The Epiphone and Gibson companies were fierce rivals in the Thirties, constantly trying to outdo each other’s designs. But with the death of its dynamic leader, Epi Stathopoulo, in 1943, Epiphone’s reputation for quality and innovation began to slide. In 1957, the East Coast–based company finally threw in the towel and sold its bass line, and the right to manufacture under the Epiphone name, to Gibson.
I thought we could kill two birds with one stone if we focused on recalling our earliest musical influences. This way, I can give you a feeling of where I’m coming from and will encourage you to dig into your own early musical influences and possibly have a clearer idea of where your musical voice was first formed.
One aspect I’ve noticed many players overlook in their quest for “ultimate shred-dom” is the ability to control their instrument. I’m all about blazing through scales and sweeping like hell, but a gratuitous display of such can compromise the melodic development of a line. And when we’re programmed to simply run up and down patterns while taking a solo, our lack of control can get the better of us when we run into speed bumps (pun -- sort of intended).
Is anyone else annoyed when someone refers to how conservative the guitar market is? I am, since in the broader context this is just baloney. Also prompting this post is the comment, “Great, another Strat copy,” in response to a review I did on a Magneto Guitars Sonnet model.
With the death of Amy Winehouse on July 23, 2011, we lose not only a talented singer and songwriter, but an accomplished guitarist as well. While she is best known for her standout vocal performance, Winehouse could hold her own on guitar, preferring a Fender Strat.
Many of you may be under the impression that there aren’t a lot of female guitarists worthy of a mention on GuitarWorld.com. That is where you are DEAD WRONG! In fact, we have come across so many kickass players, across every genre and era, that we thought we’d give you a tasty tidbit of a few that stand out from the pack.