Category Archives: amplifiers / pickups

cuba cigar 350 Smokin Guitars with Daddy Mojo Smojo

smoking kills

Gangstaz…..they`re getting older by the minute!

After last weeks biscuit tin expose today’s magnificent “homewares” based guitar art comes courtesy of the fine, fine craftsmen at Daddy Mojo!

DMheader Smokin Guitars with Daddy Mojo Smojo

If you have a penchant for the ostentatious and chocolaty flavours of the Republic of Cuba’s most famous export, hand rolled upon the thighs of young Cuban virgins then light up another top ranking stogie because when you’ve finished that box the fellas at Daddy Mojo can turn it into a world of acoustic delight worthy of any bluegrass, cotton-pickin’, square dancin’, chicken pickin` jamboree!

Just in case you’re wondering, the cigar box guitar is a primitive chordophone whose resonator is an empty cigar box. Because the instrument is (more traditionally) homemade, there is no standard for dimensions, string types or construction techniques.

14 cigars reg cigars Dec2006 300x182 Smokin Guitars with Daddy Mojo Smojo

Many early cigar box guitars consisted of only one or two strings that were attached to the ends of a broomstick that was inserted into the cigar box. Other cigar box guitars were more complex, with the builder attempting to simulate a traditional string instrument such as a guitar, banjo, or fiddle.

Cigar boxes in their current form did not exist exist prior to the 1840s when cigar manufacturers started using smaller, more portable boxes with 20-50 cigars per box.

The cigar box guitars and fiddles were also important in the rise of jug bands and blues. As most of these performers were black Americans living in poverty, many could not afford a “real” instrument. Using these, along with the washtub bass, jugs, washboards, and harmonica, black musicians performed the blues.

blueswashtub bass Smokin Guitars with Daddy Mojo Smojo

Each Daddy Mojo Cigar Box Guitar has it’s own unique sound and personality; they are made by hand one at a time in our small workshop in Montreal, Canada. They’re small, portable and almost indestructible…and let’s face it, they look cool as hell and attract major attention!

Daddy Mojo is proud to offer Paypal as an easy way of purchasing your custom cigar box guitar online — you do not need a Paypal account to take advantage of this new feature.

The Daddy Mojo Blog is here and the website is here.

Just to whet your appetite here are a couple of you tube videos from the Daddy Mojo website and they’re as strange as a fish!

hobos Smokin Guitars with Daddy Mojo Smojo

Now,
if you’re a road rebel, a rouseabout and a rollingstone or just a good old fashioned hobo riding the rails then get your laughing gear around these sweet babies…

 Smokin Guitars with Daddy Mojo Smojo

That`s right, when you wanna throw down The Chew Tobacco Rag around the old campfire, these smoking weed tins are ‘jes’ what you need! Smokin Guitars with Daddy Mojo Smojo

SMOJO,

who are based in the U.K., make a a great range of smoke tin amplifiers just for the blackteeth connoisseur.

And they also make a few cigar box guitars too for that fashionable black lung look! These things sound absolutely SMOKIN’…like an egg fryin on a hot rail !

Well Folks, that’s just about all for now, I hope you’ve enjoyed this post and it has inspired you to consider
looking into some more unusual guitars or instruments as well as given a little insight into the early history of the jugband blues phenomenon. There are some amazing modern day jugbands on you tube so check them out.

Even better though, I recommend looking out for an old gramophone player and getting yourself a collection of 78`s – they offer some of the hottest jazz and blues on the planet. As well as Doo-wop, Rockabilly and the humour of big band leaders such as Phil Harris, Spike Jones,

Here are Benny Goodman and Lightnin Hopkins cookin’ up on the shellac!!

Cheers,

Jake Edwards
.

My liver suffered to bring you this awesome amp, don’t worry… the beer went to a good cause!

The sleek design and sound quality will blow you away! Works great for Guitar, Bass, and MP3 players. Plugs into a standard wall outlet. The amp has a power switch and volume control.

Makes a great gift for any occasion! Amazing for the beer guzzling, guitar thrashing person in your life. You can bet they have never seen an amp like this before!

Unfortunately this particular piece of genius has, unsurprisingly sold out!

Next up is an Altoids tin guitar amp, highly portable and great if you love the sound of fresh breath. YOU can actually build one yourself using instructions here and I suppose that if you want something with a bit more grunt you could up-scale to a biscuit tin if you haven’t finished your beer yet.

Cheers,

Jake Edwards

SO, you`ve completed the Jamorama course and it`s time to get down to business and waltz through that White Stripes audition like the neck-burning, fret-ripping master of neo-vintage guitar coolness you have now become and give Jack White a good old run for his money. After all it`s about time they hired some new blood for the Seven Nation Army.

Una momento!

Just one problemo amigo!!

All you’ve got is a crummy old Teisco amplifier and a piece of nylon string driftwood that washed ashore in a local dumpster, by the winos under the bridge. You also know that The Stripes have got more coolness than a field of refridgerators on the dark side of the moon……..

Here is the ultimate in retro cool an Ultra Rare Original Red Tolex 1970 Marshall Half Stack. An all original 1970 Marshall Super Tremolo 100w head & matching cabinet in factory original red levant covering  in superb collectors grade condition and a must have for any serious Marshall amp collector. This amp has been owned by the same person from new since being originally purchased in 1970 in Lancashire England and as far as is known nothing has been done to the amp at all. The serial number dates it to 1969 but the tag board is dated 1970 and the cabinet has the original highly desirable Pre Rola Celestian G12M25 speakers. If you know old Marshalls then you do not need me to tell you that this amp sounds nothing short of incredible and has all the vibe and mojo that anyone would need out of a vintage Marshall.

Only 6 grand in British Sterling.

And, finally for more credibility than you can shake a stick at here is Johnny Ramones’ actual stage used 1960’s red Mosrite guitar that was in use between 1983 and 1988. It is the only Mosrite that he played in this color during his entire time in The Ramones and one of the few remaining guitars whose whereabouts are known. This is definitely a once in a lifetime opportunity to own an authentic piece of rock ‘n roll history from the Godfathers of punk: The Ramones.

ramone Marshall 1970 rarity

A snip at $35,000 U.S.

Well, That`s all folks,
Cheers…

Jake Edwards

Today we’re going to try very, very hard not to smash and burn our guitars because we’re looking at the unique approach of uber-talent and tastemaster extroadinaire Eric Johnson and…he is rather good….

Eric is from Texas. And while there’s definitely something in the water in Texas it`s affected Eric a little differently because his approach to the guitar is somewhat idiosyncratic. Besides, it must be talent, melody or some kind of mystical otherworldly pan-galactic musical goodness flowing from those southern taps and Eric Johnson is definitely drinking it.

Man, I’m thirsty this morning.

Cool Jazz Ice Stirrers

EricJohnson 300x196 Eric Johnson

By the time Johnson released his Capitol Records debut Ah Via Musicom in 1990, he was regularly winning awards for his musicianship in the guitar press. During this period, Eric Johnson was also drawing recognition for the rich, violin-like tone he coaxed from his vintage Fender Stratocaster.

The instrumental “Cliffs of Dover” exemplified his unique sound and won Johnson a 1991 Grammy Award for Best Rock Instrumental Performance. The album Ah Via Musicom was a crossover hit, and was soon certified platinum. Here`s Eric playing “S.R.V.” an undoubted piece of absolute fretboard excellence…

Johnson`s approach to sound tends to blend clean, highly melodic and dramatic guitar runs, licks and arpeggios with a fusion of eastern and world approaches to tone such as koto like string effects and bends with subtle tapping and harmonics fuelled by a devastatingly precise and accurate picking technique and  knowledge of the fretboard washed down with bucketloads of talent and a hint of psychedelia. What’s highly noticeable about Eric J.’s approach is that he likes to literally “think outside the (scale) box”:

I tend to stay away from the box fingerings a bit. Instead, I kind of connect different things together and try to be a little bit methodical in my approach. I jump around as per the string tension and the kind of sound and tonality I want.

To re-iterate whereas some players tend to play up or down a scale using almost predictable scales and licks Eric makes a conscious effort to jump across wider intervals and bridge uncommon scales & elements  and in doing so create a whole new ultra-fresh guitar sound.

Here he is fusing jazz and blues techniques in the instrumental “Song for George”:

If you`re thinking of taking the guitar to a new part of the melodic galaxy unfettered from the chains of the blues-rock tradition then Eric’s music is a great place to look for inspiration. DON’T, no; DON’T allow the complexities of Eric’s style phase you out though – adopt a less is more approach and think about the more classical elements in the playing. A touch of reverb won’t go amiss here people! It’s a heady mix of influences from Wes Montgomery to Jimi Hendrix to Jeff Beck with maybe a touch of Bach or Paganini thrown in.

Eric fuses a more classical sense of melody with a highly accomplished and adult sonic palette blending vibrato, bends, scales and tones in a way that avoids the hair-metal neo-classical plagiarism of guitar for guitar’s sake and the time honoured cliches of the ‘been there, done that’ blues-rock guitar cannon.

Here he is playing “Manhattan” – so, listen up and listen good because it’s said that Eric can tell the aural difference between the brands of batteries in his effects pedals.

So where does this leave the rest of us, down here on the ground? Absolutely Nowhere! But fear not the awesome and versatile koto string bending technique is available for us mere mortals down here on earth and here is how you can learn to do it.

Fret a note with your picking hand index finger.  Pick right behind your index finger with your picking hand thumb. These two steps occurs almost simultaneously.  Next you can choose to bend this note by stretching the string with your fretting hand.  Then you can pull off from your picking hand index finger to your fretting hand.

G DEC

Eric has also got together with Fender to endorse the G-DEC practice amplifier.

The G-DEC is a guitar practice amplifier which incorporates:

  1. A modelling amp, which can sound like any of 17 different amplifiers
  2. A digital effects processor containing 29 effects (many in stereo) so you can add reverb, phasing, flanging, wah, etc.
  3. An on-board General MIDI synthesizer with MIDI In and Out jacks on the front panel
  4. 50 preset and 50 user-definable presets combination backing tracks
  5. A 14 second phrase sampler, so you can record licks and practice against them
  6. Auxiliary input for CD or mp3 player
  7. Phones jack can be used with stereo headphones or as a stereo Line Out jack
  8. A second input jack on the rear panel
  9. A chromatic tuner

There’s a great interview here for those who’d like to find out a little more about Eric’s approach to the guitar.

echoplex3 296x300 Eric Johnson

Several years back I walked into Guitar Village in the U.K. to have a look at an Echoplex they had acquired.
Yeah!
The sales assistant was gushing with enthusiasm because this baby had been previously owned by none other than Eric Johnson himself. When he started the machine we heard  Eric’s instantly recogniseable tone and playing coming off the tape.

Wow! “How much is it?” I asked.

I think he said it was somewhere around the 800 pound mark! Phew!
I decided to save a massive 783 pounds- and go and buy one of Eric’s C.D’s instead – smooth.

Have great weekend!

Cheers,

Jake Edwards

I know that a lot of you out there are acoustic guitar players and there is definitely a growing market of affordable, portable acoustic amplifiers available for those of you without a wheelbarrow of cash sitting rotting in the rain at your back door.

SWR Strawberry Blonde.

SWR’s Strawberry Blonde acoustic instrument amplifier has always been much more than the California Blonde’s “little sister”! The Strawberry Blonde is the amplifier of choice for acoustic players seeking a clean, true, full-range amplifier for their guitars, mandolins, violins, violas, cellos, autoharps, bouzoukis, lutes, dulcimers, banhus—anything acoustic that needs to be louder. The new Strawberry Blonde II stays faithful to the popular features and tone of the original while adding some new updated features: a tuning mute switch, a ¼” balanced input and an upgraded power amp for more headroom and efficiency.

This is a hardcore and rugged acoustic amp more suited to band situations for those who prefer a single pickup approach to acoustic playing rather than those who enjoy using microphones.

Fender Acoustasonic 2

Fender’s new Acoustasonic SFX II amplifier is the perfect “all-in-one” instrument/vocal amp for clubs, churches, the coffeehouse, or simply losing yourself in shimmering stereo sound in the privacy of your own home!

This dual 80-watt combo houses an 8” low-frequency driver, high-frequency tweeter and side-radiating 6” speaker to maximize our exclusive Stereo Field Expansion (SFX) technology for whole-room, more-than-stereo imagery.

Two separate instrument and microphone channels have individual EQ, feedback notch, and DSP select and level controls. Our patented String Dynamics™ control tames harsh treble notes. DSP effects include reverb, delay, chorus, vibratone and more, all optimized especially for acoustic performers. XLR line-out with level control and ground lift allows perfect direct input to any mixer, and auxiliary RCA inputs with level control make it easy to add a drum machine or CD player accompaniment.

Its a heavy unit so get yourself a roadie with your spare cash – Richie Blackmore is using one of these.

Peavey

The Ecoustic 110 EFX has been designed to get the most out of electrical instruments that have delicate tonal ranges and special nuances that may not be heard through standard amps. Whether you play acoustic guitar, violin, or harmonica, this amp is the answer for those hard-to-EQ acoustic instruments. It also works great for vocals. The Ecoustic uses special buffers, EQ and feedback controls to capture the true essence of acoustic sound.

L R  Baggs

Baggs are reknowned for their acoustic guitar pickups so their entry into the amp marketplace should come as no surprise. Chris Martin of Coldplay uses an M1 pickup.

If you`ve got money then have alook at the LR Baggs Acoustic Reference Amplifier, a product of three years’ intensive development, blends cutting edge loudspeaker design, analog and digital circuit technology and industrial design to redefine the way that acoustic guitar and vocals should be amplified.

At the heart of the amplifier is a patented Balanced Mode Radiator. The BMR is a new type of loudspeaker that has its world debut in the Acoustic Reference Amplifier. It creates and radiates sound in a fundamentally different and better way. This groundbreaking innovation is the brainchild of the eminent speaker designer Dr. Graham Bank and was specifically adapted for acoustic guitar in collaboration with our engineers.

Well, That`s all folks,
Cheers…

Jake Edwards