
Reverb Unit 6G15 (brown, blonde, blackface)
R00100 to R00900 – 1961
R00900 to R02600 – 1962
R02600 to R04800 – 1963
R04800 to R07400 – 1964
R07400 to R09800 – 1965
R09800 to R11000 – 1966
Showman 6G14, 6G14-A (blonde)
00001 to 00350 – 1960
00200 to 00800 – 1961
00800 to 01500 – 1962
01500 to 01800 – 1963
Showman AA763, AB763 (blackface)
A00100 to A01400 – 1963
A01400 to A01700 – 1964
A01700 to A04300 – 1965
A04300 to A08000 – 1966
A07800 to A12000 – 1967
Showman AB763 (silverface)
A12000 to A12500 – 1967
A12500 to A15000 – 1968
Super incl. Dual Professional (tweed)
01 to 400 – 1946-47
500 to 1200 – 1949-51
2000 to 4300 – 1952-53
4500 to 5500 – 1954
5500 to 6100 – 1955
Super 5E4, 5F4 (tweed)
S00100 to S00800 – 1955
S00800 to S01200 – 1956
S01200 to S01800 – 1957
S01700 to S02500 – 1958
S02500 to S03700 – 1959
Super 5G4, 6G4, 6G4-A (brown)
00001 to 02400 – 1960
02300 to 05100 – 1961
49000 to 58000 – 1962
58000 to 59200 – 1963
Super Reverb AA763, AB763 (blackface)
A00100 to A00600 – 1963
A00600 to A06000 – 1964
A05900 to A13000 – 1965
A11000 to A20000 – 1966
A20000 to A27000 – 1967
Super Reverb AB763, AB568, AA1069, AA270 (silverface)
A26000 to A29000 – 1967
A27000 to A35000 – 1968
A35000 to A45000 – 1969
A45000 to A49000 – 1970
A48000 to A54000 – 1971
A54000 to A59000 – 1972
A59000 to A66000 – 1973
A66000 to A77000 – 1974
A75000 to A78000 – 1975
A78000 to A80000 – 1976
Super Six Reverb CFA7106 (silverface)
A33000 to A37000 – 1971
A37000 to A50500 – 1972
A50500 to A68000 – 1973
A68000 to A99999 – 1974
A81000 to A99999 – 1975
B01000 to B15000 – 1975
B15000 to B68000 – 1976
Tremolux 5E9, 5E9-A (tweed)
0001 to 00650 – 1955
00650 to 01000 – 1956
01000 to 01300 – 1957
01300 to 01700 – 1958
01700 to 02700 – 1959
02600 to 03300 – 1960
Tremolux 6G9, 6G9-A, 6G9-B (blonde)
00100 to 01000 – 1961
00900 to 04200 – 1962
04200 to 05900 – 1963
Tremolux AA763, AB763 (blackface)
A00100 to A00500 – 1963
A00500 to A03700 – 1964
A03200 to A05700 – 1965
A05200 to A08000 – 1966
Twin 5C8, 5D8, 5D8-A, 5E8, 5E8-A (tweed)
001 to 500 – 1953-55A00200 to A00725 – 1956-57
Twin 5F8, 5F8-A (tweed)
A00010 to A00725 – 1957-59
Twin 6G8, 6G8-A (blonde)
00001 to 00100 – 1960
00100 to 00225 – 1961
00225 to 00400 – 1962
00400 to 00525 – 1963
Twin Reverb AA763, AB763 (blackface)
A00100 to A01200 – 1964
A01200 to A04300 – 1965
A04300 to A07000 – 1966
A07000 to A10400 – 1967
Twin Reverb AB763, AC568, AA769, AA270 (silverface)
A10500 to A11300 – 1967
A10500 to A16500 – 1968
A16500 to A21400 – 1969
A21400 to A25600 – 1970
A25600 to A37000 – 1971
A37000 to A50500 – 1972
A50500 to A68000 – 1973
A68000 to A99999 – 1974
A81000 to A99999 – 1975
B01000 to B15000 – 1975
B15000 to B68000 – 19760100 to 3400 – 1970
Vibrasonic 6G13, 6G13-A (brown)
00001 to 00350 – 1960
00200 to 00800 – 1961
00800 to 01500 – 1962
01500 to 01800 – 1963
Vibro Champ AA764 (blackface)
A00100 to A02000 – 1964
A01200 to A08100 – 1965
A08100 to A16000 – 1966
A16000 to A20500 – 1967
Vibro Champ AA764 (silverface)
A19000 to A21000 – 1967
A20000 to A26000 – 1968
A25000 to A28000 – 1969
A28000 to A29000 – 1970
A29000 to A32000 – 1971
A32000 to A35000 – 1972
A33000 to A39000 – 1973
A39000 to A42000 – 1974
A42000 to A51000 – 1975
A51000 to A53000 – 1976
Vibrolux 5F11 (tweed)
F00001 to F00300 – 1956
F00300 to F00900 – 1957
F00900 to F01500 – 1958
F01500 to F02800 – 1959
F02800 to F04000 – 1960
F04100 to F04400 – 1961
Vibrolux 6G11, 6G11-A (brown)
00100 to 00700 – 1961
00700 to 03700 – 1962
03400 to 05500 – 1963
Vibrolux AA763 (blackface)
A00100 to A01300 – 1964
Vibrolux Reverb AA864 (blackface)
A00100 to A00800 – 1964
A00800 to A03600 – 1965
A03600 to A08300 – 1966
A08300 to A10700 – 1967
Vibrolux Reverb AA864, AA964, AB568, AA270 (silverface)
A10700 to A11000 – 1967
A11000 to A12000 – 1968
A12000 to A13700 – 1969
A13700 to A23400 – 1970
A23400 to A24500 – 1971
A24500 to A25000 – 1972
A25000 to A27000 – 1973
A27000 to A31500 – 1974
A31500 to A33000 – 1975
A33000 to A34000 – 1976
Vibrosonic Reverb (silverface)
A44000 to A50500 – 1972
A50500 to A68000 – 1973
A68000 to A99999 – 1974
A81000 to A99999 – 1975
B01000 to B15000 – 1975
B15000 to B68000 – 1976
Vibroverb 6G16 (brown)
00100 to 00600 – 1963
Vibroverb AA763, AB763 (blackface)
A00100 to A05300 – 1964
Typical Speakers found inside most Fender Amps:
Bandmaster 5C7, 5D7 (wide panel): Jensen P15N
Bandmaster 5E7, 6G7 (3×10): Jensen P10R, P10Q, Oxford 12K5R-1
Bandmaster 6G7-A: Oxford 12M6, Jensen C12N
Bandmaster AB763 and silverface: Oxford 12T6, Jensen C12N, Utah 12″
Bandmaster Reverb Silverface: Oxford, Utah 12″Bantam Bass Silverface: Yamaha trapezoidal
Bassman 5B6, 5C6: Jensen P15NBassman 5D6, 5E6-A, 5F6, 5F6-A: Jensen P10R, P10Q
Bassman 6G6 , 6G6-A, 6G6-B: Oxford 12M6; Jensen C12NBassman AA864, AA165: Oxford 12T6; Jensen C12N; Utah ceramic
Bassman Silverface: Oxford 12T6; Utah; Rola
Bassman Ten Silverface: CTS 10″ ceramic
Champ 5C1, 5D1: Cleveland 6″ alnico, Jensen P6T
Champ 5E1, 5F1: Oxford 8EV; Jensen P8T; CTS 8″ alnico
Champ AA764, silverface: Oxford 8EV
Concert 5G12, 6G12: Jensen P10R, P10Q
Concert 6G12-A: Jensen P10R, P10Q, C10R; Oxford 10K5
Concert AB763: Oxford 10K5, 10L5; Utah V10LXC1
Deluxe 5B3, 5C3, 5D3: Jensen P12R
Deluxe 5E3: Jensen P12R, P12Q
Deluxe 6G3, AB763: Oxford 12K5-6
Harvard 5F10, 6G10: Jensen P10R
Musicmaster Bass Silverface: CTS 12″ ceramic; Oxford 126PJ4
Quad Reverb Silverface: Oxford 12T6; Utah V12PC; Rola
Princeton 5C2, 5D2, 5F2, 5F2-A:Jensen P8T; Oxford 8EV; Cleveland 8″
Princeton 6G2, AA964: Oxford 10J4; Jensen C10R
Princeton Silverface: Oxford 10J4
Princeton Reverb AA1164: Oxford 10J4, 10L5; Jensen C10R, C10N
Princeton Reverb Silverface: Oxford 10J4; CTS
Pro 5A5: Jensen F15N (field coil), P15N
Pro 5B5, 5C5, 5D5: Jensen P15N
Pro 5E5, 5E5-A: Jensen P15N
Pro 6G5, 6G5-A: Jensen P15N; Oxford 15M6
Pro AB763: Jensen C15P; CTS 15″ ceramic
Pro Reverb AA165: Jensen C12N; Oxford 12L6
Pro Reverb Silverface: Oxford 12L6, 12T6; Utah, Rola 12″ ceramic
Showman 12 6G14, 6G14-A, AB763: JBL D120F with tone ring
Showman 6G14, 6G14-A, AB763: JBL D130F with tone ring
DualShowman AB763: JBL D130F
Dual Showman Rev Silverface: JBL D130F
Super 5B4, 5C4, 5D4, 5E4, 5E4-A: Jensen P10R
Super 5F4: Jensen P10R, P10Q
Super 6G4, 6G4-A: Jensen P10R, P10Q; Oxford 10K5
Super Reverb AA763, early AB763: Jensen C10R
Super Reverb AB763, silverface: CTS 10″ alnico or ceramic; Oxford 10L6; Rola 10″ ceramic
Super Six Reverb Silverface: Oxford 10L6; CTS 10″ alnico
Tremolux 5E9-A: Jensen P12R; P12Q
Tremolux 6G9, 6G9-A: Jensen P10Q or Oxford 10K5R w/tone ring
Tremolux 6G9-B: Oxford 10K5
Tremolux AB763: Oxford 10K5, 10L5; CTS 10″ ceramic
Twin 5C8, 5D8, 5E8-A: Jensen P12R; P12Q
Twin 5F8, 6G8: Jensen P12N
Twin 6G8, 6G8-A: Jensen P12N; Oxford 12M6
Twin Reverb AB763: Jensen C12N; Oxford 12T6
Twin Reverb Silverface: Oxford 12T6; EV; Gauss; Utah; Rola
Vibro Champ/Bronco: Oxford 8EV
Vibrolux 5E11, 5F11: Jensen P10R
Vibrolux 6G11, 6G11-A, AB763: Oxford 12L6, 12M6
Vibrolux Reverb AA864, AA964: Jensen C10Q; Oxford 10L5
Vibrolux Reverb Silverface: Oxford 10L5; CTS 10″ alnico
Vibrasonic 5G13, 6G13-A: JBL D130, D130F
Vibrosonic Reverb Silverface: JBL D130F, K130F; Gauss; EV
Vibroverb 6G16: Oxford 10K5
Vibroverb AA763, AB763: JBL D130F; Jensen C15N; CTS 15″ ceramic
Our friends from Sanden Guitars would like to endorse Homesick Mac. This July he is hosting 1st annual Guitar Retreat in Sweden. Please help us spread Mac’s message through your community. It’s very much appreciated.
Below you can read his message and a video that Nicolai from Vintage & Rare recorded with Sanden Guitars and Homesick Mac.
Sanden Guitars / Homesick Mac Baritone Signature
For more information please visit www.homesickmac.com/retreat/Homesick_Macs_site_updates/English.html .
Would you like to add something? Please leave a comment…
Nels Cline is an American Guitarist and composer well known for his general involvement in the west coast’s improvisation community and since 2004 for being a member of the band Wilco. He was named the 82nd greatest guitarist of all time by Rolling Stones magazine in November 2011, and the 43rd greatest guitarist of all time by Spin magazine in May 2012.
Premier Guitar has interviewed Nels Cline about the guitars, Amps and Effects he enjoys using.
Enjoy!
Would you like to add something about Nels Cline? Please leave a comment…
Guitar show Frankfurt 2012 was a great opportunity for Nicolai from Vintage & Rare to record many impressive videos. We want to share all of them with you. This week we are showing you impressive Caparison Guitars.
Caparison Guitars are Japanese guitar and bass company. The company was established in 1995. Their best selling guitar is “Horus” model, but it is also important to mention their Caparison Dellinger, TAT and Orbit models.
‘’ I am delighted to continue working with, and designing for Caparison. I would like to express my deepest thanks to our customers, dealers, artists, and all who helped support us in making a fresh start. It is my feeling that Caparison guitars are still evolving, and I have many ideas that can now be embodied. With your support, I look forward to realising a world of new guitars.’’
Itaru Kanno/ Designer, Caparison Guitar Company.
Chris Amott / Caparison Guitars / Frankfurt 2012
Caparison Guitars / Guitar presentation / Frankfurt 2012
For more amazing videos please visit our YouTube channel. Also feel free to leave a comment…
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