Metal School

Dannyalcatraz

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Nah- he's a luthier who has only been making guitars for about 10 years. I "discovered" him at the Dallas Guitar show while moseying about.

Almost everything there that I was interested in was WAY out of my price range. You know you're in trouble when you see a sign that says "Show Special- $50,000!"...and you know that they're not kidding and that that price is indeed a discount!

And then I rounded a corner to see guitars that I'd never seen the likes of before. Played great, looked great, felt great. I was sold.

I gotta run- I'll post more about his stuff later!
 

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Dannyalcatraz

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I'm back!

JK's workshop is located near-ish to Chicago in a little town called Keokuk, Iowa.

He's an engineer who took what he learned and applied it to his own personal redesign of the guitar. The parabolic body shape he uses is both streamlined and functional- it projects sound out of proportion to guitars of comparative dimensions.

He even recently got a patent on one of his designs, which minimizes feedback when acoustic/electric guitars are plugged in.
 

I'm back!

JK's workshop is located near-ish to Chicago in a little town called Keokuk, Iowa.

He's an engineer who took what he learned and applied it to his own personal redesign of the guitar. The parabolic body shape he uses is both streamlined and functional- it projects sound out of proportion to guitars of comparative dimensions.

He even recently got a patent on one of his designs, which minimizes feedback when acoustic/electric guitars are plugged in.

Ahhhh - Paul Reed Smith all over again - I remember when PRS was just that little guitar workshop down the street when I was living in Maryland.
 

Dannyalcatraz

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The sad thing about it is that I KNOW there is a guy down here in D/FW who is also a luthier of some reknown- Driskill Guitars- but I've not only never tried out his stuff, I've never even seen it.

And this guy's been on the local news!

Still, part of what attracted me to buying a JK guitar is that I knew for a fact that he supplied parts for other luthiers, like Pederson Guitars (formerly Abyss Guitars)- if you supply parts for guys like that, you know your stuff.
 

Dannyalcatraz

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Hey Thunderfoot- I'm here waxing eloquently about luthiers...are there any custom drum kit manufacturers, or is the industry all about the big names?
 

Hey Thunderfoot- I'm here waxing eloquently about luthiers...are there any custom drum kit manufacturers, or is the industry all about the big names?
Yes there are, but they became THE name in drums, ie Drum Workshop.
A little history lesson, DW originally started a portage and service company for local drummers, keeping their kits, fixing them and transporting,/setting them up for gigs. Then they started working on hardware. DW built their reputation on building hardware that drummers would use instead of their endorsed companies. This gave them the clout to explore custom drum building, which like all of their other exploits they took great time in crafting and are now perhaps the most exquisite drums built - of course you pay for it.

On the other side of the coin, drums and percussion, unlike stringed instruments are a really individual thing, meaning each instrument is unlike any other - for example a precision made drum with perfect bearing edges may be the "best made" drum but a hand carved tree log with zebra butt skin heads made in Kenya by some poor cattle farmer while watching his flocks may have a better sound because of it's character, regardless of the fact that by physical rules, it shouldn't even be able to produce a decent tone.

So, in some ways, that's kind of a loaded question. :) In drums, for the learned, it starts out as:
1) infatuation - what is my favorite drummer playing, I have to have it.
2) realization - why is my favorite drummer playing that, I should learn.
3) conceptualization - it might be better if my favorite drummer played x, they are made better.
4) contextualization - my favorite drummer is an idiot, why on earth is he playing those pieces of crap? - I'm playing X...
 

Dannyalcatraz

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On the other side of the coin, drums and percussion, unlike stringed instruments are a really individual thing, meaning each instrument is unlike any other - for example a precision made drum with perfect bearing edges may be the "best made" drum but a hand carved tree log with zebra butt skin heads made in Kenya by some poor cattle farmer while watching his flocks may have a better sound because of it's character, regardless of the fact that by physical rules, it shouldn't even be able to produce a decent tone.

Actually, the more I learn about stringed instruments, the more I'm of the opinion that they are just as varied as any other kind, including percussion. Its just that, unlike percussion instruments, we guitarists have a strong tendency to mess around with our sound using tech, so differences tend to disappear in the noise.

It also tends to take a lot more money for the differences to become obvious.

But you ask any of the tone-seeker pros (like Eric Johnson) and they'll tell you they can distinguish between guitars 1 serial-number digit apart in a production run.
So, in some ways, that's kind of a loaded question. :) In drums, for the learned, it starts out as:
1) infatuation - what is my favorite drummer playing, I have to have it.
2) realization - why is my favorite drummer playing that, I should learn.
3) conceptualization - it might be better if my favorite drummer played x, they are made better.
4) contextualization - my favorite drummer is an idiot, why on earth is he playing those pieces of crap? - I'm playing X...

That doesn't sound familiar at all!;)

My first guitar was an Alvarez POS. After I killed it, I got an Ovation Elite, and that was it for a while.

But when I decided to go full-on electric, I just barely escaped that trap you just described. Many of my favorite artists play Gibsons, Fenders and Ibanezes...and I can't stand them, for the most part. But one- Steve Stevens- played a Dean Cadillac during his days with Billy Idol, and I tried one out and was hooked. I bought a Cadillac...and an EVO Special Select. The EVO was the high-end entry-level workhorse guitar, the Caddy was my Arabian filly.

Since then, though, I've been buying mostly luthier guitars, mainly the work of the aforementioned Jon Kammerer.

Still love my Caddy though! Then again, I didn't buy a low-end one. The one I picked up was one of their top-of-the-line models, so it was a pro-level machine.

My Caddy strongly resembles this one:
http://www.deanguitars.com/usalib/usanov30update/0300649TCC3TGE-A-Ardvarks80.jpg

My EVO is actually the one that is used as my icon here, and looks basically like this one:
Dean Guitars - The Finest Guitars in the World
 

ANVIL? WHO IN THE $#%#%%^^@!! IS ANVIL?

For those of you who are new to the metal game (meaning within the last 15 years, the name Anvil may sound like a really cool metal act, but probably not one you are familiar with (or may be the group down the street that didn't realize there was already a band with that name).

In the very early 80s two Canadian teenagers Steve "Lipps" Kudlow and Robb Reiner (no not the producer who played 'meathead' on "All in the Family") began a band in their garage and swore to go until they made it; until very recently, they hadn't. Now in their 50s the band is finally getting the recognition they deserve due to the documentary "Anvil: The Story of Anvil"

The movie found critical acclaim at Sundance last year and has propelled the group back into the limelight, but I can hear you now, why oh headmaster do they deserve to be in the spotlight, aren't they just another 80s metal act? and that dear children is why I'm the teacher and you're still learning.

You see, Anvil was the band that the OTHER bands listened to and emulated. Metallica, Anthrax, Slayer all wanted to be Anvil. Anvil toured with some of the biggest names in metal during the mid 80s, Whitesnake, Bon Jovi, DIO, etc and yet, they never went anywhere. Part of that reason had to do with the business, but part of it was due to being WAY ahead of their time. Go find the first couple of Anvil albums and listen to them.... I'll wait.... not bad but nothing special I hear you say, well, you would be right, if those albums were released now. You see, if you look closely at the release dates you'll notice they are from 1982 and 1983.

For some perspective, that was BEFORE Quiet Riot hit the charts with their remake of "Cum on Feel the Noize" by Slade. While there is no real proof that they invented double bass, they sure as Hell were one of the first to play that fast and record it. In many ways Anvil was to the Thrash movement of 86' what Black Sabbath and Deep Purple were to the metal acts of the mid 70's. The harbingers of thing to come.

I won't bore you with the business dealings, but suffice it to say, Anvil WAS signed early on, but due to marketing and distribution problems and the fact there wasn't yet a market for their style of music, they sat on the shelf, and when the time was right, the company had already cut them loose. So instead of ushering in a new era of fast metal, they watched other bands reap the benefits of their labors.

Which brings us up to the present - (I realize there was a big jump, but if you want to get the really juicy details, watch the film - it's better anyway). Anvil, in light of the new publicity has release the 13th album - "This is Thirteen". Aside from a rather boring title (and title track) the music enclosed is pretty good. For a band that hasn't really been at the forefront for almost 30 years, they haven't lost too much. Yeah, it's not as polished as say, Metallica or even as "real" as Megadeth, but if you listen with a discerning ear, you can hear the work, the blood, the sweat, the tears - and some more tears, it took to make this album.

I really hope this is the break the guys have been looking for, they deserve it, they've had to watch the era of their music come and go from the sidelines, and even now, with the amount of fame they are garnering, they will never be able to go back and capture what they really wanted, to rule the airwaves as metal gods, but maybe, just maybe, they can finally get onto the iPods of a younger generation....who can say, I was there when justice was served and the grandfathers of thrash were finally given their proper rewards.
 

Dannyalcatraz

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To put it into further perspective, Anvil was so poorly promoted, even a metalhead like myself didn't hear much of their stuff.

Heard OF them, yes.

Saw that they were on tour with some of my favorite bands, yes.

Saw them on Headbangers Ball or on the local Metal radio shows? Not so much.
 

To put it into further perspective, Anvil was so poorly promoted, even a metalhead like myself didn't hear much of their stuff.

Heard OF them, yes.

Saw that they were on tour with some of my favorite bands, yes.

Saw them on Headbangers Ball or on the local Metal radio shows? Not so much.

Exactly once - in 27 years.... once....
 

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