Acoustic Guitars & Basses :: Artists
Tontxu AW Spain
Lisa Calaisa AW300ECENT Sweden
Malin Calaisa AW300ECENT Sweden
Antonio Vega AE800TB Spain
Brad Walst Three Days Grace AW300ECENT Canada
David Lowery Cracker, Camper Van Beethoven AW200CENT U.S.A.
Eddy Zak AW100LCENT U.S.A.
Edwin McCain AJ200ECENT U.S.A.
Mat Dauzat Hydrovibe, Kelly Osbourne AW200CENT U.S.A.
Michael Einziger Incubus AW200CENT U.S.A.
Ross Grant JEM, Dogfysh AW200CEVV U.S.A.
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Friday, May 11, 2007
Monday, April 30, 2007
BASS GUITAR,NIGERIAN BASSISTS,BENSON IDONIJE,
Movement Of The Bass Line
By Benson Idonije
THE bass guitar has now finally become legitimised as a jazz instrument, where as it initially received violent and scathing criticisms from jazz purist who believed that the fiddle bass was more suited for creative and artistic work. Even where the fiddle bass is still in use, there is now an attempt to amplify its pure bass sound, a testimony to the fact that jazz has been liberalised and made more appealing.
Over the years, the Nigerian scene has had its full share of this transformation. From the days of highlife through dance music and jazz, musicians such as Ayo Vaughan and Steve Rhodes were a source of influence and inspiration to the generation of the 50s and 60s as great exponents of the fiddle bass. There were also such names as Kayode Asogbon and Donald Amaechi, who doubled on guitar to become the moving spirit behind IDEK, the group that featured Isaac Olasugba an alto saxophone; Don Amaechi, bass; Ezekiel Hart, guitar, and Remi Kabaka, drums.
Bass guitar virtuosos emerged in the 70s with Tunde Kuboye, Mike Odunmosu and Kenneth Okulolo as frontliners. All three musicians have had international exposures in addition to making considerable impact at home. Kenneth played with several groups in Lagos and became a member of the famous Steve Rhodes Voices that won laurels in a European festival. Kuboye of Jazz 38 is still sorting out bass lines with unabashed gusto; and aside from stints with Tee Mac, he has been a regular bass player for the Extended Family. But it is noteworthy to say that Kuboye played bass with world acclaimed drummer, Ginger Baker at a jazz festival in Europe in the 70s.
Mike Odumosu, who is currently in London, had stints with Osibissa, after making his fame here in Nigeria as the 'O' of the explosive rock group BLO. Other members of the group included Beckley Jones on guitar and Laolu Akins, drums.
However, the criticisms against the use of the bass guitar in the 70s - stemmed from the onslaught of jazz fusion and smooth jazz which attempted to commercialise the art form. While smooth jazz exponents eager for commercial success saw this electronic sound booster as a better way of projecting their music to the people to achieve mass appeal, genuine jazz musicians complained that this amplified sound was compromising standards. America's Charles Mingus noted for his exemplary technical ability on the fiddle bass, was a strong proponent of the use of the instrument.
In an article entitled, 'Bass Lines,' Charles Mingus was quoted as saying that electricity had put music back. This was in January 1977. The notion that Mingus has about electronic instruments and jazz/rock music is reinforced by his earlier statements. His objectives probably stem from the onslaught in the 70s, during the advent of 'smooth jazz, of semi talented musicians hiding behind the technological gimmickry of advanced electronic instruments. As a result of the successful breakthrough of Herbie Hancock, previously talented pianist with Miles Davis, many mediocre musicians chose this path as their main pre-occupation and recipe for success.
A lot of the electronic devices were associated with rhythm instruments such as keyboards, which were represented with moogs, and synthesisers of different shades. The fiddle bass, which was essentially an instrument for melodic exploration as well as for determining chord changes and progression, for Mingus now began to explode with a loud fuzz. The amplification of the saxophone, which in recent times has been copiously exhibited in these parts, was legitimised in the seventies by Eddie Harris, who played the amplified alto saxophone. With a funky, wailing approach and a swinging background, Harris reduced jazz to rock and soul to gain popular acceptance and instant success. However, the bass guitar played a crucial role in this regard, in that its emphasis was the formula which earned Herbie Hancock's 'Head Hunters' the monumental success it enjoyed in 1973. This perhaps explains the concern of Mingus, whose views are highly authoritative and professional.
As a leader, Mingus was rivalled only by Miles Davis in terms of using accomplished sidemen and the ability to draw inspired solos from each of them. Apart from playing the bass better than almost anyone else in jazz, Charles Mingus was also one of the most controversial leaders and composers. His works have often called for freak effects, for gongs and whistles and other sounds, but the sum total has been invariably valid.
In his compositional non-conformity, a trait he seems to have in common with Ihelonius Monk, Mingus has reached down into the roots of jazz and come up with an original style which owes little or nothing to contemporary writers.
A number of bass players have received acclaim and recognition tremendous enough to qualify them for band leadership, but over the years preferred to provide bass lines for other leaders to integrate into their aggregational make-ups. Ray Brown, who made his fame playing with the Oscar Peters Trio is one of them, including James Cobb who generated bass lines for the Miles Davis quintets and Sextets - with, of course the likes of Jimmy Garrieson, who was heard within the great quartet led by John Coltrane in the 60s. They are all talented and famous for the execution of the instrument. But Charles Mingus started to lead his own bands since the fifties, and rather than subjugate his efforts under any outfit, he has continued to forge new directions, attracting to himself the finest musicians on the scene.
In the strict sense, Miles Davis has demonstrated that electronic music does not necessarily commercialise jazz or reduce the music to rock. Much depends on the quality of the music fed into electronics. If the music is creatively qualitative, this positivity would be emphasised. But if the effort of the artiste is deliberately geared towards commercial music, this intention would also be amplified.
A glaring example is the effort of Miles Davis in the 80s in 'The Man with the horn' and sessions he did with a notable American rap artiste in "Dubop sound". It was an admixture of rap and jazz but Miles Davis' trumpet was as pure as ever, devoid of any compromise.
'The man with the horn' session, which includes such brilliant tunes as 'Shout' and "Mother Nature", finds Miles Davis in his elements, sounding as strong as ever in terms of improvisation and dynamics- with a propulsive bass line of the electrified type.
? 2003 - 2006 @ Guardian Newspapers Limited (All Rights Reserved).
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By Benson Idonije
THE bass guitar has now finally become legitimised as a jazz instrument, where as it initially received violent and scathing criticisms from jazz purist who believed that the fiddle bass was more suited for creative and artistic work. Even where the fiddle bass is still in use, there is now an attempt to amplify its pure bass sound, a testimony to the fact that jazz has been liberalised and made more appealing.
Over the years, the Nigerian scene has had its full share of this transformation. From the days of highlife through dance music and jazz, musicians such as Ayo Vaughan and Steve Rhodes were a source of influence and inspiration to the generation of the 50s and 60s as great exponents of the fiddle bass. There were also such names as Kayode Asogbon and Donald Amaechi, who doubled on guitar to become the moving spirit behind IDEK, the group that featured Isaac Olasugba an alto saxophone; Don Amaechi, bass; Ezekiel Hart, guitar, and Remi Kabaka, drums.
Bass guitar virtuosos emerged in the 70s with Tunde Kuboye, Mike Odunmosu and Kenneth Okulolo as frontliners. All three musicians have had international exposures in addition to making considerable impact at home. Kenneth played with several groups in Lagos and became a member of the famous Steve Rhodes Voices that won laurels in a European festival. Kuboye of Jazz 38 is still sorting out bass lines with unabashed gusto; and aside from stints with Tee Mac, he has been a regular bass player for the Extended Family. But it is noteworthy to say that Kuboye played bass with world acclaimed drummer, Ginger Baker at a jazz festival in Europe in the 70s.
Mike Odumosu, who is currently in London, had stints with Osibissa, after making his fame here in Nigeria as the 'O' of the explosive rock group BLO. Other members of the group included Beckley Jones on guitar and Laolu Akins, drums.
However, the criticisms against the use of the bass guitar in the 70s - stemmed from the onslaught of jazz fusion and smooth jazz which attempted to commercialise the art form. While smooth jazz exponents eager for commercial success saw this electronic sound booster as a better way of projecting their music to the people to achieve mass appeal, genuine jazz musicians complained that this amplified sound was compromising standards. America's Charles Mingus noted for his exemplary technical ability on the fiddle bass, was a strong proponent of the use of the instrument.
In an article entitled, 'Bass Lines,' Charles Mingus was quoted as saying that electricity had put music back. This was in January 1977. The notion that Mingus has about electronic instruments and jazz/rock music is reinforced by his earlier statements. His objectives probably stem from the onslaught in the 70s, during the advent of 'smooth jazz, of semi talented musicians hiding behind the technological gimmickry of advanced electronic instruments. As a result of the successful breakthrough of Herbie Hancock, previously talented pianist with Miles Davis, many mediocre musicians chose this path as their main pre-occupation and recipe for success.
A lot of the electronic devices were associated with rhythm instruments such as keyboards, which were represented with moogs, and synthesisers of different shades. The fiddle bass, which was essentially an instrument for melodic exploration as well as for determining chord changes and progression, for Mingus now began to explode with a loud fuzz. The amplification of the saxophone, which in recent times has been copiously exhibited in these parts, was legitimised in the seventies by Eddie Harris, who played the amplified alto saxophone. With a funky, wailing approach and a swinging background, Harris reduced jazz to rock and soul to gain popular acceptance and instant success. However, the bass guitar played a crucial role in this regard, in that its emphasis was the formula which earned Herbie Hancock's 'Head Hunters' the monumental success it enjoyed in 1973. This perhaps explains the concern of Mingus, whose views are highly authoritative and professional.
As a leader, Mingus was rivalled only by Miles Davis in terms of using accomplished sidemen and the ability to draw inspired solos from each of them. Apart from playing the bass better than almost anyone else in jazz, Charles Mingus was also one of the most controversial leaders and composers. His works have often called for freak effects, for gongs and whistles and other sounds, but the sum total has been invariably valid.
In his compositional non-conformity, a trait he seems to have in common with Ihelonius Monk, Mingus has reached down into the roots of jazz and come up with an original style which owes little or nothing to contemporary writers.
A number of bass players have received acclaim and recognition tremendous enough to qualify them for band leadership, but over the years preferred to provide bass lines for other leaders to integrate into their aggregational make-ups. Ray Brown, who made his fame playing with the Oscar Peters Trio is one of them, including James Cobb who generated bass lines for the Miles Davis quintets and Sextets - with, of course the likes of Jimmy Garrieson, who was heard within the great quartet led by John Coltrane in the 60s. They are all talented and famous for the execution of the instrument. But Charles Mingus started to lead his own bands since the fifties, and rather than subjugate his efforts under any outfit, he has continued to forge new directions, attracting to himself the finest musicians on the scene.
In the strict sense, Miles Davis has demonstrated that electronic music does not necessarily commercialise jazz or reduce the music to rock. Much depends on the quality of the music fed into electronics. If the music is creatively qualitative, this positivity would be emphasised. But if the effort of the artiste is deliberately geared towards commercial music, this intention would also be amplified.
A glaring example is the effort of Miles Davis in the 80s in 'The Man with the horn' and sessions he did with a notable American rap artiste in "Dubop sound". It was an admixture of rap and jazz but Miles Davis' trumpet was as pure as ever, devoid of any compromise.
'The man with the horn' session, which includes such brilliant tunes as 'Shout' and "Mother Nature", finds Miles Davis in his elements, sounding as strong as ever in terms of improvisation and dynamics- with a propulsive bass line of the electrified type.
? 2003 - 2006 @ Guardian Newspapers Limited (All Rights Reserved).
Powered by dnetsystems.net dnet?
Tuesday, March 13, 2007
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Wednesday, February 14, 2007
Thursday, February 8, 2007
STRINGS: TOSINS' STRINGS
Electric Guitars :: RG prestige : RG1570
These are the machines of the gods…with drop dead good looks, sonic lethality and the devastating power and control of a precision double-locking trem. RG Prestige guitars feature flawless Japanese craftsmanship, the finest materials and each is axe perfectly matched with just the right choice of DiMarzio®, Duncan®, EMG®, or IBZ™ pickups.
RG1570
Neck: 5pc Wizard Prestige neck
NeckType: Wizard Prestige
Body: Basswood body
Frets: Jumbo frets
Fingerboard: Rosewood
Inlay: Pearl Dot
Bridge: Edge Pro bridge
NeckPU: IBZ V7 neck pu
BridgePU: IBZ S1 mid pu
MiddlePU: IBZ V8 bridge pu
HWcolor: CK
MRB: MIRAGE BLUE
MRR: MIRAGE RED
Finish
Neck
Edge Pro Tremolo
Bengbeng (Indonesia)
Pas
RG1520G
Copyright 2007 Ibanez Guitars. All Rights Reserved.
Electric Guitars :: RG prestige : RG1527
These are the machines of the gods…with drop dead good looks, sonic lethality and the devastating power and control of a precision double-locking trem. RG Prestige guitars feature flawless Japanese craftsmanship, the finest materials and each is axe perfectly matched with just the right choice of DiMarzio®, Duncan®, EMG®, or IBZ™ pickups.
RG1527
Neck: 5pc Wizard-7 Prestige neck
NeckType: Wizard-7 Prestige
Body: Basswood body
Frets: Jumbo frets
Fingerboard: Rosewood
Inlay: Pearl Dot
Bridge: Edge Pro 7 bridge
NeckPU: IBZ V7-7 neck pu
MiddlePU: IBZ V8-7 bridge pu
HWcolor: CK
RB: ROYAL BLUE
Tosin Abasi (U.S.A.)
Reflux
RG1527
Copyright 2007 Ibanez Guitars. All Rights Reserved.
Tuesday, February 6, 2007
- USA - Argentina - Australia - Austria - Bangladesh - Belarus - Belgium - Bolivia - Bosnia & Herzgovina - Brazil - Bulgaria - Canada - Caribbean & British West Indies
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- Finland - France - French Polynesia - Georgia - Germany - Greece - Guatemala - Honduras - Hong Kong - Hungary - Iceland - India - Indonesia
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- Portugal - Qatar - Reunion - Romania - Russia - Singapore - Slovakia - Slovenia - South Africa - Spain - Sweden - Switzerland - Taiwan R.O.C.
- Thailand - Turkey - U.K. - Ukraine - United Arab Emirates - Uruguay - Venezuela - Yugoslavia
copyright 2007 ibanez guitars. all rights reserved.
- Chile - China - Colombia - Costa Rica - Croatia - Cyprus - Czech - Denmark - Dominican Republic - Ecuador - Egypt - El Salvador - Estonia
- Finland - France - French Polynesia - Georgia - Germany - Greece - Guatemala - Honduras - Hong Kong - Hungary - Iceland - India - Indonesia
- Iran - Ireland - Israel - Italy - Japan - Korea - Kuwait - Latvia - Lebanon - Lithuania - Luxemburg - Macedonia - Malaysia
- Malta - Mauritius - Mexico - Netherlands - New Zealand - Nicaragua - Norway - Oman - Pakistan - Panama - Peru - Philippines - Poland
- Portugal - Qatar - Reunion - Romania - Russia - Singapore - Slovakia - Slovenia - South Africa - Spain - Sweden - Switzerland - Taiwan R.O.C.
- Thailand - Turkey - U.K. - Ukraine - United Arab Emirates - Uruguay - Venezuela - Yugoslavia
copyright 2007 ibanez guitars. all rights reserved.
Saturday, February 3, 2007
REFLUXBAND + A FAN
REFLUX
Integrantes
Tosin Abasi: Guitarra
Ash Avildsen: Voz
Evan Brewer: Bajo
Vinny Vinh: Batería
Recomendaciones
http://artists.iuma.com/IUMA/Bands/REFLUX/
"Above the Pyramid and Eye"
VIDEO
http://uvtv.info/reflux.php
Sin hacer mucho ruido, poco a poco el sello Prosthetic Records se esta afianzando como uno de los sellos más atractivos para aquellos que disfruten de los últimos movimientos originados en los EE.UU. tanto dentro del hardcore como del metal. Lamb Of God, All That Remains o Caliban serían solo algunos ejemplos de los grupos que pertenecen o han pertenecido a este sello en su más reciente historia. Así, nos situaríamos con uno de sus flamantes últimos fichajes, el grupo Reflux.
Reflux son originarios de Washington D.C. y fueron formados por el vocalista Ash Avildsen y el guitarrista Tosin Abasi en Marzo de 2002. Sin embargo, no fue hasta que encontraron al batería Vinny Vinh y al bajista Evan Brewer cuando dieron definitivamente con el sonido de la banda, a medio camino entre la complejidad de Meshuggah y la intensidad de otras bandas como Killswitch Engage o Poison The Well. Tras conseguir despertar el interés de varios sellos, finalmente ficharon por el ya mencionado Prosthetic Records.
“The Illusion of Democracy”, que así es como se llama el primer disco de Reflux, vió la luz la pasada semana en los EE.UU. (difícilmente será encontrar este disco por España) y de momento ya está siendo presentado en ese mismo país en una gira en la que están compartiendo escenario junto con Animosity o Trauma, entre otros.
DISCO DESTACADO
--------------------------------------------------------------------------------
The Illusion Of Democracy [2004]
Al igual que su compañía, Reflux han debutado con este “The Illusion of Democracy” sin prácticamente haber llamado antes mucho la atención, algo que seguramente cambiará a medida que vayan transcurriendo los meses. De momento, “para ir haciendo tiempo”, en “The Illusion of Democracy” nos encontramos con once cortes que combinan las voces agresivas de Ash Avildsen propias del hardcore y con los riff y los ritmos ya mas cercanos al metal, unidos mediante unos desarrollos que en ocasiones se acercan al progresivo y más específicamente a Dream Theater. La mala leche que desprenden también se hace patente en sus letras, haciendo clara referencia al año de elecciones que están viviendo. Además, aunque pocas, las partes melódicas también hacen acto de presencia a lo largo de este disco recordándonos a los primeros Poison the Well o a Killswitch Engage. Recomendado para los amantes del metalcore más extremo.
Recomendamos: “Above the Pyramid and Eye”, “Single File to Bliss” y “There´s No Sunlight in My Cubicle”
Valoración de los Miembros
81
Votos: 5
[ Volver al Índice de Análisis]
85 Miembro: puta
Fecha: 17/10/2005 a las 13:33:16
gran disco, aunque el sonido no es del todo fiel reflejo de lo que este grupo es en realidad. ya que pude verlos varias veces en directo en u.s.a y suenan mucho mejor que en el disco.ademas de que en directo son un grupo que impresionan visualmente por su tecnica(el bateria y gitarrista son increibles).
Algo mas d melodia mejoraria la propuesta final, pero habra q ver como suena el nuevo disco.
80 Miembro: sicsicsic
Fecha: 25/06/2005 a las 23:45:01
gran grupo y gran disco
80 Miembro: Interloper
Fecha: 23/10/2004 a las 19:48:52
Un interesante grupo, habrá que seguirles la pista...
Aunque esas voces me siguen sin molar del todo. Sin embargo, la base musical es muy buena.
Destaco el tema Thoughts Dictate Reality
80 Miembro: krater
Fecha: 21/10/2004 a las 18:31:37
Un poco mas de melodia les habria venido muy bien
80 Miembro: archetype
Fecha: 20/10/2004 a las 12:00:56
Buen fichaje de Prosthetic Records. Junto a 2 buenos grupos como "The Acacia Strain" y "Invocation Of Nehek", son 3 discos que estan dando que hablar y que hay una buena campaña publicitaria de por medio. Prosthetic se ha puesto bien las pilas. Esperemos que sigan asi :)
Y un 8 por el grupo y por lo que he escuchado hasta ahora de ellos :)
P.D Mis felicitaciones al analista por descubrir grupos asi.
Saludos!
http://www.lesacteursdelombre.com/Ombres/news/index.asp
..:: Annoncez votre site web ::..
Friday, February 2, 2007
IBANEZ RG GUITARS
Wikipedia Library > Reference > Wikipedia Ibanez RG
Ibanez RG
Image:RG320FM.jpg
Manufacturer Ibanez
Period 1987 — present
Construction
Body type Solid
Neck joint Bolt-on, Neck-thru
Woods
Body Basswood, Mahogany
Neck 5pc Maple with Walnut, 3pc Maple with Walnut
Fretboard Rosewood
Hardware
Bridge Edge III Tremolo, Fixed Bridge, Edge Pro Double Locking Tremolo, Gibraltar Plus Bridge
Pickup(s) H-S-H or H-H IBZ Infinity, DiMarzio IBZ or IBZ V7 & V8 pickups
Colors available
Black, Electric Blue, White, Amber, Transparent Lavender Blue, Weathered Black, Metallic Khaki, Jewel Blue, Black Night, Regal Brown Burst, Stained Oil, Natural Flat, Dark Amber, Aged Natural, Cubed Black Pewter, Vital Silver, Galaxy Black, Mirage Blue, Mirage Red, Royal Blue, Black Pearl, Sapphire Blue & Violin Flat
Ibanez RG is a most numerous[1] and, arguably, most popular series of electric guitars by Ibanez. It was designed as a originally as a derivative of Steve Vai's JEM\Universe series and released in 1987. Manufacture of the RG model continues up to today. The RG series are among the most sold hard rock and metal guitars ever made.
Origins
The RG series were first introduced in 1987 as a derivative to the Ibanez JEM and Universe series by Steve Vai. The Ibanez RG series is the highest selling guitar series from the manufacturer Ibanez ever made. One of the first guitars in the RG series was a RG570 model with a Floyd Rose tremolo. It became one of the most sold guitars ever made by Ibanez and made Ibanez RG's name world wide known in the guitar world. While the pros and studio musicans use the RG Prestige Series, newbeginners often start playing on the RG Tremolo series, which are much more affordable and has got a quite high guality. The RG series are extremely poplar in hard rock and metal worlds, but also in punk and classic rock. The guitars are made in Japan, China, Korea or Indonesia. According to the high quality of the instruments, they are relative cheap (Even The Prestige series) in comparison to other manufacturers like Gibson, Fender, Rickenbacker and PRS.
Features
The RG Series Features a Thin Neck[2] with a wide, almost flat double octave (24 Fret) fret board, which makes it easy to play chords and solos. The Body of the RG Series features a double cut away giving better access to the upper frets. The body is made of Mahogany or Basswood and the fretboard is made of Rosewood. The pickups are configurated with H-S-H position or H-H position. There are IBZ Infinity pickups in the RG Tremolo and Fixed series, and Ibanez V7 and V8 or DiMarzio IBZ pickups in the Prstige Series. All RG series features a 5-way pickup selector.
Almost all guitars in the series have got some kind of a Floyd Rose tremolo, except from the RG Fixed and the RGA Prestige series, which have got fixed bridge. The RG Tremolo's Floyd Rose system are named Edge III and Edge Pro II, which are infamous for "wearing out" and becoming unusable after a few months. The RG Prestige series have got a Edge Pro Double Locking Bridge which is one of the best Floyd Rose tremolos at the market. The RG Fixed series contains simple bridges like in a fixed Stratocaster and the RGA series have got Gibraltar Plus Bridges. The headstock are the same on all guitars, only the text on them are different.
The RG Series
The RG Series is currently slpit into 3 sub sections
RG Prestige - High Quality Japanese Made RG guitars which contains of the RG, RGT and RGA series
RG Tremolo - RG series guitars of non Japanese (China,Korea and Indonesia)origin with Floyd Rose tremolo
RG Fixed - RG guitars with Fixed Bridges of non Japanese Origin
Ibanez GRG - Budget range RG Guitars
Artists Who Use Ibanez RG Series
Wes Borland - Ex-Limp Bizkit
Tosin Abasi - Reflux
Fabián Aravalés - Konfesion
Lance Arny - Flaw
Chris Arp - Psyopus
Cristobal Arriagada - Alejandro Silva Power Cuarteto
Rob Balducci - Solo
Terry Balsamo - Evanescence
Javier Bassino - Farenheit
Honza Kirk Behunek - Seven, Solo
Bengbeng - Pas
Jackson Benge - (Hed) Planet Earth
Chris Broderick - Jag Panzer
Noah Carpenter - Skinless
Dino Cazares - Asesino
Cesareo - Elio E Le Storie Tese
Audley Chisholm - Maxi Priest, Big Mountain
Asanee Chotikun - Asanee Wason
Alex Colin-Tocqaine - Agressor, Loudblast
Claudio Cordero - Matraz
Fran Cosmo - Boston
Scott Danough - Bleeding Through
Brad Delson - Linkin Park
Fletcher Dragge - Pennywise
Georges Floride - Jadallys
Koichi Fukuda - Static-X
Rocky George - Fishbone
Gravy - Mushroomhead
Jon Greasley - Vega
Mårten Hagström - Meshuggah
Jason Hannon - Gizmachi
Head - Korn, Solo
Kristian Hermansson - Solo
Tony G. Hernando - Solo
Gabriel Hidalgo - Six Magics
Hiro - Head Phones President
Dexter Holland - The Offspring
Teeny - WigWam
Ihsahn - Ihsahn, Emperor
Rob Johnson - Magnitude 9
Karukan - Onmyo-Za
Kazi - Yama-Arashi
Kessier - Seraphim
Minoru Kojima - Solo
Kirk Kolaitis - Diecast
Mike Laurino - Gizmachi
Benjamin Lechuga - Delta
Brian Leppke - Bleeding Through
Jani Liimatainen - Sonata Arctica
Juan Carlos Martin Lopez - Mago De Oz
Brian Maillard - Solid Vision
Christofer Malmstrom - Darkane
Mar - Head Phones President
Andy Martin - Solo
James McIlroy - Solo
Krzysztof Misiak - Chylinska
Munky - Korn
Yasushi Muratori - Muratorix
Oga - Yama-Arashi
Magnus Olsson - Solo
Ramon Ortiz - Ankla
Zlatko "Slädu" Perica - Burn, DJ Bobo, Tangerine Dream
Sergey Popov - Aria
Roberto R. Rodrigo - Airless
Josh Rand - Stone Sour
Paul Reid - Independent, Beverley Knight, Liberty X, Billy Crawford, Ms Dynamite
Brandon Reihana - Blindspott
Matt Roberts - 3 Doors Down
Igor Romanov - Alisa
Patrick Rondat - Patrick Rondat, Elegy
Jorge Salan - Mago De Oz
Schon - Crave
King Shah - Metalasia
Mike Shinoda - Linkin Park
Alejandro Silva - Alejandro Silva Power Cuarteto
Chris Stalder - X Age, Jodyacs
Pablo Stipicic - Blackout
Tommy Svela - Purified In Blood
Daniel Telis - Solo
Mick Thomson - Slipknot
Fredrik Thordendal - Meshuggah
Frank Tijdink - Solo
Ton - Dezember, Zanax
Tony Triano - Solo
Dave Uhrich - Solo
Everton Waldman - R/T
Pop Waravit - Rancorous
Dave Weiner - Steve Vai
Kit Wray - Into the Moat
References
^ As of September, 2006, Ibanez catalog of electric guitars[1] lists 29 models — it's more than any other Ibanez series.
^ The Wizard Prestige and Wizard II necks are considered as one of the thinnest and flattest necks ever made on guitars
External links
http://ibanez.com/guitars/series.asp?s=RG&l=e - About RG series at official Ibanez site
http://ibanezrules.com - A kind of Ibanez guitars database
This entry is from Wikipedia, the leading user-contributed encyclopedia. It may not have been reviewed by professional editors (see full disclaimer)
Ibanez RG
Image:RG320FM.jpg
Manufacturer Ibanez
Period 1987 — present
Construction
Body type Solid
Neck joint Bolt-on, Neck-thru
Woods
Body Basswood, Mahogany
Neck 5pc Maple with Walnut, 3pc Maple with Walnut
Fretboard Rosewood
Hardware
Bridge Edge III Tremolo, Fixed Bridge, Edge Pro Double Locking Tremolo, Gibraltar Plus Bridge
Pickup(s) H-S-H or H-H IBZ Infinity, DiMarzio IBZ or IBZ V7 & V8 pickups
Colors available
Black, Electric Blue, White, Amber, Transparent Lavender Blue, Weathered Black, Metallic Khaki, Jewel Blue, Black Night, Regal Brown Burst, Stained Oil, Natural Flat, Dark Amber, Aged Natural, Cubed Black Pewter, Vital Silver, Galaxy Black, Mirage Blue, Mirage Red, Royal Blue, Black Pearl, Sapphire Blue & Violin Flat
Ibanez RG is a most numerous[1] and, arguably, most popular series of electric guitars by Ibanez. It was designed as a originally as a derivative of Steve Vai's JEM\Universe series and released in 1987. Manufacture of the RG model continues up to today. The RG series are among the most sold hard rock and metal guitars ever made.
Origins
The RG series were first introduced in 1987 as a derivative to the Ibanez JEM and Universe series by Steve Vai. The Ibanez RG series is the highest selling guitar series from the manufacturer Ibanez ever made. One of the first guitars in the RG series was a RG570 model with a Floyd Rose tremolo. It became one of the most sold guitars ever made by Ibanez and made Ibanez RG's name world wide known in the guitar world. While the pros and studio musicans use the RG Prestige Series, newbeginners often start playing on the RG Tremolo series, which are much more affordable and has got a quite high guality. The RG series are extremely poplar in hard rock and metal worlds, but also in punk and classic rock. The guitars are made in Japan, China, Korea or Indonesia. According to the high quality of the instruments, they are relative cheap (Even The Prestige series) in comparison to other manufacturers like Gibson, Fender, Rickenbacker and PRS.
Features
The RG Series Features a Thin Neck[2] with a wide, almost flat double octave (24 Fret) fret board, which makes it easy to play chords and solos. The Body of the RG Series features a double cut away giving better access to the upper frets. The body is made of Mahogany or Basswood and the fretboard is made of Rosewood. The pickups are configurated with H-S-H position or H-H position. There are IBZ Infinity pickups in the RG Tremolo and Fixed series, and Ibanez V7 and V8 or DiMarzio IBZ pickups in the Prstige Series. All RG series features a 5-way pickup selector.
Almost all guitars in the series have got some kind of a Floyd Rose tremolo, except from the RG Fixed and the RGA Prestige series, which have got fixed bridge. The RG Tremolo's Floyd Rose system are named Edge III and Edge Pro II, which are infamous for "wearing out" and becoming unusable after a few months. The RG Prestige series have got a Edge Pro Double Locking Bridge which is one of the best Floyd Rose tremolos at the market. The RG Fixed series contains simple bridges like in a fixed Stratocaster and the RGA series have got Gibraltar Plus Bridges. The headstock are the same on all guitars, only the text on them are different.
The RG Series
The RG Series is currently slpit into 3 sub sections
RG Prestige - High Quality Japanese Made RG guitars which contains of the RG, RGT and RGA series
RG Tremolo - RG series guitars of non Japanese (China,Korea and Indonesia)origin with Floyd Rose tremolo
RG Fixed - RG guitars with Fixed Bridges of non Japanese Origin
Ibanez GRG - Budget range RG Guitars
Artists Who Use Ibanez RG Series
Wes Borland - Ex-Limp Bizkit
Tosin Abasi - Reflux
Fabián Aravalés - Konfesion
Lance Arny - Flaw
Chris Arp - Psyopus
Cristobal Arriagada - Alejandro Silva Power Cuarteto
Rob Balducci - Solo
Terry Balsamo - Evanescence
Javier Bassino - Farenheit
Honza Kirk Behunek - Seven, Solo
Bengbeng - Pas
Jackson Benge - (Hed) Planet Earth
Chris Broderick - Jag Panzer
Noah Carpenter - Skinless
Dino Cazares - Asesino
Cesareo - Elio E Le Storie Tese
Audley Chisholm - Maxi Priest, Big Mountain
Asanee Chotikun - Asanee Wason
Alex Colin-Tocqaine - Agressor, Loudblast
Claudio Cordero - Matraz
Fran Cosmo - Boston
Scott Danough - Bleeding Through
Brad Delson - Linkin Park
Fletcher Dragge - Pennywise
Georges Floride - Jadallys
Koichi Fukuda - Static-X
Rocky George - Fishbone
Gravy - Mushroomhead
Jon Greasley - Vega
Mårten Hagström - Meshuggah
Jason Hannon - Gizmachi
Head - Korn, Solo
Kristian Hermansson - Solo
Tony G. Hernando - Solo
Gabriel Hidalgo - Six Magics
Hiro - Head Phones President
Dexter Holland - The Offspring
Teeny - WigWam
Ihsahn - Ihsahn, Emperor
Rob Johnson - Magnitude 9
Karukan - Onmyo-Za
Kazi - Yama-Arashi
Kessier - Seraphim
Minoru Kojima - Solo
Kirk Kolaitis - Diecast
Mike Laurino - Gizmachi
Benjamin Lechuga - Delta
Brian Leppke - Bleeding Through
Jani Liimatainen - Sonata Arctica
Juan Carlos Martin Lopez - Mago De Oz
Brian Maillard - Solid Vision
Christofer Malmstrom - Darkane
Mar - Head Phones President
Andy Martin - Solo
James McIlroy - Solo
Krzysztof Misiak - Chylinska
Munky - Korn
Yasushi Muratori - Muratorix
Oga - Yama-Arashi
Magnus Olsson - Solo
Ramon Ortiz - Ankla
Zlatko "Slädu" Perica - Burn, DJ Bobo, Tangerine Dream
Sergey Popov - Aria
Roberto R. Rodrigo - Airless
Josh Rand - Stone Sour
Paul Reid - Independent, Beverley Knight, Liberty X, Billy Crawford, Ms Dynamite
Brandon Reihana - Blindspott
Matt Roberts - 3 Doors Down
Igor Romanov - Alisa
Patrick Rondat - Patrick Rondat, Elegy
Jorge Salan - Mago De Oz
Schon - Crave
King Shah - Metalasia
Mike Shinoda - Linkin Park
Alejandro Silva - Alejandro Silva Power Cuarteto
Chris Stalder - X Age, Jodyacs
Pablo Stipicic - Blackout
Tommy Svela - Purified In Blood
Daniel Telis - Solo
Mick Thomson - Slipknot
Fredrik Thordendal - Meshuggah
Frank Tijdink - Solo
Ton - Dezember, Zanax
Tony Triano - Solo
Dave Uhrich - Solo
Everton Waldman - R/T
Pop Waravit - Rancorous
Dave Weiner - Steve Vai
Kit Wray - Into the Moat
References
^ As of September, 2006, Ibanez catalog of electric guitars[1] lists 29 models — it's more than any other Ibanez series.
^ The Wizard Prestige and Wizard II necks are considered as one of the thinnest and flattest necks ever made on guitars
External links
http://ibanez.com/guitars/series.asp?s=RG&l=e - About RG series at official Ibanez site
http://ibanezrules.com - A kind of Ibanez guitars database
This entry is from Wikipedia, the leading user-contributed encyclopedia. It may not have been reviewed by professional editors (see full disclaimer)
Friday, January 26, 2007
IBANEZ ARTISTS
Tone Blaster - XCITE YOUR SENSES.NEW
Prestige 2006 Limited Editions
EDB - Ergodyne
LOUD PARK 06
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