Posts tagged ‘Soundcloud’

20/08/2019

ESP Edwards EX-125D: Now on SoundCloud

A short demo of an Edwards EX-125D (Japanese Explorer-style guitar with active Seymour Duncan pickups).

Guitar tracks recorded using a Bluetone Shadows Jr valve combo, a 1990s Ibanez wah-wah, a Mad Professor Simble Overdrive pedal, and a Shure SM57.

19/08/2019

ESP Edwards SA-160LTS: Now on SoundCloud

A short demo song featuring the Edwards SA-160LTS (Japanese ES-335-style guitar made with a body from carved solid maple).

All guitar tracks recorded using a Bluetone Shadows Jr valve combo, a Mad Professor Simble Overdrive pedal, and a Shure SM57 microphone.

23/07/2019

Nyt Rockway-blogissa: kolme edullista SG-kitaraa

Löydät SG-kitaroiden testin TÄÄLTÄ.

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18/06/2019

Tulossa Rockway-blogiin: kolme edullista SG-kitaraa

Rockway-blogissa kesäkuussa 2019 kolme SG:tä testissä.

• Demobiisinä coverversio Freen klassikosta ”All Right Now”.

• Demobiisissä kaksi kitaraa – Hamer USA Studio Custom (vasen kanava) ja testikitara (oikea kanava).

• Vahvistin: Blackstar HT-1R

Katsauksessa ovat mukana:

Epiphone G-400 Pro (446 €)

Green Guitars SG (369 €)

Vintage Icon VS6MRCR (395 €)

11/06/2019

Testipenkissä: Tokai TST-50 Relic

Tällä kertaa Kitarablogilla oli ilo tutustua upouuteen erikoiserään, joka tehdään Tokain japanilaisesta TST-50 Stratokopiosta. Erikoismallin nimi on TST-50 Relic (1.699 €; topattu pussi kuuluu hintaan), ja kitara on saatavilla kahdella mikrofonivaihtoehdolla – ostaja voi valita Seymour Duncanin SSL-1- ja SSL-3-setin välillä.

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Monen kitaristin mielestä TST-50 on yksi maailman parhaimmista Stratokopiosta, ja vanhoille japanilaisille Tokaille on jopa omat vintage-markkinat.

Uusi Tokai TST-50 Relic vie nyt asiat vielä pidemmälle tarjoamalla soittimia, joilla on kevyesti ”vanhennetut” metalliosat, hieman naarmuuntunut pleksi (ja mikkikuoret), sekä viimeistely aidolla nitrolakalla.

Tämän Relic-mallin perusajatus ei ole tarjota raskaasti keinovanhennettua kitaraa, vaan tässä haetaan sitä ”closet classic” -mojoa. Tokai TST-50 Relic on kuin vuonna 1961 uutena ostettu Strato, jota on soitettu vuosi tai kaksi kotioloissa, ja joka on sitten työnnetty sängyn alle ja unohdettu.

Erikoiserä on saatavilla ainoastaan Sonic Bluessa.

TST-50 Relic:n perusainekset ovat leppärunko, ruuvattu vaahterakaula, sekä ruusupuinen otelauta.

Otelaudassa on vintage-tyylinen radius (7,25 tuumaa) ja se tarjoaa 21 medium-jumbo-kokoista nauhaa (Dunlop 6130). Kaularaudan säätöruuvi löytyy kaulaliitoksen luona.

Erinomaiset Gotoh-virittimet näyttävät hieman kuluneilta, mutta ne eivät ole läheskään niin likaiset (tai jopa ruostuneet) kuin joissakin rajummissa relic-kitaroissa.

Sama pätee myös erikoisvalmisteiselle Gotoh-vibratallalle.

Tokai Guitars Nordic tarjoaa Tokai TST-50 Relic -mallia kahtena versiona:

SSL-1-versiossa löytyy luonnollisesti yksi setti Seymour Duncan SSL-1 -mikrofoneja, jotka ovat firman uudelleenpainos Fenderin alkuperäisistä myöhäisen 50-luvun ja varhaisen 60-luvun Stratomikeistä. Näissä mikrofoneissa on siis erikorkuisia Alnico V -magneetteja, joilla on pyöristetyt yläreunat. Keskimikki on käämitty vastasuuntaan mikä tarkoittaa, että väliasennoissa ulkopuoliset häiriöt katoavat. Tallamikki taas on teholtaan muita mikrofoneja hieman kuumempi.

SSL-3-setti on Seymour Duncanin Hot Strat -versio, jossa on vintagea pidemmät, samankokoiset Alnico V -magneetit, käännetty keskimikki, sekä hieman kuumempi tallamikki.

Jostain syystä testiin saapuneessa SSL-3-versiossa on kiiltävät säätöruuvit, kun taas SSL-1:llä varustetussa Tokai TST-50 Relic:ssä säätöruuvit ovat pikkasen ruosteiset, mikä sopii paremmin mallin yleisilmeeseen.

Säätimet toimivat perinteisellä tavalla – master volume, kaksi tonea (kaula- ja keskimikille), sekä viisiasentoinen mikrofonikytkin.

Tokai TST-50 Relic:n hintaan kuuluu laadukas pussi erillisellä sisäpussilla.

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Minulla on hyvä vanha ystävä, joka omistaa aidon vuoden 1964 Stratocasterin (sekin on viimeistelty sonic blue -värityksellä). Olen itse saanut soittaa kyseisellä kitaralla useampaan otteeseen ja täytyy sanoa, että Tokain kopio samasta aiheesta on erinomaisen onnistunut.

Jotkut Relic-version ominaisuuksista vaikuttavat pikkuseikoilta, mutta tällaisessa closet classic -tyylisessä soittimessa ne ovat erityisen tärkeitä. Hyvä esimerkki tästä on testikitaroiden lakkaus:

Kaulan puu on jätetty kolhuttomaksi, mutta silti kaula tuntuu vanhalta, mikä johtuu ohuesta, puolihimmeästä nitrolakasta. Relicin runko taas on kiiltävä, mutta puun syyt näkee ja tuntuu hyvin pidetyn vanhan soittimen tavoin. Minusta on vain hyvä, että Tokai ei ole lisännyt TST-50 Relic -malleihin keinotekoisia painaumia ja naarmuja. Nämä kitarat tulevat varmasti saamaan aitoja jälkiä soittamisen kautta.

Tokain kaulaprofiili on täydellinen uudelleenpainos varhaisen 1960-luvun Stratokaulasta – se on erittäin mukava, hieman ovaali C. Molemmat testikitarat ovat kevyitä.

Työnjälki, säädöt, sekä soitettavuus ovat molemmissa versioissa ensiluokkaista.

SSL-1-version soundissa on aitoa vintage-mojoa. Kitara on erittäin dynaaminen, ja ääni on kuivahko maiskuttavalla atakilla ja aimolla annoksella purevuutta:

SSL-3-version signaalitaso ei ole silmiinpistävästi kuumempi kuin SSL-1-kitarassa. Mikkisetin Hot Strat -nimitys tulee pitkälti mikkien voimakkaalta keskialueelta. Tämä on paksumpi ja lihaksikkaampi näkemys Straton soundista:

Käytin demobiisissä molempia TST-50 Relic -versioita. Klippi perustuu Beatles-klassikkobiisin ”And Your Bird Can Sing” kuuluisaan kitarasooloon, jota John Lennon ja George Harrison soittivat kahdella sonic blue -värisellä Fender Stratocasterilla. Vahvistimena toimi Bluetone Shadows Jr. -kombo ja sen eteen oli laitettu Shure SM57 -mikrofoni:

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Tokai TST-50 Relic on erinomainen uudelleenpainos 1960-luvun klassikkokitarasta. Kitarassa on aito vintagekitaran tuntuma, ilman että kaulaan tai runkoon olisi lisätty keinotekoisesti naarmuja. TST-50 Reliciltä saa rutkasti vanhan sähkökitaran lumoa, ilman aidon vintagesoittimen suurta hintalappua. Lisäbonuksena uuden Tokain kanssa ei tule sitä pelkoa, että kyseessä olisi hujaus tai eri kitaroista ja osista kasattu ”Palacaster”, joka on myyty arvosoittimena.

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Tokai Japan TST-50 Relic SSL-1 & SSL-3

1.699 € (topattu pussi kuuluu hintaan)

Lisätiedot: Musamaailma

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Plussat:

+ työnjälki

+ aito nitrolakka

+ soitettavuus

+ kaksi eri mikkiversiota tarjolla

+ soundi

Miinukset:

– vain yksi värivaihtoehtoSave

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05/06/2019

Review: Tokai TST-50 Relic

This time Kitarablogi.com had the pleasure to receive a special run model of Tokai’s Japanese TST-50 Strat-style guitar for testing. The special model in question is called the TST-50 Relic (1,699 €; includes gig bag), and the guitar is available with two different Seymour Duncan pickup sets – either loaded with SSL-1s or a set of SSL-3s.

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For many guitar fans the model designation TST-50 is synonymous with ”one of the finest Strat-copies in the world”, and there is a considerable market for vintage Tokais.

The Tokai TST-50 Relic takes things even further by offering instruments with lightly aged hardware, slightly scratched pickguard and pickup covers, as well as a genuine nitro lacquer finish.

The basic idea is not to offer a beaten up, abused electric guitar; Tokai is going for the look that wet dream of many guitar collectors – the vintage Strat, bought new in 1961, played for a little while, and then forgotten beneath the bed or in a closet.

Currently the TST-50 Relic is only available in Sonic Blue (just like John’s and George’s Strats).

The basic ingredients of the TST-50 Relic are an alder body and a maple neck with a rosewood fingerboard.

The ’board has a vintage radius (7.25″) and comes with 21 medium-jumbo frets (Dunlop 6130). Truss rod adjustment is at the neck’s body end.

The excellent Gotoh machine heads are deliberately, but lightly tarnished, but devoid of any over-the-top filth or rust.

The same goes for the custom-made Gotoh vintage vibrato bridge.

Tokai Guitars Nordic offers the Tokai TST-50 Relic in two versions:

The SSL-1 version comes loaded with a set of Seymour Duncan SSL-1 pickups, which is the company’s recreation of a late-50s/early-60s set of Fender Stratocaster single-coils. This means we find staggered height Alnico V magnets with bevelled top edges, a reverse-wound/reverse-polarity middle unit for hum-cancelling in the in-between settings, and a slightly overwound bridge pickup.

The SSL-3 set is Seymour Duncan’s ”Hot Strat” set that offers taller-than-vintage Alnico V magnets with level tops, a RW/RP middle pickup and a slightly hotter bridge unit.

For some strange reason the SSL-3 equipped Tokai comes with shiny, modern-type height adjustment screws, while the SSL-1 TST-50 Relic sports slightly rusty vintage-style screws.

The control setup is what you’d expect in an instrument like this, offering a master volume knob, two tone controls, and a five-way pickup switch.

Tokai’s TST-50 Relic comes with its own well-padded gig bag and a protective inner shroud.

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A good friend of mine owns a genuine 1964 Fender Stratocaster – which, funnily enough, is finished in Sonic Blue – which I’ve had the pleasure to play on a number of occasions, and I must say that Tokai are hitting all the right marks with their ”family heirloom” style Relic-version.

Many of these features are subtle, yet make all the difference in the world. Take the lacquer finish, for example:

On the neck the finish has an immaculate played-in feel, halfway between a gloss and a matte finish. The body is glossy, but it has that sunken in look of an old guitar, instead of the completely flat finish you’d normally expect on a brand-new instrument. The Tokai TST-50 Relic’s thin finish invites you to play the guitar and add some genuine battle scars of your own, instead of fake relicing out of the box.

The neck profile is a dead ringer for an early-60s Strat – a charming, slightly oval C. Both TST-50 Relics are comfortably lightweight.

The workmanship, setup, and playability of both versions proved top notch.

The SSL-1 version gives you a faithful recreation of a vintage Strat’s sound. The guitar sounds very dynamic and dry, while offering ample cluck and bite:

The SSL-3 version isn’t that much louder than its SSL-1 counterpart. Its Hot Strat-tag comes from the forceful mid-range it provides. This is a fatter and bigger take on the familiar Strat-theme:

The demo song features both versions of the TST-50 Relic. The clip is based on the classic Beatles track ”And Your Bird Can Sing” and it was recorded with a Bluetone Shadows Jr. combo and a Shure SM57:

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The Tokai TST-50 Relic gives you plenty of that vintage-style Strat-vibe, without resorting to any embarrassing fake dings and scratches. The TST-50 Relic feels and sounds very much like a 60-years old instrument, but comes with a far friendlier price tag. And you won’t have to worry that you might have spent all your money on a fake or a bitser.

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Tokai Japan TST-50 Relic SSL-1 & SSL-3

1,699 € (including gig bag)

Finnish distributor: Musamaailma

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Pros:

+ workmanship

+ genuine lacquer finish

+ playability

+ two pickup options

+ sound

Cons:

– only available in Sonic BlueSave

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29/05/2019

Working on a review +++ Tulossa pian +++ Tokai TST-50 Relic

Contact: Musamaailma

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21/05/2019

Nyt Rockway-blogissa: Viiden edullisten T-tyylisten kitaroiden katsaus

Rockway-juttu löytyy TÄSTÄ.

13/05/2019

Edulliset T-tyyliset sähkökitarat tulossa Rockway-blogiin

• Vahvistin – Bluetone Shadows Jr.

• Mikrofoni – Shure SM57

• Klipit alkavat aina kaulamikrofonilla.

08/04/2019

Review: Harjunpää Violinbirch A 011 + Vikingman A 025

To my knowledge there is currently only one boutique maker in Finland concentrating solely on electric basses – Harjunpää Bass from the small southern town of Nurmijärvi.

Harjunpää Bass is a special case among its peers, because bass builder Jouko Harjunpää isn’t a young luthier schooled at IKATA Institute, but a middle-aged entrepreneur and bassist, who is now fulfilling a lifelong ambition. His drive comes from his love of the instrument, of Finnish wood and of creating something beautiful by hand. Harjunpää’s idiosyncratic instruments are the results of an ongoing development and refinement process, and they can be enjoyed both as musical instruments and works of art.

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This review could have just as well been titled “The Sound of Birch”, because Jouko Harjunpää is a great fan of the different species and variants of Finnish birch wood. Both instruments tested – the blonde Violinbirch, as well as the dark Vikingman – have been made completely from birch, with the exception of their wenge top nuts.

The Violinbirch has been crafted in its entirety from curly birch, while the Vikingman sports a plain birch neck with a curly birch fretboard, mated to body made from birch burl and flamed birch.

As we’re talking about a one-man business, where instruments are made by hand, output is naturally limited. Jouko Harjunpää doesn’t like to apply the term ”price” to the amount of money changing hands between maker and customer. In his view the term ”starting value” would be more appropriate. The customer pays for the starting value, and then each bass value will start its own life, just like in the field of fine arts. The starting values for these basses are 2,500 euros for the Violinbirch and 3,500 euros for the Vikingman.

By pure chance both of the Harjunpääs tested are medium scale instruments (32 inches/81.3 cm), which are not all that common these days. A medium scale bass usually tends to sound similar in clarity and sustain to a long scale instrument, but the string action will feel a little more bendy, which suits some virtuosos.

Both basses feature full two-octave fretboards with expertly finished jumbo frets (Jescar 2.0).

In addition to their breathtakingly beautiful woods, and their compact bodies, both Harjunpääs have been built with Jouko Harjunpää’s special bolt-on neck joint. The Tuning Fork -joint uses a tempered steel plate, roughly shaped like a flattened tuning fork, that has been sunk into the neck’s butt end as an anchor for the joint’s six bolts. According to the maker, this steel plate makes the vibrational transfer between the neck and the body much faster than in a traditional bolt-on or set neck joint. The results are a clear and fast attack, a long sustain, and excellent string-to-string separation.

The Vikingman’s headstock is Harjunpää’s older design, based on the shape of the neck joint’s ”tuning fork”. Recently Jouko Harjunpää has come up with a very elegant and practical open headstock, which has been used for the Violinbirch model.

The machine heads are semi-open Wilkinsons.

Both basses sport top quality ABM-type bridges with lock screws for each bridge saddle.

Artesound pickups have been installed on both Harjunpää instruments:

The Violinbirch comes equipped with a Music Man-style large humbucker. The controls are passive and comprise master volume and master tone.

The Vikingman offers a pair of soapbar humbuckers connected to an Artesound active preamp. In addition to a three-way toggle, there are controls for master volume, bass, middle and treble (cut and boost).

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The workmanship on both Harjunpää instruments is excellent, and most prominent in the fretwork, finishing and playing feel. These basses are made with the beauty of the woods and the overall design front and centre, which sometimes calls for unusual solutions. Take the Vikingman’s bridge as an example – due to the body’s arching the back of the bridge doesn’t lie flat on the body, but has to be shimmed. At first this may look a little strange, but it doesn’t seem to have any negative impacts on the strength of the installation or on the sound.

Both instruments balance nicely in your lap. The long body horn on the bass side makes strapped on balance outstanding. The Vikingman is a tad heavier than the Violinbirch, but still what I’d consider a light bass.

There are differences in the neck profile and the sound of each bass:

The Violinbirch sports a muscular, slightly flattish profile with a nut width of 43 mm.

Played acoustically the Violinbirch’s sound is all about clarity seasoned with a nice dose of mid-range gnarl.

Through an amp the Violinbirch comes across with a strong voice with plenty of attitude in the middle register.

The Vikingman’s neck profile could be described as chunkier version of a Jazz Bass neck. The neck is very round at its narrow nut (35 mm), but it gets wider and much flatter as you go up towards the body.

The Vikingman’s acoustic voice is very clear, too, but here the general character is rounder, and fuller in the lower mids.

Artesound’s preamp delivers a moderate output, which is good news for clean headroom. Despite its fuller acoustic tone, the Vikingman sounds a little clearer than the more aggressive Violinbirch. Thanks to the excellent preamp you can access a wide range of different sounds on this instrument.

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Here is the demo song in audio form:

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If your central object of desire is a heavy relic reissue of a Fender Jazz, chances are you won’t fancy on of Harjunpää Bass’ idiosyncratically beautiful instruments.

Based on this review I can say that Harjunpääs are top drawer, modern basses, which offer the perfect balance between bass chunk and top end clarity. In my opinion Harjunpää basses are great-sounding Finnish works of art.

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Harjunpää Bass Violinbirch & Vikingman

Violinbirch – starting value 2,500 €

Vikingman – staring value 3,500 €

Pros (both basses):

+ handmade in Finland

+ Finnish wood (except top nut)

+ workmanship

+ playability

+ soundSave

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