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Cort Guitars Unveils 20th Anniversary Artisan Bass

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PRESS RELEASE:  Cort Guitars unveiled today their 20th Anniversary Artisan bass guitars.  Each model will be available in limited quantities, built with the finest materials and adorned with the 20th Anniversary logo on the electronics cover plate.

The Artisan A- Custom 20th is available in four and five strings models (A4 and A5 respectively) and has a bird’s eye maple top and back body.  The 34” scale, nine piece neck is a thru body design made of bubinga, maple and African wenge for aesthetics, durability and tone topped with an Indian rosewood fingerboard.  The electronics consist of Bartolini Custom MK4CBC pickups and HR5.4AP preamp featuring a master volume (active/passive), a blend control, a three band EQ and mid frequency switch.  The gold Hipshot Ultralight tuners and Hipshot TransTone bridge allow for tuning stability and accuracy under any kind of playing conditions. A-Custom 20th is provided with Cort Deluxe Hardcase.

The Artisan B 20th is also available in four and five strings models (B4 and B5 respectively) with a swamp ash body. The B 20th is available in a black and white grain gloss & natural grain gloss and are built with five piece, bolt on necks made of 5pc African wenge and rosewood with African wenge fingerboards.  All B Series models come with Bartolini MK-1 pickups and preamp featuring a master volume, a blend control, a three band EQ and an EQ on/off switch.  The B Series models are competed with black Hipshot Ultralight tuners.

MSRP for the Artisan B4 20th is $799.00 USD
MSRP for the Artisan B5 20th is $850.00 USD

 For more information, please visit Cort Guitars online at www.cortguitars.com

About Cort Guitars
For over 50 years, Cort has built the finest guitars and basses, representing quality and value that is unparalleled in our industry.  Our mission is to exceed our customers’ expectations by utilizing cutting edge designs, hand selected materials and state of the art technology.  Each Cort employee approaches his or her job with a sense of pride allowing us to work as one extended family working towards one common goal: to endeavor to bring customers the finest quality instruments possible.   www.cortguitars.com

Oktober Guitars Announces Release of Prophet Model Electric Guitar

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Oktober Guitars today announces the release of the new Prophet guitar.  Both the Prophet (White) and False Prophet (Black) models are built for aggressive tones, playing and appearance to deliver a message loud and clear. This latest addition to the production line is now available worldwide and can be ordered directly from the Oktober Guitars website. 

The Prophets are constructed of a mahogany body and set in neck with a string through body, TOM style bridge and graphite nut to allow players complete flexibility to play in either standard of dropped tunings.  The neck has a 24 fret, 24 ¾ inch scale, bound, ebony fretboard without any inlay.  Players can dial in a wide assortment of tones through the pair of Blockhead humbuckers, single volume and single tone control knobs and a three way pickup selector switch.  Each guitar ships with a form fitted case and receives a complete professional set up in the Maryland factory before delivery.  The Prophet is only available in white (Prophet) or black (False Prophet).

Standard Options Include:
• Bound mahogany neck
• Mahogany body
• Set neck construction
• Premium ebony fretboard with no inlay
• 24 fret neck
• 24 ¾ inch scale
• String-thru body with TOM style bridge
• Graphite nut
• Oktober Blockhead pickups
• Form-fitting Oktober hard shell case
• Prophet in pearl white finish, False Prophet in pearl black finish

Factory Direct: $579.00 USD
List price: $1447.00 USD

For more information please visit www.oktoberguitars.com

About Oktober Guitars
For over 23 years, Oktober Guitars has been building quality, custom hand crafted instruments. A company started for musicians by musicians, Oktober Guitars is on the cutting edge of today’s market. Starting as a custom builder, founder and head luthier Tony Leicht wanted to also offer Oktober’s customers an affordable option to a custom instrument, without sacrificing quality or craftsmanship.  The result is a reasonably priced import line crafted to the same specifications as Oktober’s custom made instruments. www.oktoberguitars.com.

Source: Press Relese

Fender Jaguar Celebrates 50th Anniversary

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Press Release:  The Fender Jaguar electric guitar is 50 years old now. Unveiled in 1962, it was the last of the guitar maker’s four most famous electric guitars to be introduced, and, as it turned out, the last major six-string creation of the enigmatic genius whose name adorned it. And while it might not be as omnipresent as its big-brother electric guitars of the 1950s, the Telecaster and the Stratocaster, and its closest ancestor, 1958’s Jazzmaster guitar, make no mistake: The Jaguar is a survivor with a great history, and you have heard it.

   
Fender Jaguar Ad from 1962

From the Beach Boys and Jimi Hendrix in the ’60s all the way to Nirvana, the Red Hot Chili Peppers and the Smashing Pumpkins in the modern era, the sleekly chromed-out Jaguar has blazed its own unexpectedly successful trail through the history of rock music. Like some kind of “little guitar that could,” it has surprised nearly everyone by continually finding its own distinctive place with each successive generation of guitarists, from harmlessly sparkling old-school pop to subversive alt-indie cool and beyond.

“One of the reasons I really like Jaguars is they’re a little restrictive for me to play, and that’s a good thing,” said Johnny Marr, noted guitarist for the Smiths, Modest Mouse and the Pretenders to name only a few. “I have to work within the limitations of the guitar. So it gives me a really strong direction. I can’t get too ‘blues rock’ on it, as it’s too feminine to play power chords on it.”

Alone among Fender’s four main electric guitars, the Jaguar was a child of the 1960s rather than the 1950s. When it was introduced in 1962, the Jaguar was intended by its creator, Leo Fender, as his company’s top-of-the-line model. But things haven’t always been easy for Leo Fender’s cool cat. Extinction has threatened the Jaguar on several occasions over the past half century. In the end, though, there’s just no keeping a great guitar down.

Here in its 50th anniversary year, the Fender Jaguar is back in style and looking way hotter than any 50-year-old has a right to. The Jag’s rock ‘n’ roll cred is equaled only by its irresistible retro-chic allure. This distinctive instrument’s anniversary comes at a time when popular culture has fallen in love with the Mad Men era–the early-’60s glory days of crisply tailored suits, extra-dry martinis and sleek European sports cars.

Very much a product of that same zeitgeist, the Fender Jaguar in fact takes its name from the undisputed apotheosis of Euro automotive design. The Jaguar E-Type was introduced in 1961 and was immediately praised as “the most beautiful car ever made” by none other than Enzo Ferrari. Fender’s Jaguar made its debut the very next year. It is one of the last instruments that Leo designed for Fender before selling the company to CBS in the mid ’60s.

Introduced at a retail price of $375.50–about 25 bucks more than the Jazzmaster, which was Fender’s next-most-expensive guitar–the Jaguar was featured in an ad that hailed it as “the ultimate in design and precision.” A stylish black-and-white photo paired Fender’s new top-of-the-line beauty with its automotive namesake. The ad was the handiwork of real life “Mad Man” Robert Perine, who created Fender’s youthfully eye-catching late-’50s/early-’60s ad campaigns.

Fender’s big plans for the Jaguar may have paid off right from the start had it not been for a momentous event that changed the course of musical history. The 1963-’64 ascendancy of the Beatles and the advent of the British Invasion touched off a mad clamor for guitars made by Gretsch(R) and Rickenbacker(R), the two main brands played by the Beatles and their Brit brethren.

For the most part, though, the Jaguar remained something of a cult guitar in the ’60s and ’70s, as the Gretsches and Rickenbackers of the British Invasion gave way to the Stratocaster, Telecaster and Les Paul guitars of psychedelia, blues rock, glam and metal. Consequently, Fender dropped the Jaguar from its line in 1975.

But it was soon to be revived in a dramatic way. The punk rock revolution of 1976-’77 brought a radical new aesthetic to electric guitar playing. Nascent punk guitarists looked for instruments that were cheap and free of the taint of old-school rock. Pawnshop Jaguar and Jazzmaster guitars fit the bill perfectly. Leo’s two uptown girls became the new queens of the downtown scene.

Favored by guitarists in punk and post-punk acts including Sonic Youth, My Bloody Valentine and assorted others, the Jaguar rode a new wave of popularity. And that wave crested when the Jaguar was adopted by the most famous figure in recent rock, Nirvana’s Kurt Cobain, whose emotionally charged shifts from crystalline introspection to full-distortion mayhem propelled the trio to the forefront and put grunge on the map. What Jimi Hendrix was to the Stratocaster, Kurt Cobain was to the Jaguar. He inspired legions of players to pick up a Jag.


Kurt Cobain photo courtesy Charles Peterson, (c) 1992

The honor roll of modern rock guitarists who have played Jaguar guitars also includes Frank Black (Pixies), Wayne Coyne (Flaming Lips), Graham Coxon (Blur) and a great many others.

The Jaguar returned to Fender’s product line by the mid 1980s and has been going strong ever since. Cobain and Marr have been honored with their own signature model Jaguar guitars, and guitarists can now choose from a full line of beautifully appointed Jaguar guitars with a wide range of features and prices. Meanwhile, the market for vintage Jaguar guitars continues to thrive.


Johnny Marr With Signature Jaguar. Photo Courtesy Carl Lyttle.

“I think they’re absolutely beautiful,” said Marr. “I love all the chrome. I love the shape of it; this kind of early-’60s idea of ‘space age’ paired with a classic sort of ‘Fender’ thing.”

So raise a martini glass to the Jaguar and its 50-year sojourn in our midst–a guitar with style, an impeccable pedigree and a fascinating history.

About Fender Musical Instruments Corporation

Fender Musical Instruments Corporation (FMIC) is a leading, global musical instruments company whose comprehensive portfolio of brands includes Fender(R), Squier(R), Guild(R), Tacoma(R), Gretsch(R), Jackson(R), Charvel(R), EVH(R), SWR(R) and Groove Tubes(R), among others. Fender(R) instruments include the Telecaster(R), Stratocaster(R), Precision Bass(R) and Jazz Bass(R) guitars. For more information, visit www.fender.com.

In 2007, FMIC acquired KMC Music, one of the largest independent U.S.

distributors of musical instruments and accessories. In 2011, KMC Music and Musicorp united their sales and catalog divisions as KMCMusicorp, creating a leading wholesaler of musical instruments, accessories and lighting equipment. KMCMusicorp produces and/or distributes Ovation(R),Takamine(R) and Hamer(R) guitars; Latin Percussion(R), Gretsch(R) Drums, Gibraltar(R) Hardware, Toca(R) Percussion, Sabian(R) cymbals and Genz Benz(R) amplifiers and more. For more information, visit www.kmcmusicorp.com.

Press Release
Cover Photo:  Fender 50th Anniversary Jaguar

Never Lose Another Pick with PicStix

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Affixit today announces the release of their new product, PicStix.  PicStix is an adhesive gel strip designed exclusively to hold guitar picks in place anywhere on your guitar, amplifier, or other surface.  Unveiled at the Summer NAMM Show and winning “Best in Show” by Music Inc. magazine, PicStix is available now directly online and is currently looking to establish retailers and distributors worldwide.

PicStix Instructions

 

 

Two of the most challenging things, while playing guitar, is finding and keeping your pick.  For years, guitar players have tried many techniques; including duct tape, clear tape, glue and double-sided tape.  All creating problems in destroying the guitar finish, destroying the pick, leaving behind sticky residue, and collecting dirt.  PicStix solves all those problems.

Each package contains two PicStix.  Each one is a double sided, 3 inches long, adhesive gel strip.  Players can place it anywhere they want their picks to be.  The gel strip is removable, reusable and leaves no residue.  If it should get dirty; the player can rinse with water, gently rub, dry and reuse.  Applying PicStix is easy.  Remove one of the blue liners and apply the strip to any clean surface.  Once applied, remove the second blue liner and press the guitar pick tip onto the gel strip.  PicStix holds all shapes, material, and sizes.

MSRP $5.49 for a 2-Pack

 

 

 

For more information, please visit www.picstix.com or call 800-764-9017

About Affixit LLC
Founded in 2008 by real estate broker turned entrepreneur Rick Johnson, Affixit LLC has become a leader in the innovative applications of adhesive gels.  The company’s first product, KlipNotes launched with tremendous success and is now sold worldwide.  Their second product, PicStix was unveiled at the National Association of Music Merchants Summer trade show in Nashville taking home the coveted “Best In Show” award by Music Inc. magazine.

Source: Press Release

Create & Innovate: Dreams to Realities Author’s Point of View of the Grammy Museum’s Music Revolution Project 2012

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It’s hard to summarize an entire life experience into one page onto the internet but I wanted to briefly share with you what I experienced, as it was a musical one. The Grammy Museum Music Revolution Project may not be a program you’ve heard of yet, but it did make a lot of noise in the musical world and in the minds and hearts of 24 young musicians from the Kansas City metropolitan area. A musical education and experience of its own kind.  The next revolution of innovative, talented musicians that had the opportunity to be a part of the crazy, fun, interesting and amazing 19 days that they were.

Taken through the best kind of whirlwind of a music education experience, the selected 24, including myself, came from all different types of musical backgrounds, experience and genres, all from the KC metropolitan area, in the high school and college age group. The basic program outline went a bit like this….

We studied the music genres of the blues, hip-hop and country and the last week mixed everything in. Bob Santelli, the GM director, gave us insightful and bold lectures almost every day and at the end of the program, we sat down and had one-on-one evaluations with him, which to me, was incredibly eye opening and positive. Each week we were assigned into songwriting groups to where we had several days to write a song or two based on the music genre we were focused on that week (and also were able to use the iPad 3 with Garageband and Roland headphones we were all provided). We also had several guests per week (the artists, producers, writers that came to the program) to evaluate our songs and hold a Q&A and discussion among us.

We also had the great experience of going to the Sprint Center to see Def Leppard live after we watched their sound check and had a Q&A with guitarist, Phil Collen. The group performed some of the original songs we had been writing live at Chez Elle on First Fridays in downtown Kansas City, and we were able to have a private tour of the Sprint Center after we met and discussed music with legendary producer Jimmy Jam.

The last week of the program we recorded over a dozen of our original songs we wrote throughout the project at Element Recording Studios and had our final live group performances at the beautiful Kauffman Center for the Performing Arts in downtown Kansas City, MO.

In total inspiration mode while participating in the program, I was so grateful to have had the opportunity to work with, listen to and gained the insight I did from some of the industry’s best; even some Grammy nominated/winning artists, producers, songwriters and others working in the industry including Claude Kelly, Nils Gums, Ashley Davis, MC Lyte, Keb Mo, Jimmy Jam, Ryan Whalley, Shane Eli, Phil Collen, Billy Branch, Andy Gibson and of course Bob Santelli, Kait Stuebner, Jerry Buszek from the Grammy Museum, Sharon Kwon, Chez Elle, all at the Kauffman Center and Brenda Tinnen and all at the Sprint Center/AEG team.

Quotes and excerpts from several of the Grammy Museum staff and the Grammy award nominated or winning artists, producers and songwriters that visited us that I wanted to share:

“Hits are like miracles…they just fall outta heaven.” – Andy Gibson, Curb Records country recording artist, songwriter of the Grammy nominated Jason Aldean and Kelly Clarkson’s duet “Don’t You Wanna Stay?”

“(As a developing artist, you have to be) daring to say (and do) what other’s won’t.” – Nils Gums, CEO/President of The Complex Group and manager for successful YouTube sensations/Epic recording duo Karmin

“You’re only as good as what you’re doing today.” – Bob Santelli, Executive Director of the Grammy Museum

“A big part of songwriting is having no fear.” – Claude Kelly, Grammy nominated Songwriter/Producer, writer/producer for artists such as Bruno Mars, Kelly Clarkson, Christina Aguilera

“Open the door to get in the room.” – Bob Santelli, Executive Director of the Grammy Museum

Granted, there is most definitely no other program like the Grammy Museum Music Revolution Project out there, but as a musician, you need to put yourself out there to be in educational programs and get out to trade shows, conferences, songwriting events to network and open yourself up to more opportunities. I’ve had the opportunity to attend and perform at conferences such as ASCAP’s “I Create Music” Expo, Winter NAMM and would suggest saving up the money, being prepared and ready to network and learn when you go. Look into conferences/conventions such as:

Summer and Winter NAMM
ASCAP’s “I Create Music” Expo
SXSW
MIDEM
CMJ
Billboard & The Hollywood Reporter Film & TV Music Conference
New Music Seminar
BMI, SESAC and ASCAP Songwriting and Performance workshops of various sorts
Musician Institute’s Summer Shot Program
Grammy Camp

Also, I would like to share some great things I learned from the program:

–          Taking smart steps but taking risks

–          The art of songwriting (deconstructing songs, the art of working in a group)

–          Taking pieces from the past and other genres for the new music being created in the next music revolution

–          Always being prepared, always trust your gut, don’t let time pass you by

–          Always expand your musical vocabulary

–          Finding ancreative environment where opportunities will present themselves

–          To creatively be a bit off the edge, the fringe

–          The importance of growth through music education, experiences

The Grammy Museum Music Revolution Project’s pilot program here in Kansas City, MO at The Kauffman Center for the Performing Arts and Sprint Center was unlike any other music education and experience out there, and I am so thankful and thrilled to say that I was a part of the 24 students chosen by the Grammy Museum to be in the program. It was a once in a lifetime music and life experience I will have always and learned so much from and will never forget.

Maybe one day I’ll be able to say that on the Staples Center stage with a Grammy award in hand…You never know!

By Daisy Rock sponsored artist Jillian Riscoe of pop band Red Velvet Crush

July 2012 (C)