Dobar stratocaster, mit ili činjenica?
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Re: Dobar stratocaster, mit ili činjenica?
Uhuhuhuuuu, što volim ovakve poslastice, kada isplivaju na površinu te priče koje momentalno šalju u smeće sva ona beskrajna naklapanja o magičnim svojstvima ove i hipnotičkim svojstvima one gitare! Neprocenjivo!
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Dersu Uzala
- Posts: 4949
- Joined: 27 May 2009, 10:32
Re: Dobar stratocaster, mit ili činjenica?
Tako nekako. Uzgred, ja spomenuh da treba probati Stradzu (i ostale Fendere) pre 64. godine samo kao naprostiji odgovor na pitanje koje je neko postavio. Iz jednog jedinog razloga. Tako je Stradza originalno zamisljen. Znaci ne posmatras varijantu za mas produkciju koja uvek, kod bilo kog uredjaja pretrpi odredjene modifikacije zarad pojednostavljivanja procesa proizvodnje. to ne znaci nuzno da hoces da cheapen out taj proizvod, vec jednostavno objektivno nije moguce nesto odraditi sa datim resursima u istoj jedinici vremena na jedan nacin, a onda beskranicno povecavati obim proizvodnje sa tim istim resursima i nacinom proizvodnje u toj istoj jedinici vremena, sve prouzrokovano zahtevom trzista za vecim brojem komada. Najlakse je onda, i najpametnije menjati konstrukciju i samim tim proces proizvodnje ako se time ne utice primetno na kvalitet proizvoda, ili je razlika u kvalitetu zanemarljivo mala.Haralampije wrote:Fullerplast je zvanicno poceo da se koristi 1963. godine medjutim ono sto je bitno reci je to da su pre toga koristili slicne frljoke koje su radile istu stvar,da sprece drvo da upije boju inace bi do jutra nanosio(roknes to i odmah manje slojeva nanosis),znaci umocis telo u osnovu,roknes sloj Fulerplasta(ili to sto su ranije koristili) i onda farbas ili pravis sunburst(crvena je kao sto znamo usla u sunburst 1958,e pa da bi ona uspela da se odrzi i vidi,bila je potrebna neka vrsta "fullerplasta")
E sad verovatno je fullerplast u odnosu na to prethodno bio kao pancir.
E ono sto je najcudnije od svega,do 1964 bilo je komada koji niti su imali osnovu niti imali fullerplasta(ili onoga pre),znaci jebo lud zbunjenog dok je gluvonem slepom objasnjavao.
Tom logikom se povodio i Fender kao firma kad su 'smislili' Fullerplast. Mrtav sam umoran, pa cu eventualno kasnije da se nadovezem na pricu.
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Dersu Uzala
- Posts: 4949
- Joined: 27 May 2009, 10:32
Re: Dobar stratocaster, mit ili činjenica?
Najbolji je komentar onog baje ispod clanka:Kristijan wrote:Uhuhuhuuuu, što volim ovakve poslastice, kada isplivaju na površinu te priče koje momentalno šalju u smeće sva ona beskrajna naklapanja o magičnim svojstvima ove i hipnotičkim svojstvima one gitare! Neprocenjivo!
"Jimi Hendrix never actually played Fender Stratocasters. This is a common misconception, as Stratocasters look identical to the original Gibson Les Paul 2, which is what Jimi actually played."
Fucking epic.
(Za one koji nisu procitali ceo clanak, baja je sarkastican).
Re: Dobar stratocaster, mit ili činjenica?
Nesto 'vako?
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Haralampije
- Posts: 1312
- Joined: 04 Sep 2009, 15:00
Re: Dobar stratocaster, mit ili činjenica?
Dersu Uzala wrote: Tako nekako. Uzgred, ja spomenuh da treba probati Stradzu (i ostale Fendere) pre 64. godine samo kao naprostiji odgovor na pitanje koje je neko postavio. Iz jednog jedinog razloga. Tako je Stradza originalno zamisljen. Znaci ne posmatras varijantu za mas produkciju koja uvek, kod bilo kog uredjaja pretrpi odredjene modifikacije zarad pojednostavljivanja procesa proizvodnje. to ne znaci nuzno da hoces da cheapen out taj proizvod, vec jednostavno objektivno nije moguce nesto odraditi sa datim resursima u istoj jedinici vremena na jedan nacin, a onda beskranicno povecavati obim proizvodnje sa tim istim resursima i nacinom proizvodnje u toj istoj jedinici vremena, sve prouzrokovano zahtevom trzista za vecim brojem komada. Najlakse je onda, i najpametnije menjati konstrukciju i samim tim proces proizvodnje ako se time ne utice primetno na kvalitet proizvoda, ili je razlika u kvalitetu zanemarljivo mala.
Tom logikom se povodio i Fender kao firma kad su 'smislili' Fullerplast. Mrtav sam umoran, pa cu eventualno kasnije da se nadovezem na pricu.
Rocket Roll wrote:
Jeste. On je hteo da svira samo Stratove pravljene '68. Imali su taj zvuk koji je njega zanimao.
Drugi (stariji) Stratovi ga nisu zanimali. Nikad ga niko nije video sa drugim Stratom osim sa "glavonjom", a imao je običaj da luta po prodavnicama i da isprobava sve živo & neživo.
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Dersu Uzala
- Posts: 4949
- Joined: 27 May 2009, 10:32
Re: Dobar stratocaster, mit ili činjenica?
Da ne bi ja izmisljo rupu na saksiji, evo malo konkretnije od ovih sto satro znaju sta pricaju:
When Fender switched to Alder (from Ash) as it's primary body wood in mid 1956, many books and authorities state Femder started using a product called "Fullerplast" This is a very misunderstood product. For example, there is a picture in Tom Wheeler's American Guitars, page 54 (upper left corner), of a man with long rubber gloves dipping bodies into a tank at Fender in the late 1950's. The description incorrectly denotes the man is applying "Fullerplast" to the bodies. Most likely, this man is staining the Alder bodies yellow, a process used on Alder from 1956 and later before spraying the sunburst finish.
Fullerplast is a clear, sprayed chemically curing sealer, unaffected by solvents after it dries. It is made by Fuller O'Brien (1-800-368-2068), hence the name "Fullerplast" (and all this time you though it was named after the city of Fullerton, the home of Fender). Fullerplast soaks into the wood and creates a seal that prevents following coats from soaking into the wood like a sponge. This means spraying the color coats is easier and the coats can be applied thinner (saving material, money and dry time). Even though alder is a "closed pore" wood, the first few coats of lacquer will soak in like a sponge without some type of sealer coat. Fullerplast dries in 15 minutes, and is paintable in one hour. It is also applied very thin.
Most experts agree the actual product "Fullerplast" (as made by Fuller O'Brien) actually started to be used around 1963 at Fender. Prior to that, Fender used other products as their sealer coat, but they did the same thing. The sealer allowed any color coat (be it sunburst or a custom color) to not soak into the wood. Since the sealer is essentially a clear inexpensive primer, less color would be needed (and color costs a lot more money than a cheap sealer).
Another misconception about Fullerplast is it's color. The sealers Fender used including Fullerplast was clear, not yellow. The yellow seen in the unpainted portions of a 1956 and later Alder body is actually a stain or dye applied under the sealer coat. This was used to simplify the sunbursting process. The Alder bodies are dipped in a vat of yellow stain/dye. Next the Alder body is sealed with a very thin coat of clear sealer (i.e. "Fullerplast"). After drying, the sunburst procedure is continued by spraying the translucent red (starting in 1958) and dark blackish-brown on the edges of the body, which completes the sunburst look. Finally a clear coat is sprayed over the entire body to seal the colors. By dipping the alder bodies in a yellow stain first, instead of spraying yellow lacquer, there is one less step of lacquer to mix, spray, and dry. *
By fall 1964, Fender changed the yellow making it more whitish and opaque to better hide flaws in the wood. This allowed Fender to use cheaper Alder with more cosmetic flaws. The more whitish yellow was then sprayed over the sealer coat, as were the red and brown of the Sunburst. That is why the red and yellow now looks much different on late 1964 and later Fenders. This new whitish-yellow bleeds through the translucent red making it more orangish. Note that even though Fender was now spraying the yellow after the Fullerplast, they still continued to stain or dye the bodies yellow before the sealer coat.
Early (1954 to mid-1956) Ash bodies in Sunburst were done differently. In this case, the yellow is not stained, but is sprayed like a Gibson-type Sunburst finish. That's why 1954 to mid-1956 Fender Ash body Strat sunburst's yellow looks "brighter" than later Alder yellow stained Sunburst finishes. This process created a lot more production work. Not only was the yellow sprayed, but the Ash body also had to be "pore filled" (sealed) before spraying the Sunburst. Since Ash is an "open-pore" wood (unlike Alder), not using a pore-filler sealer leaves a final finish with considerable "sink". This occurs when the finish dries and sinks into the open pores of the wood, leaving a finish with many dimples. To stop this, a pore filler consisting of fine sand mixed in a thick solution is brushed (or sprayed) on the bare wood. After some dry time, the excess pore filler can be scraped or wiped off leaving material in the pores of the wood, thus filling them. After some more dry time, the body can be sealed with lacquer and the color finish can be applied. This process was always used by Fender on Ash bodies from 1950 to the present.
Note there is an exception to the sprayed yellow sunburst rule in 1954. The first two months of Strat production (March-April 1954), there was NO yellow in the sunburst! The two-tone sunburst's center area was actually just a natural Ash wood color, making a "one-color" sunburst. The amber brown of the sunburst was sprayed around the edge of the body, leaving the natural Ash center as the "yellow" part of the two-tone sunburst. This changed by May 1954 to having the yellow center of the sunburst sprayed, giving a more vibrant sunburst finish.
Back to the yellow stain in 1956 and later. Since it was used for Alder Sunburst bodies, sometimes you don't see it on custom color finishes. But again, most times you do. Fender was a production shop that produced mostly Alder Sunburst finished bodies. Hence they just stained all Alder bodies with the yellow, allowing them greater production flexibility. Therefore most custom color bodies have a yellow stained body too. After all, you're not gonna see the yellow on a custom color body, so what's the difference? Fender just stained all Alder bodies yellow and figured out later which ones would be custom colors. Again, in most cases Fender also still used a sealer ("Fullerplast") in custom color finishes too. The custom color spraying process wasn't different from sunbursting till after the sealer step. This simplified the production process, and made Fender quick to react to market demands for Sunburst or custom colored bodies.
During 1963 and 1964, when guitar production was really high, bodies destine to be a custom color often didn't get the yellow stain, Fullerplast, primer, and clear coat procedure. After all, if the shop was really in a hurry it can just spray the color coat right over the Alder without any preparation paint (if need be). All they did was spray more color coats (especially if a clear coat wasn't used). This would cost more in materials (custom color paint was the most expensive paint Fender used), but it sure was quick. And often, they didn't even clear coat the color. This was truly a "rush" paint job.
Some colors were really prone to "short cutting" by the Fender factory. For example, Sonic Blue (and to a lesser extent, Olympic White) often do not have the yellow stain. In the case of Sonic Blue, this might have happened because the yellow stain was bleeding through to the blue. Other pastel colors were also shorted cutted, having no yellow stain, no Fullerplast, and/or no clear coat.
Metallic finishes didn't come out well using this "short cut" technique. Without a clear coat, metallic colors can oxidize due to the metal particles in the finish. And it's difficult to apply metallic coats very heavily. Hence most metallic finished bodies went through the whole production process, and got the yellow stain, Fullerblast, undercoated, and a clear coat.
When Fender switched to Alder (from Ash) as it's primary body wood in mid 1956, many books and authorities state Femder started using a product called "Fullerplast" This is a very misunderstood product. For example, there is a picture in Tom Wheeler's American Guitars, page 54 (upper left corner), of a man with long rubber gloves dipping bodies into a tank at Fender in the late 1950's. The description incorrectly denotes the man is applying "Fullerplast" to the bodies. Most likely, this man is staining the Alder bodies yellow, a process used on Alder from 1956 and later before spraying the sunburst finish.
Fullerplast is a clear, sprayed chemically curing sealer, unaffected by solvents after it dries. It is made by Fuller O'Brien (1-800-368-2068), hence the name "Fullerplast" (and all this time you though it was named after the city of Fullerton, the home of Fender). Fullerplast soaks into the wood and creates a seal that prevents following coats from soaking into the wood like a sponge. This means spraying the color coats is easier and the coats can be applied thinner (saving material, money and dry time). Even though alder is a "closed pore" wood, the first few coats of lacquer will soak in like a sponge without some type of sealer coat. Fullerplast dries in 15 minutes, and is paintable in one hour. It is also applied very thin.
Most experts agree the actual product "Fullerplast" (as made by Fuller O'Brien) actually started to be used around 1963 at Fender. Prior to that, Fender used other products as their sealer coat, but they did the same thing. The sealer allowed any color coat (be it sunburst or a custom color) to not soak into the wood. Since the sealer is essentially a clear inexpensive primer, less color would be needed (and color costs a lot more money than a cheap sealer).
Another misconception about Fullerplast is it's color. The sealers Fender used including Fullerplast was clear, not yellow. The yellow seen in the unpainted portions of a 1956 and later Alder body is actually a stain or dye applied under the sealer coat. This was used to simplify the sunbursting process. The Alder bodies are dipped in a vat of yellow stain/dye. Next the Alder body is sealed with a very thin coat of clear sealer (i.e. "Fullerplast"). After drying, the sunburst procedure is continued by spraying the translucent red (starting in 1958) and dark blackish-brown on the edges of the body, which completes the sunburst look. Finally a clear coat is sprayed over the entire body to seal the colors. By dipping the alder bodies in a yellow stain first, instead of spraying yellow lacquer, there is one less step of lacquer to mix, spray, and dry. *
By fall 1964, Fender changed the yellow making it more whitish and opaque to better hide flaws in the wood. This allowed Fender to use cheaper Alder with more cosmetic flaws. The more whitish yellow was then sprayed over the sealer coat, as were the red and brown of the Sunburst. That is why the red and yellow now looks much different on late 1964 and later Fenders. This new whitish-yellow bleeds through the translucent red making it more orangish. Note that even though Fender was now spraying the yellow after the Fullerplast, they still continued to stain or dye the bodies yellow before the sealer coat.
Early (1954 to mid-1956) Ash bodies in Sunburst were done differently. In this case, the yellow is not stained, but is sprayed like a Gibson-type Sunburst finish. That's why 1954 to mid-1956 Fender Ash body Strat sunburst's yellow looks "brighter" than later Alder yellow stained Sunburst finishes. This process created a lot more production work. Not only was the yellow sprayed, but the Ash body also had to be "pore filled" (sealed) before spraying the Sunburst. Since Ash is an "open-pore" wood (unlike Alder), not using a pore-filler sealer leaves a final finish with considerable "sink". This occurs when the finish dries and sinks into the open pores of the wood, leaving a finish with many dimples. To stop this, a pore filler consisting of fine sand mixed in a thick solution is brushed (or sprayed) on the bare wood. After some dry time, the excess pore filler can be scraped or wiped off leaving material in the pores of the wood, thus filling them. After some more dry time, the body can be sealed with lacquer and the color finish can be applied. This process was always used by Fender on Ash bodies from 1950 to the present.
Note there is an exception to the sprayed yellow sunburst rule in 1954. The first two months of Strat production (March-April 1954), there was NO yellow in the sunburst! The two-tone sunburst's center area was actually just a natural Ash wood color, making a "one-color" sunburst. The amber brown of the sunburst was sprayed around the edge of the body, leaving the natural Ash center as the "yellow" part of the two-tone sunburst. This changed by May 1954 to having the yellow center of the sunburst sprayed, giving a more vibrant sunburst finish.
Back to the yellow stain in 1956 and later. Since it was used for Alder Sunburst bodies, sometimes you don't see it on custom color finishes. But again, most times you do. Fender was a production shop that produced mostly Alder Sunburst finished bodies. Hence they just stained all Alder bodies with the yellow, allowing them greater production flexibility. Therefore most custom color bodies have a yellow stained body too. After all, you're not gonna see the yellow on a custom color body, so what's the difference? Fender just stained all Alder bodies yellow and figured out later which ones would be custom colors. Again, in most cases Fender also still used a sealer ("Fullerplast") in custom color finishes too. The custom color spraying process wasn't different from sunbursting till after the sealer step. This simplified the production process, and made Fender quick to react to market demands for Sunburst or custom colored bodies.
During 1963 and 1964, when guitar production was really high, bodies destine to be a custom color often didn't get the yellow stain, Fullerplast, primer, and clear coat procedure. After all, if the shop was really in a hurry it can just spray the color coat right over the Alder without any preparation paint (if need be). All they did was spray more color coats (especially if a clear coat wasn't used). This would cost more in materials (custom color paint was the most expensive paint Fender used), but it sure was quick. And often, they didn't even clear coat the color. This was truly a "rush" paint job.
Some colors were really prone to "short cutting" by the Fender factory. For example, Sonic Blue (and to a lesser extent, Olympic White) often do not have the yellow stain. In the case of Sonic Blue, this might have happened because the yellow stain was bleeding through to the blue. Other pastel colors were also shorted cutted, having no yellow stain, no Fullerplast, and/or no clear coat.
Metallic finishes didn't come out well using this "short cut" technique. Without a clear coat, metallic colors can oxidize due to the metal particles in the finish. And it's difficult to apply metallic coats very heavily. Hence most metallic finished bodies went through the whole production process, and got the yellow stain, Fullerblast, undercoated, and a clear coat.
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Haralampije
- Posts: 1312
- Joined: 04 Sep 2009, 15:00
Re: Dobar stratocaster, mit ili činjenica?
Ima slicna prica i u knjizi o stratokasteru,samo sto tamo pominju 1961. kao godinu koriscenja fullerplasta.
Re: Dobar stratocaster, mit ili činjenica?
drazesno ovo o Fullerplastu, sad bi mogla da se potegne i prica o tehnici pravljenja pickupa u to vreme kao i o samim pickupima na tim starim Fenderima, a i poseban momenat su ostali muzicki instrumenti u bandovima tog vremena, gde nije bilo sintisajzera i slicnih drekavaca tako da su Stratocasteri sa dobrim Fender ampom mogli da nadglasaju sve u bendu, i proizvedu siroku lepezu zvukova koji su u to vreme verovatno prvi put i cuti...eventualno su morali da se bore sa Hammond organama al ono, u odnosu na danasnje sintove one su delovale prilicno mekano 
Re: Dobar stratocaster, mit ili činjenica?
Meni je prosto zao sto sam ovde bas ja spomenuo Jimija prvi. I Tocka, koji, verujem, zna sta svira.
Voleo bih da skrenem paznju na upotrebu strata u radovima Treya Spruancea ( Secret Chiefs 3, Mr Bungle), benda Achleutistas, i na predivno gitarsko tkanje na albumu Johna Zorna "The Gift", ko god da je tu svirao. Ima jos remek dela gde se strat vrlo upecatljivo i sa ukusom upotrebljava u ne-blues i ne-cock-rock svrhe, ovi mi samo prvi padaju na pamet.
Voleo bih da skrenem paznju na upotrebu strata u radovima Treya Spruancea ( Secret Chiefs 3, Mr Bungle), benda Achleutistas, i na predivno gitarsko tkanje na albumu Johna Zorna "The Gift", ko god da je tu svirao. Ima jos remek dela gde se strat vrlo upecatljivo i sa ukusom upotrebljava u ne-blues i ne-cock-rock svrhe, ovi mi samo prvi padaju na pamet.
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Hotstepper
- Posts: 1046
- Joined: 08 Apr 2010, 10:30
- Location: Novi Sad (New Now)
Re: Dobar stratocaster, mit ili činjenica?
Eto, lepo chovek kazhe, ako hocesh dobrog strata, kupish tele!Dersu Uzala wrote:
"In closing — and this point kind of proves the theory that I opened this entire series with — it’s sobering to consider that the archetypal early “classic Hendrix tones” that sent many a kid out in search of a late-’60s Strat, namely the solos on “Hey Joe” and “Purple Haze” from the first album, Are You Experienced, weren’t played on a Stratocaster at all: They were played on a Fender Telecaster borrowed from bandmate Noel Redding."
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Dersu Uzala
- Posts: 4949
- Joined: 27 May 2009, 10:32
Re: Dobar stratocaster, mit ili činjenica?
Ma to vise ni mili CIA ne zna. A i ovi sto znaju, cute ili lazu, ili su se nagutali raznih isparenja.Haralampije wrote:Ima slicna prica i u knjizi o stratokasteru,samo sto tamo pominju 1961. kao godinu koriscenja fullerplasta.
This is from Mark Kendrick Master Builder @ Fender.
http://www.fender.com/customshop/aboutu ... k_kendrick
(Ovaj tip radi u Fender Custom Shopu svega od 1990. Ni cetvrt veka
. Nije bio tamo znaci u sesetim. Sto ne znaci da ne zna nekoga ko je bio ili da nema pristup arhivU, jel)------------------------------------------------------------------------------------------------------
Pardon my typos. I've lost alot of brain cells in my day. Could it be the 'Nitro'.
The first Fender lap steel was finished in black enamel. When Doc Kauffman and Leo formed K&F guitars in 1945, their original instruments, including the amplifiers, were finished in a lead based, wrinkle coat enamel. A nice shade of Battleship Grey. That was the only color available. After expermenting with different woods other than pine for guitars, they began using nitrocellulose lacquer. They used what was available to the furniture trade at the time.
The original colors were blonde, sunburst, etc... just like your Grandmas coffee table.
Custom colors were introduced in 1955. Once again they were enamel. The same material they used in the auto industry. The enamel would not adhere to the stearate based nitocellulose sanding sealer. Acrylic lacquers were then developed by Dupont to be sprayed on material other than metal. "Duco colors". In order for the paint to adhere, Fender began using a Sherwin Williams product called Homoclad. It was a penetrating, heavy solid, oil based sealer used as a barrier coat to to provide better adhesion for their guitars with custom colors. It was applied by dipping the guitar bodies directly into a 55 gallon drum, filled with the product. ALL Fender guitars produced after 1955 used this product until 1967, when Fender began experimenting with polyesters an undercoat.
By 1968, virtually all Fender guitar products used polyester as an undercoat, including necks. It's a two part product using Methyl Ethyl Ketone(MEK) as a catalyst. The reason the face of the pegheads were not sealed with polyester, is because type 'C' decals (under the finish) would not adhere to the product. While it is true a few guitars may have squeaked by with homoclad, when homoclad wasn't available, they used a Fuller O'Brian product called Ful-O-Plast. PLASTIC!!! It's obvious to me that those necks or bodies were stragglers, having to be reworked for some reason or another and not shipped after the change.
I'd like to make one thing clear... ALL FENDER GUITARS PRODUCED AFTER 1968 HAD A POLYESTER UNDERCOAT WITH A LACQUER TOPCOAT!!! There is no specific ratio. Enough poly was, and is sprayed to properly fill the grain while preventig a burn through while sanding.
In 1983, Fender began using polyuerthane as a topcoat. It cured quicker. It had better clarity. It had more depth and gloss, and didn't melt when you accidently spilled 151 on it. Fender then discontinued the use of polyester on the necks. Polyurethane is a 2 part product using a catalyst.
Fender has continued to use polyester, polyurethane, nitro, homoclad, and Ful-O-Plast.
Nitro is not a superior finish. An electric guitar doesn't 'breathe' at 120 db.
I like polyester. I like Nitro colors too. But maybe I'll let the players that use poly (ester or urethane) speak for themselves...
Billy Gibbons, Geddy Lee, Alex Lifeson, Joe Perry, Jimi Hendrix, Eric Clapton, Roccco Prestia, Jimmie Vaughn, Nils Lofgren, Vince Gill, Chet Atkins, Tom Hamilton, Lenny Kravitz, Merle Haggard, Don Rich, Darryl Jones, Mike Stern, Larry Carlton, Peter Frampton, Sting, Marty Stuart, just to name a few. More are available upon request.
Hope this helps,
Mark K.
Re: Dobar stratocaster, mit ili činjenica?
U prevodu koristili su šta su imali onijeh dana
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Dersu Uzala
- Posts: 4949
- Joined: 27 May 2009, 10:32
Re: Dobar stratocaster, mit ili činjenica?
Ameri, majstori za (dez)informacije, ne mozes da ih u'vatis ni za glavu ni za rep. Umesto da negiras pricu u javnosti, zakomplikujes je jos vise. E tako se to radi.
On another note, nijesam ja licno potencirao jednu varijantu u odnosu na drugu ili trecu. Meni su sve te price manje vise pecaroske zvake, a ionako ceo svet zna da sviram iskljucivo gitare koje moj ortak dizajnira i pravi, tako da mi je 'mindegy'. "Ali evo, Bogu hvala, vek i po preziveh, u zdravlju i radu. Slutim da mi je vreme umirati, te ove reci u pero govorim advokatu Nikoli Novakovicu, jer u vas, deco moja, sve zajedno, nemam ni malo poverenja..."
Htedoh reci, a Ameri imaju jednu lepu rec 'hindsight' koja u slobodnom prevodu znaci 'sad kad malo bolje pogledam u proslost', daklem, kad covek pogleda u proslost onda cesto pocne da glorifikuje i/ili mistifikuje pojedine momente koji su onim ljudima koji su ziveli u vreme te proslosti bili ko 'dobar dan', nikakva preterana nauka i legenda vec nacin da se zaradi kinta na posten nacin, svojim rukama. Prema tome, Doc Kauffman, Leo Fender i Freddy Tavares sasvim sigurno nisu kovali neku zaveru niti svetske megalomanske planove, pogotovu oko guitar-finisha, vec su gledali kako da otvore svoj bizMis i zarade si za lebac ispod miske.
Razgovor je najverovatnije tekao nekako ovako:
-------------------------------
Cca early 1940.-ties
So Leo, we're gonna open a shop together man.
You bet, Doc.
So, we're gonna start making amps man?
Yeah, Doc. There's been all this music and entertainment boom during the war, now that it's over, people wanna go out and dance and have a little bit of fun. I've learned a thing or two about electronics. Don't worry bro. Our boys at Pearl Harbor picked up all this Hawaiian music dude, we're gonna bundle that shit together, it's gonna be all the rage, everybody's digging that shit.
What about electric guitars man. You know how to make those?
No, you?
No, but I know the guy who digs 'em, my buddy Freddy.
We'll figure it out. Call him up.
-------------------------------------
Late 1940.-ies
Hey Freddy, this' my buddy Leo I told you about. We wanna make some guitars man, this Hawaiian thing is dying slowly, folks are into big bands and swing and jazz now.
Sup, Leo.
Sup, Freddy. Listen man, you know anything 'bout electric guitars.
Yeah man, I got a few. Basically, you get your regular guitar and fuckin' bolt a transducer on top of the body which you plug in the amp. Sucks though, man, the body is hollow, there's a shitload of feedback and the tone kinda sucks man. Can't really crank the fucker up. But get a load of this, there's this dude back East, Lester something, he plays too. Couple of years ago, he took a hatchet and split his guitar in two and filled the holes with more wood and glued it all back together so it ain't hollow anymore.
WTF?
Yeah man, I'm telling you, I think that's the way to go.
You're fucking with me? Get a hollow body guitar, split it in two and fill it in? That's bogus man. Tell you what. Let's just cut a plank of pine wood or some shit, screw the neck on one side, drill the holes on top of the fucker, screw the pickups and that's that. We'll call it...Broadcaster...for no apparent reason. It's a bogus buzzword of the day.
Sounds good to me Leo.
----------------------------------
Fast forward to early 1950.-ies
Hey Leo, whatsup man, it's Freddy. How've you guys been?
Can't complain buddy, Doc left the company though, but things are lookin' pretty good.
Listen, I've been talking to my buddy George, remember that guy Lester something I was telling you about. The guy who split his axe in two and filled it in?
Yeah, what about him?
Well you won't believe this shit. Apparently the bozos from Gibson had him working on a commercial model of it. It's called 'less pull' or something. George got one, we're gonna come over and bring it to you to check it out.
Cool bro, thx.
------------------------------
Sup Freddy, sup George.
Sup Leo.
Did you bring it?
We sure did, get a load of this.
Wtf! Wtf is this crap?
It's pretty expensive shit. See how they did it. They almost made it like...a violin.
Wtf's a fiddle got to do with guitars?
Dunno man, you know Gibson, they fuckin' weird hillbillies from Michigan. They used to make fiddles and banjos anyway.
What's this for fuck's sake?
Umm, they call it 'arched top'. Which is just the fancy faggot's word for carving the belly on top of it. It's what they do with fiddles as well. See how the neck is angled too. And the headstock. Basically, they take a piece of wood, drill it for pickups and electronics and then glue the maple board on top. You know, like violins. Anyway, then they go and glue the neck to it at an angle. Like violins.
Fuck violins and fuck fucking hillbillies from Michigan! Wtf do they know about violins? Orville must be turning in his grave. These guys are gonna run his company into the ground. How much do they sell this crap for anyway?
Ambhazenvnteen dollars.
Fucking eh? Say that again?
Well, it's all the work, you see. It's complicated.
What's this...wood?
Oh, the bottom and necks are mahagony.
You're shitting me, right? Who in the right mind makes a music instrument out of mahagony? Coffetables are made out of mahagony, ship decks are made out of mahagony, stairs are made out of mahagony. Does this look like a coffetable to you?
I don't know man, it looks pretty good. And it sustains forever.
Where do they get this mahagony from?
Central America I guess. I guess it was one of those war deals, we help them out, they owe us money, they don't have the money so they send us this stuff instead.
What's the point in this slanted headstock? This is fucking stupid, they could make 2 necks out of the same plank of wood instead of one.
They say it has to do something with string tension. And strings don't slip off the nut. And they have this...they call it bridge. You can move it entirely up and down, not just the saddles. Anyway, man, it looks pretty good, what do you think we oughta do?
..............(thinking).................Ok, here's what we're gonna do. We're gonna make a new one. We're gonna take the body, drill it on top, and put one more fuckin' pickup than they do. And we're gonna make a new bridge. The whole fucking thing is gonna move up and down, back and forth....like one of those...what do they call them...tremolos...we gonna fucking screw a metal bar on top of it so you can jerk it all you want. Like Bigsby, but better. They have a single cutaway, we're gonna have double that...We're gonna call it.....double cutaway, fuck you Gibson. And we're gonna cover the holes with.....with....plastic! We're gonna cover the holes with this new thing called plastic, and we're gonna drill it so all controls are screwed to it. And they can fuck-off with mahagony. We're gonna use a good ole American wood man. Like, errr, like poplar...and ash...and alder...And we're gonna put an arm rest there...and if they carve the top, we're gonna carve the back of the fucker....And we're gonna sell it for half the price!!!
Leo, you're a fucking genious man! It's gonna hit the stratosphere. How are you gonna call it?
Errr, lemme think about it...
I ostalo je istorija...
On another note, nijesam ja licno potencirao jednu varijantu u odnosu na drugu ili trecu. Meni su sve te price manje vise pecaroske zvake, a ionako ceo svet zna da sviram iskljucivo gitare koje moj ortak dizajnira i pravi, tako da mi je 'mindegy'. "Ali evo, Bogu hvala, vek i po preziveh, u zdravlju i radu. Slutim da mi je vreme umirati, te ove reci u pero govorim advokatu Nikoli Novakovicu, jer u vas, deco moja, sve zajedno, nemam ni malo poverenja..."
Htedoh reci, a Ameri imaju jednu lepu rec 'hindsight' koja u slobodnom prevodu znaci 'sad kad malo bolje pogledam u proslost', daklem, kad covek pogleda u proslost onda cesto pocne da glorifikuje i/ili mistifikuje pojedine momente koji su onim ljudima koji su ziveli u vreme te proslosti bili ko 'dobar dan', nikakva preterana nauka i legenda vec nacin da se zaradi kinta na posten nacin, svojim rukama. Prema tome, Doc Kauffman, Leo Fender i Freddy Tavares sasvim sigurno nisu kovali neku zaveru niti svetske megalomanske planove, pogotovu oko guitar-finisha, vec su gledali kako da otvore svoj bizMis i zarade si za lebac ispod miske.
Razgovor je najverovatnije tekao nekako ovako:
-------------------------------
Cca early 1940.-ties
So Leo, we're gonna open a shop together man.
You bet, Doc.
So, we're gonna start making amps man?
Yeah, Doc. There's been all this music and entertainment boom during the war, now that it's over, people wanna go out and dance and have a little bit of fun. I've learned a thing or two about electronics. Don't worry bro. Our boys at Pearl Harbor picked up all this Hawaiian music dude, we're gonna bundle that shit together, it's gonna be all the rage, everybody's digging that shit.
What about electric guitars man. You know how to make those?
No, you?
No, but I know the guy who digs 'em, my buddy Freddy.
We'll figure it out. Call him up.
-------------------------------------
Late 1940.-ies
Hey Freddy, this' my buddy Leo I told you about. We wanna make some guitars man, this Hawaiian thing is dying slowly, folks are into big bands and swing and jazz now.
Sup, Leo.
Sup, Freddy. Listen man, you know anything 'bout electric guitars.
Yeah man, I got a few. Basically, you get your regular guitar and fuckin' bolt a transducer on top of the body which you plug in the amp. Sucks though, man, the body is hollow, there's a shitload of feedback and the tone kinda sucks man. Can't really crank the fucker up. But get a load of this, there's this dude back East, Lester something, he plays too. Couple of years ago, he took a hatchet and split his guitar in two and filled the holes with more wood and glued it all back together so it ain't hollow anymore.
WTF?
Yeah man, I'm telling you, I think that's the way to go.
You're fucking with me? Get a hollow body guitar, split it in two and fill it in? That's bogus man. Tell you what. Let's just cut a plank of pine wood or some shit, screw the neck on one side, drill the holes on top of the fucker, screw the pickups and that's that. We'll call it...Broadcaster...for no apparent reason. It's a bogus buzzword of the day.
Sounds good to me Leo.
----------------------------------
Fast forward to early 1950.-ies
Hey Leo, whatsup man, it's Freddy. How've you guys been?
Can't complain buddy, Doc left the company though, but things are lookin' pretty good.
Listen, I've been talking to my buddy George, remember that guy Lester something I was telling you about. The guy who split his axe in two and filled it in?
Yeah, what about him?
Well you won't believe this shit. Apparently the bozos from Gibson had him working on a commercial model of it. It's called 'less pull' or something. George got one, we're gonna come over and bring it to you to check it out.
Cool bro, thx.
------------------------------
Sup Freddy, sup George.
Sup Leo.
Did you bring it?
We sure did, get a load of this.
Wtf! Wtf is this crap?
It's pretty expensive shit. See how they did it. They almost made it like...a violin.
Wtf's a fiddle got to do with guitars?
Dunno man, you know Gibson, they fuckin' weird hillbillies from Michigan. They used to make fiddles and banjos anyway.
What's this for fuck's sake?
Umm, they call it 'arched top'. Which is just the fancy faggot's word for carving the belly on top of it. It's what they do with fiddles as well. See how the neck is angled too. And the headstock. Basically, they take a piece of wood, drill it for pickups and electronics and then glue the maple board on top. You know, like violins. Anyway, then they go and glue the neck to it at an angle. Like violins.
Fuck violins and fuck fucking hillbillies from Michigan! Wtf do they know about violins? Orville must be turning in his grave. These guys are gonna run his company into the ground. How much do they sell this crap for anyway?
Ambhazenvnteen dollars.
Fucking eh? Say that again?
Well, it's all the work, you see. It's complicated.
What's this...wood?
Oh, the bottom and necks are mahagony.
You're shitting me, right? Who in the right mind makes a music instrument out of mahagony? Coffetables are made out of mahagony, ship decks are made out of mahagony, stairs are made out of mahagony. Does this look like a coffetable to you?
I don't know man, it looks pretty good. And it sustains forever.
Where do they get this mahagony from?
Central America I guess. I guess it was one of those war deals, we help them out, they owe us money, they don't have the money so they send us this stuff instead.
What's the point in this slanted headstock? This is fucking stupid, they could make 2 necks out of the same plank of wood instead of one.
They say it has to do something with string tension. And strings don't slip off the nut. And they have this...they call it bridge. You can move it entirely up and down, not just the saddles. Anyway, man, it looks pretty good, what do you think we oughta do?
..............(thinking).................Ok, here's what we're gonna do. We're gonna make a new one. We're gonna take the body, drill it on top, and put one more fuckin' pickup than they do. And we're gonna make a new bridge. The whole fucking thing is gonna move up and down, back and forth....like one of those...what do they call them...tremolos...we gonna fucking screw a metal bar on top of it so you can jerk it all you want. Like Bigsby, but better. They have a single cutaway, we're gonna have double that...We're gonna call it.....double cutaway, fuck you Gibson. And we're gonna cover the holes with.....with....plastic! We're gonna cover the holes with this new thing called plastic, and we're gonna drill it so all controls are screwed to it. And they can fuck-off with mahagony. We're gonna use a good ole American wood man. Like, errr, like poplar...and ash...and alder...And we're gonna put an arm rest there...and if they carve the top, we're gonna carve the back of the fucker....And we're gonna sell it for half the price!!!
Leo, you're a fucking genious man! It's gonna hit the stratosphere. How are you gonna call it?
Errr, lemme think about it...
I ostalo je istorija...
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