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Pawnshop Classics: off-brand Japanese guitars of the late 70’s

The Aria Pro-II TS-500.  It’s a super-strat, it’s a hippie sandwich, it’s a mock BC Rich…  Aria II was better known for their basses but plenty of guitars were sold as well.  All of the guitars in this post were once common sights at pawn shops and ‘somewhere in the back’ of yr neighborhood music store.  Many were made by the Japanese Matsumoku corporation and then sold in a variety of brand-names around the world.  I don’t see them too often any longer, except for the occasional flea-market appearance.  Since they had neither the baby-boomer appeal of Gibson/Fender/Gretsch nor the flash of 80’s shred-axes, these things traded in the $100 range for decades.  Now, like the mustache, some cachet seems to be building around them and prices have risen to the $500 – $1000 area.

The Aria Pro II PE-1000 of 1979.   I can recall playing some of the PE-series decades ago; they were very fine guitars; note the heelless neck. 

The Washburn Hawk of 1979, a good-quality instrument from their Wing series. 

The Westbury Custom S circa 1981, imported by Unicord (importers of Marshall/Korg/etc…).  Note the similarities to the Aria Pro IIs.

The Westone lineup of 1979. 

Any Matsumoku collectors out there?  Any know of any relevant players using these things nowadays?

 

Categories
Guitar Equipment

The Travis Bean TB1000 of 1975

Most iconic of the 70’s ‘aluminum guitars,’  the Travis Bean line up continues to remain a valuable collector’s item.  Famous players include Duane Dennison from this classic band.  You can see a more detailed list at this link.  I briefly played the much crappier Kramer aluminum-necked instrument from the same era; it had a terrible two-bolt neck joint that never seemed to stay tight. Frequent unintentional chorus-ing would result.  Any TB fans out there?

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Uncategorized

Electra Guitars of the 1970s

Above: an Electra ad from 1979 which seems to be suggesting that by using their sound-effects controls incorporated into the guitar itself (rather than in foot-effect-pedals), you will develop a unique style and attain success.  Okey…  Anyone using one of these today?  Thoughts? 

Electra was a brand-name for Japanese-made guitars imported by the St Louis Music Co. in the 1970s.  There were also Electra-branded amps:  I had a pretty rad solid-state piggyback with a 15″ driver and footswitchable phaser/reverb/overdrive (i think…) in the early 90s…  pretty good sound for a solid-state amp… Anyhow, I can’t find any info on the amps online but maybe someone can send us a catalog?  As far as the guitars: there is pretty good documentation on the web: start with this page.  These dudes also posted the full 1977 catalog, which is one of the best I have ever seen.  To wit:

(image source)

Goddamn hippie cowboy space invader!  Nice.  Anyhow… here are some more interesting Electra ads from the mid seventies which I think no one else has bothered to upload yet… enjoy…

The Electra MPC guitar with modular electronic-effect plug-ins.   Gimme TANK TONE baby.

The Electra ‘Tree of Life’ guitars, part of a larger ‘carved-top-design’ trend in the 70’s…  see here for another example.

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Synthesizers

Key Break

Man I love this image.  Yamaha YC Combo Organ advert circa 1971. “Organ Eyes.  It’s what happens when you see something in your mind.” Nice.  We briefly used a Yamaha YC20 In our band before we started touring.  It was just too damn heavy but wow are those things cool.  They were also dirt-cheap.

Today: some random bits of 70’s keyboard culture.  If yr using any of these pieces in the studio these days, drop us a line and let us know…

Above: The EML synkey circa 1976.  Touted as being the first user-programmable synthesizer, this piece also has a fairly unique feature for it’s day:  Aftertouch! Or as EML terms it, “Second Touch.” This advert also solves a little mystery for me… I was wondering what ever did happen to CT-based Electronic Music Labs (EML), and it looks like they ended up as part of the CT-based Kaman musical empire.  Click here for some previous EML coverage at PS dot com.

Above: Felix Pappalardi endorses the mighty Mellotron.  These things are so classic that it seems almost unbelievable that these things were once advertised, stocked in shops, etc…  For those unfamiliar, the Mellotron was a very early sampling keyboard.  It accomplished this feat in the pre-digital-audio era by using a separate tape playback mechanism for each key.  The tape was not looped, but rather a spring-loaded strip of eight-seconds length, which has the unintentional effect of requiring unusual playing techniques for any musical passage with long sustained chords.  Get the whole story here.

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The Obscure Emrad Guitar Amplifier circa 1971

The Emrad amplifier was designed to the needs of jazz-guitar great Johnny Smith.  Handmade in a Colorado workshop, these 100-watt solid-state combos were soon also used by Sugarloaf, performers of this genre-defying 70s classic.

I rank this track with other ‘it could only have happened in the early seventies’ hazy-vibed jams such as Ride Captain Ride and Brandy.  Is it rock music? Pop? Lounge music?  The Emrad saga was a brief one; follow this link for the details.

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Uncategorized

Preservation Sound Dot Com is now on Tumblr

With the estate sale/ flea market season upon us, I thought it might be an interesting experiment to try a Tumblr account. I’ll be posting images, sounds, and videos of the various audio-historical related flotsam that I happen upon across this great land of ours.

You can check us out at:  http://exploitandindustry.tumblr.com

…or follow us, if you are a Tumblr user – it’s super easy, fast+free to join.  Just go to Tumblr.com.

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Uncategorized

Hondo II guitars circa 1980

Hondo II: the First Name In First Bands.   Marketed as ideal beginner-instruments, Hondo II was the US brand name for certain guitars built by the Korean Samick corporation.  According to wikipedia, Hondos were built in Japan between 1974 and 1983.   Samick is among the world’s largest manufacturers of musical instruments, with much modern production of guitars taking place in Indonesia.  Anyways… by the time I started playing the electric guitar, the Hondo II name was already retired and they were simply branded ‘Samicks.’  Not sure what was up with the awkward name Hondo.  Was is supposed to invoke Honda, then known to Americans as a leading manufacturer of motorcycles? Here’s a look back at the company’s big push into the US market in the 1970s. 

The Hondo Longhorns circa 1981; updated versions of the circa 1960 Danelectro instruments.

The Honda II lineup circa 1981. We see copies of: Gibson’s THE PAUL, the Fender Lead II, an early Fender Telecaster, an EVH-style strat, as well as some generic-looking but original instruments.

The Hondo 781 EXP, a lurid instrument sure to inspire fist-pumping.

In 1979 Hondo offered Asian-made licensed-versions (not copies…) of the respected SD Curlee instruments. 

Anyone out there using Hondos these days?  Are any of the models worth recommending?  Let us know…

Categories
Guitar Equipment

Interesting Guitar Effects of the 1970s

Rowe-DeArmond offers a volume-pedal sized for funky, funky boots. 

Today at PS dot com: some interesting odds n ends from the audio-effects pedal market of the 1970s.  If yr using any of these boxes in the studio or on stage these days, drop a line and let us know…

The Binson EchoRec, an electro-mechanical audio delay system that used a rotating disc rather than moving tape or oilItalian built; marketed and distributed by Guild in the US (much like Guild distributed the earlier Watkins CopyCat).  The EchoRec is best known as being the 70’s delay unit of choice of this dude, who certainly created a lot of significant sounds with it. 

Hawk Effects: designed to hang off yr guitar strap rather than sit on the floor.  I have never seen one of these in the flesh (steel).  Anyone?  The Mushrooms look threatening.

The Studer tape machine is the stove; Ibanez effects are the spice. Got it.  Compressor II, Phase Tone, Graphic Equalizer, Tube Screamer, etc…

Korg X-911 Guitar Synthesizer.  Is this an actual synth with a pitch-to-CV convertor on the input (like my beloved MS20) or a complex filter/distortion unit?

The Ludwig Phase II.  Not an actual synthesizer, but pretty far out regardless.  I remember seeing Thurston Moore using one of these back in the 90s.  Check it out here

Ross effects, from the man who brought you Kustom.  Wow I love this graphic design.  The only unit from this lineup to attain classic status is the Compressor; these trade for high sums due to their close association with one of the most visible guitarists of the 1990s.  Read this crazy story for the details….

Categories
Guitar Equipment

Ole’ Ibanez part 2: Lawsuit era and beyond

Above: The Ibanez Double Axe lineup circa 1974.  Bass/Guitar, 12 string/Guitar, and Guitar/Guitar models.

Today as PS dot com: a few more interesting bits of Ibanez history.  Last week’s Ibanez-early-eighties post brought a tremendous number of new visitors to the site courtesy of Ibanez USA, who found us and spread the word.  See here for that post.  Hope y’all enjoyed yr visit; here’s some more for ya.

An interesting phenomenon to note: although the 70’s ‘lawsuit’ Ibanez Gibson-copies were sold as lower-cost alternatives to American-made instruments, time has been kind to them: prices for set-neck 80’s Ibanez guitars are now often close to that of 70’s Gibsons.  This is partly due to rarity, but I think we’ve also begun to collectively embrace the idea that ‘copies’ are more desirable than ‘originals’ in some sense; in a world of endless duplications, fakes, and forgeries, the unapologetic ‘copy’ can actually seem more authentic than a supposed ‘original.’

The Ibanez Rocket-Roll Flying-V copy circa 1974

After Ibanez was compelled to cease US distribution of their Gibson copies, we see some interesting new lines to emerge.  This ‘Studio Series’ was part of the Alembic-inspired ‘hippie sandwich’ guitar-style of the mid/late 1970s. 

Follow this link for more 70’s Ibanez coverage on Preservation Sound dot com.

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Altec Concert Sound

Altec Public-Address in the Seventies

Above: this one caught me by surprise.  Neil Young endorses Altec PA kit in 1971.  We see the Altec 1210A console and 1205A powered speakersApparently Don Ellis and Merle Haggard were also endorsers at the time. 

Today: some early ‘seventies adverts for Altec PA gear.  Altec equipment was no longer state-of-the-art studio gear by this period, but they seem to have enjoyed continuing success with sound reinforcement.  For a full catalog download that discusses much of the equipment featured, click here and visit this earlier post.

Above: The Altec 1217A.  Powerful enough for ‘Boogie Rock.’

Above: Altec’s young and photogenic employees circa 1974

Above: (it’s 1974): ‘Rock’s grown up.  The Group’s grown up… Altec was there when the magic of rock and roll arrived. Woodstock.  Monterey.”