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picasso2 300x238 Manzer Pikasso Pat Methany

Okay, breathe deeply; when we’ve modified our guitars to the hilt will it then be time to modify our bodies?

“I’ve gotta gig this weekend, can I install a couple of extra sets of hands please Doc?” This Manzer custom build for Pat Methany features 42 strings…and yes Pat is still only using two normal hands of five digits only.

This remarkable guitar is known as the Pikasso guitar, after its likeness to the cubist paintings of twentieth century artist-genius-pioneer Pablo Picasso.

The Pikasso guitar was built for him by luthier Linda Manzer in 1984 and can be heard on his song “Into the Dream” and on the albums Quartet, Imaginary Day, Jim Hall & Pat Metheny, Trio Live, and Metheny Mehldau Quartet his 2007 second collaboration with pianist Brad Mehldau. The guitar can also be seen on the Speaking of Now Live and Imaginary Day DVDs. Pat Metheny has also used the guitar in various guest appearances on other artists’ albums and on the Legends of Jazz TV show, where he referred to it simply as a 42- string guitar.

The body is tapered so that the side closest to the player is thinner than the side that rests on the players knee, thus leaning the top back towards the player for a more aerial view. This is also more comfortable under the player’s arm.

The instrument is outfitted with a complete state of the art piezo pickup system including a hexaphonic pickup on the 6 string section that allowed Metheny to access his Syclavier computer system thus triggering any sound including sampled sounds.There are even two mounting holes on the treble side so that the guitar can be mounted on internal brass insets attaching to a stand, leaving hands free for playing or viewing.

There is some frequency of the guitars appearance in the early cubist works of one of the twentieth century’s greatest minds and artists Pablo Picasso.

Picasso first began to explore the instrument in the South East of France in Ceret, near Perpignan. The steady rhythm of the sardana Catalan dance served as the model for Picasso’s choice of geometric shapes and provide the defining characteristic of and backbone for his Cubist paintings. Cubism was invented around 1907 in Paris by Pablo Picasso and Georges Braque. There is a certain movement and expressive musicality in the omniscient cubist perspective.

Cubism had two distinct phases. The early phase which lasted until about 1912 was called Analytical Cubism. Here the artist analysed the subject from many different viewpoints and reconstructed it within a geometric framework, the overall effect of which was to create an image that evoked a sense of the subject. These fragmented images were unified by the use of a subdued and limited palette of colours.

With this structure in place, the Céret music’s freedom and energy gave Picasso a goal to achieve with his own art, and we witnessed Picasso’s progression as he incorporated these elements into his guitar paintings.

Cubism was born in France but emigrated across Europe and integrated with the artistic consciousness of several countries. It emerged as Futurism in Italy, Vorticism in England, Suprematism and Constructivism in Russia, and Expressionism in Germany. It also influenced several of the major design and architectural styles of the 20th century and prevails to this day as mode of expression in the language of art.

Well, That`s all folks,
Cheers…

Jake Edwards

Fresh!
Hello Jamorama people – today we`re going to look at some rather exceptional new developments in the world of string theory. If you`re a proponent of holographic consciousness, quantum gravity or the cosmological horizon you are on the wrong page unless of course your name is Jimi Hendrix and you are reading from the nearest black hole.

This is a guitar blog and today we`re going to have a look at the new ‘guitar’ from legendary electronics pioneer brand MOOG (pronounced MOGUE – like Vogue). It also allows me to touch very briefly upon the theory behind exactly how your pickups work, because MOOG have almost reinvented the instrument….

moog guitar 460 80 Moog guitars, magnetics and other mad craziness

Not a guitar synthesizer nor a MIDI guitar or an effects processor; players are “intimately connected to The Moog Guitar because it works its magic on the strings themselves”. The Moog guitar has several options that relate to the concept of  “sustain” although the guitar does this intelligently and in real-time by listening to and reacting in synch’  with each strings vibrations across time.  This Harmonic Control System allows you to play with infinite sustain everywhere, sustained single and polyphonic lines whilst muting those strings you aren’t playing, or, to blend these two modes in either pickup whilst changing the frequency of the filter. The harmonic blend is a way of favoring some harmonics over others in a note. It changes the color, the tone or timbre of the instrument. The Moog Guitar strings have a higher metallic content than most strings and is more responsive to the elector-magnetism than most other strings. If you listen to the video below you`ll gain some idea of what`s happening here:

How this actually works is through using magnetic pick ups to actually change the MOTION of the strings..allowing you to mix up muted banjo sounds with sustained notes as you can hear. WHY SO?

Well, a magnetic pickup consists of a permanent magnet such as a AlNiCo, wrapped with a coil of a few thousand turns of fine enameled copper wire. The vibration of the string modulates the magnetic flux linking the coil, thereby inducing an alternating current through the coil of wire. This signal is then carried to amplification or recording equipment via a cable.

Here though is a guy who just doesn’t need anything but an amp, a guitar, a wah and a fuzzface. Yes it`s Jimi Hendrix inventing time travel in 1970. No-one else has been there yet. Hendrix has already invented it all…SINGULARITY and groove. Click here for my recommended Hendrix starter kit.

Cheers,

Jake Edwards

In a recent post featuring Adrian Legg`s keith tuner fingerpicking genius I slyly and quietly suggested that Bill Frisell was definitely another idiosyncratic guitarist to look for in your listening research.

Bill has always been an exponent of an healthy array of effects – most notably delay, reverb, chorus and more rarely pitch shifters to create unique tones and sounds; a uniquity exaggerated by his jazz leanings combined with clean sustain and an emotionally oblique sense of  melody.

He does however ensure that his use of processing, or effects, don`t colour his sound in a way that might obscure the emotional intent or message and seems incapable of descending into gratuitous, meaningless affectation. Bill often sounds as if his notes are shards of ice slowly melting as they descend through warmer water and the overall impression is of a glacial and ambivalently jazz-blues fusion. It`s a novel approach to sound, feel and melody that conjures up a sense of constant ideation….like your distortion – sometimes it only counts when you turn it off. Use it in your own playing. If you`d like to achieve similar sounds consider adding a good old Fender twin reverb (or similar) to your set up, a delay pedal for broad stereo ambience, a touch of lexicon reverb and a little chorus effect.

Cheers,

Jake Edwards.

I`ve been lucky enough to spend an entire gig standing next to Jeff Beck, drink a few beers, chat awhile and ask him some questions about tremelo and the performances I`d seen at Hammersmith Odeon. I also saw him at The South Bank in London and he played with John McLaughlin and The White Stripes. It`s quite strange when you find yourself at a small local gig drinking beer with your favourite guitar player.

The future of the guitar – what is it?

Where is it?

We`re still using designs that are around 60 years old: Gibson Les Paul, Fender Stratocaster, Flying V, Explorers, Jaguar, Firebird etcetera. Commonalities include double or single cutaways, magnetic pickups, tone selectors, strings, tremelo arms, bridges, frets, tuning pegs.
All of the icons in the guitar world use guitars that adhere to these historic designs.

Gibson Les Paul Classic Future Guitar

Last week I had a play on a small bodied Playstation III Guitar Hero Les Paul style controller and the whammy bar was incredible. Nice and light, easy to get around – small horns & good upper neck accessibility. Because the whammy bar ins`t sprung and there are no string it was dead easy to gain the level of control exhibited by trem master Jeff Beck – check out his track “Where were you” for a superlative example. I`ve seen Jeff Beck live three times and he is on another (tremelo) level altogether.

About 20 years ago I had a cheap Marlin stratocaster but it had a smaller than usual stratocaster style body, and this made it immensely light and easier to play (and throw around). Is the future of the guitar in fretless, stringless neck design where the mere tactility of fingers across a surface or through a laser beam creates sound? At the moment we value and prize the skill and agility of fingers across strings and personally I can`t think of anything worse than simulated feedback, crisp digital homogenised sampling and fake plastic sound. Here are some examples of the real thing.

Praxis Beck

In terms of ergonomic usability guitar design is still in the dark ages some might argue. Johnny Winter uses an Erlewine Lazer, probably because it combines a hornless, headless, lightweight, slim highly accessible design with the basic core of traditional guitar design and construction – he gets all the right sounds with a new ergonomic design.

My old Les Paul weighs a f*****g ton, it looks beautiful and the sustain lasts forever but it makes your shoulder ache after half an hour. Changing the design materials obviously alters the sonic possibilities, range, feel and capability. We dont want to move too far away from what we`ve got…imperfection – again.

It`s the imperfection in the design of guitars that makes them so beautiful and awesome and capable as divining rod potentiometers for the range of human emotion.

If we clean up the circuitry, make them noiseless, digital, stringless, tactile surfaces then we`ll be taking the human aspect out of the instrument.

It would be a real shame to move away from strings, pickups and amps and the vast range of  possibilities this old fashioned and simple combination of objects provides. It`s about moving forwards into the future but in the right direction.