Category Archives: Ibanez RG

NAMM 2008

These are the pictures of things I found important.

Dick Dale playing a Blackbird carbon fiber guitar. He soon talked about the “Tsunami of Sound”. Impressive words.

Extreme metal from ESP’s Custom Shop.

More extreme metal.

A nice green on an ESP, an LTD, no less.

LTD continuing to impress me on looks. I have to say I was never an ESP fan, and except for the hundreds of businessmen ruining my panting in front of a guitar, they had one of the best sections.

ESP trying not to lose all their money on the short-lived Dave Mustaine Signature.

Carbon fiber mandolin. Really now?

The local newspaper had a picture of Kerry King and Marshall on the front…wow. Slayer on a newspaper front? Surprise…

I am a big fan of Charvel San Dimas without the Stratstyle headstock, but this looked pretty sweet.

Any of you who have watched Roland’s guitar gear videos has seen Johnny Demarco, the most over the top spokesman for any company ever.

True innovation, no exaggeration. This was the one thing that seriously caught my eye, and that’s what matters. The V-accordion. Very good player too.

Dream Lineup. Hughes and Kettner tone lines. Best amps i’ve ever played.

The long haired blond guy is Seymour Duncan.

Nice guitars. Very washburnesque with a little Carvin.

A BC rich your mother could love, and afford! Only like 600 for that thing.

Finally saw some Hagstroms. I wasn’t as impressed as i’d hoped, but still nice.

Oof. Warrior guitars. Thems is crazy. They are expensive, and would make you look infinitely cooler than a PRS.

Composite necks, anyone?

The bald-headed man with the space glasses is none other than Tony Levin!

Excuse me whilst I faint. John Petrucci Ernie Balls.

Ibanez Singlecut everyone! NEW!

Decent looking budget hollowbody Ibanez.

Odd looking Ibanez, but I liked it.

What you’ve all been (just me) waiting for, the new 24 Fret S-series Ibanez. It was one of the main reasons I went to the show, but that prestige neck just didn’t have the same electricity as my RG1570 had.

Those are pretty Wechters. Damn.

Finally saw some Zemaitis. 4000 dollars for metal work? Nope.

The reason this show is such a letdown. I’ve never heard about this before, but it’s the ridiculous factor. So many cheap pieces of shit overseas import companies. All making trashy knockoffs and pieces of junk. There were a LOT of them, and they had nice booths, were dressed impeccably, and made me want to smash them all.

The unique award!

I am going back tomorrow, and maybe I’ll get more pictures.

I met Thomas Nordegg. One of the, if not the most famous Tech guy ever. He will never remember, I will.

Also, I jammed with Dean Markley.

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Filed under Charvel, complaining, electric guitar, Ernie ball, Fender, guitar rant, guitar review, Guitar store, Ibanez, Ibanez Prestige, Ibanez RG, Jackson guitars, Made in Mexico, music, NAMM, NAMM 2008, San Dimas, story

Why did I start guitar?

It’s been awhile, and lucky me the end (sort of) of the hiatus/sabbatical/laziness comes to fruition in a self-serving post about what provoked me to play guitar and not quit. It’s just me writing about why I am not one of those kids with a poorly maintained no-name acoustic guitar in the corner with the same set of strings it had in the moving crate on the Hyundai Super Tanker on the way over from Korea.

As much of a veiled crack at guitar mass production as that may have been, it doesn’t change the fact that slave labor, awful wages and quality control indicative of Yugoslavian cars probably had a large effect on most of the guitarists in the last three decades. The reason many of us took to the instrument was because one of these easily available tree-destroyers was sitting around somewhere that we saw it, and instead of leaving it there, we just kept going back to it. In my case (technically, my Dad’s case – guitar case, that is) it was an Aria nylon string acoustic guitar my dad had under his bed. When I was really young somewhere in the range of monosyllabic numbers (Seven inched its way in) , after I figured out that one of the latches on the case had to move sideways to open the damned case, I would just sit there with it on my lap and hit the strings. The first instrument I’d ever owned was a drumset with paper heads on some of the drums, and stainless steel heads on others. It was basically something for me to move my arms against that didn’t consist of electrical wires or sharp corners. At the age of 2, I was just beating something to get out the aggression that developed from my parents not getting the correct brand of steamed carrots (I demanded carrots from non conflict countries. Sorry, Gerber-Libya) but in a fit of unadulterated preschool tricycle induced road rage, I broke the drumset. I was a mini Keith Moon (Half moon?) I dare say, but that still didn’t change the fact that I was, as a child, someone who was fond of percussive response.

So, back to the Aria Nylon string. I would remove it from the Pandora’s Box of a case and just lay it on my lap, hitting all of the strings with my hands. I was just happy getting some musical response from anything, despite having no connection to music with the exception of yelling at my sister playing her annoying radio on the oldies stations*. I was another radio kid listening to the pop stations; some of the first albums i’d ever owned were Hootie and the Blowfish, the Beastie Boys and Alanis Morisette. And even those were stretches.

Then came middle school. 7th grade requirement was to take a guitar class. The rules were simple, you only play the strings where you learned songs from. For instance, if we had only been taught Aura Lee or Yankee doodle on the high E string, we would lose our guitar privileges for playing any other strings. This is the quality of music instruction you get from a high strung (Had to do it…), anal retentive choir teacher who had no business teaching guitar. I didn’t particularly like the class, but most of it consisted of us sitting around learning some simple song for an hour while talking to our friends. I did well in the class because I had my dad’s Nylon string at home, and I could practice whatever I wanted, when I wanted (Back when I was a little overachiever, oh how times changed.) I was the kid people looked up to because I could play the first few notes of Walk this Way by Aerosmith, and to this day I still don’t even know the whole song. By the end of the class, we were still only allowed to play the G, B, and high E strings. I guess the teacher didn’t think wound strings were appropriate for innocent little middle schoolers, because that’s where power chords lie.

After that class was over summer came and I went to a summer camp. The summer camp had a guitar class in it, and I decided to take it. It was something easy to do, despite them having steel strings, something beginner guitarists usually avoid like the plague. The idea of pressing your fingers against things which are used to cut cheese and clay usually deterred most from touching the guitar. The thing was, I did pretty well in the “class.” Considering the teacher only knew Free Falling by Tom Petty, a three chord song consisting of the most basic of finger positions.

After I got home, I decided to take lessons at a music store. I’d been taking them for awhile when I had to take the same music class again. The first day, I still remember, we all got guitars and I started to play a Green Day song. The class was listening to me and the teacher yelled at me for playing other strings. I stopped and she pulled me outside and asked what I was doing. By then I was up to chords and some scales, so the teacher turned me into the TA for the class. Every day while most while sitting inside the class playing the second year songs consisting of most of the strings (They never played the low E string) I would sit outside in the sunshine of the lunch area with whatever guitar book my Guitar Teacher got for me, attempting to squelch out anything related to pop culture.

And thus brings me to the major factors in why I didn’t put the guitar down – it’s the reason I’m writing this. There are a few guitar related moments in my life which changed my outlook on music.

I remember in 7th grade english class, Nick Ferrantello and Nick Konapasik (I believe I messed up their names, but who cares) the “Nicks” as we all called them were the cool kids in school. They were good skateboarders, and one of them played Blister in the Sun on guitar in front of the class. A lot of the class was jealous, and I remember wanting to play that song too. I spent a long time trying to learn that, and I wanted to be the kid in front of class wanting to play like that, albeit remedial, it still got their attention.

Those guys made me want to play better in middle school, but few had as big of an effect on my guitar playing as Kenny Relethford, the oldest brother of my best friend at the time. He had an electric guitar. The electric guitar. It was always sitting out with the strap in a certain orientation so he’d know if someone played it. It was an Ibanez Destroyer II from the 80’s which his dad bought. I had been playing my Yamaha acoustic with Medium strings for the longest time (only a year) and when I played the electric guitar, it felt like heaven. Light strings, great action, comfortable, and it sounded amazing.  It was eye-catching, so it was impossible to not notice any time I was at their house. Every once in awhile i’d go in there and play it, hoping he wouldn’t find out. A few times he did, and he was angry, but he was the reason I ever wanted to play electric guitar. Guitar Center was too far away, and I was too afraid to play plugged in anyway. This Ibanez Destroyer was always the beacon of light which I wanted to get to. After Kenny gained some trust, he’d occasionally let me play it if I played songs he wanted. I’d always talk a good game and attempt to coerce him into letting me play that guitar. Still to this day, I would buy that guitar off of him. It’s the first electric guitar I ever played, and started my love for electricity and guitar.

The shred phase of my life, and the aims for musical skill are all due to one man my dad worked with, Dorian. A church mandolin player with long hair who worked for the Government. From the sounds of him now, I would’ve brushed him off, but seeing is believing. He invited my dad and me over to see his guitar stuff. Long hair should’ve given it away, but I didn’t know any better at the time. I got to his apartment with my dad and his wife was sitting on the couch watching TV. It was a small apartment, but upstairs was the gateway into the world of guitar. I wasn’t a fan of shred metal or anything with guitar skill in it yet. I was a fan of some guitarists, but they were in pop bands or ska bands, nothing to aim for. My dad and I went upstairs and he pulled out his Charvel Model 6. It was a pink/red guitar with the black crackle finish on it (If I remember correctly) and a floyd rose. I remember him saying it was a bit temperamental, and at the time I thought he was just discouraging me from playing it, but now I know what he was talking about. Now owning 3 guitars with Floyd Roses, I know exactly what he was talking about. Anyway. He plugged into a rackmount effects processor and started playing. He introduced me to a guy named Randy Rhoads. He pulled out the tribute book, and I looked at the guitar tab. I’d never seen so many notes. A few days later, my dad bought me the same guitar tab book, and I bought the CD. I spent months looking at it, but still didn’t learn much. This opened up the door to Metallica, Ozzy Osbourne, Black Sabbath, System of A Down, and all of the metal bands i’d never been exposed to, and that was the nail in the coffin, so to speak.

And now we come full circle.

Just an hour or two ago, I was playing my Ibanez RG1570, and since it’s blocked up, I can tune it to whatever I want. I tuned it down a half step and Flying High Again by Ozzy Osbourne came on. All of a sudden, I started jamming with it, considering I usually can’t because i’m in standard tuning. Playing to the song opened up a door to a room full of guitar oriented memories I hadn’t seen in a long time. I played the descending tapping riffs, the chords, and the inflections i’d become such a fan of when I started playing electric guitar.

All of it reminded me of why I do this stuff. Why I continue to pick up this stringed instrument every day, why I spend so much money on it, and why I always attempt something new, despite the fact that there really is no overall gain for anyone but me. Everyone has a reason they do something that means the most to them, and they spend too much money/time/effort on something which, in the grand scheme of things, doesn’t necessarily help anyone.

I say necessarily because if Nick didn’t play Blister in the Sun, Kenny didn’t have that Destroyer, and Dorian didn’t play a perfect rendition of Crazy Train on his Charvel, I wouldn’t be sitting here writing this remembering why I’m sitting in a room full of creatively trimmed trees, oil-based plastic parts, and shop manipulated metals which cost way too much money. It’s why I sit here trying to learn a Derek Trucks song when i’m the only one who really enjoys the outcome. It’s why I spend time I could be doing classwork or trying to get a job harnessing the power of vibrations for musical joy.

Go ahead, complain about the democrats, republicans, Israel, Palestine, global warming, global cooling, oil, hippies, pacifists, war, hate, peace, jews, christians, muslims, athiests, hindus, buddhists, taoists, mormons, gays, lesbians, abortion, 9/11, homeland security,  taxes, homelessness, government and whatever else you worry about.

But me?

I’m just going to play this here guitar for awhile.

Then i’ll worry about the rest of it.

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Filed under complaining, destroyer, escapism, floyd rose, guitar, guitar center, guitar player, guitar rant, Ibanez, Ibanez RG, Jackson guitars, music, ozzy osbourne, randy rhoads, San Dimas, story, Uncategorized, Whammy Bar

Ibanez’s dream girl, The RG1570 MRB

RG1570

Where to start on this money making machine, one of the only guitars that has jumped over 200 in price over the last year, while remaining almost the exact same?

On to the guitar specs:

The specs: The RG1570 is the newer version of Ibanez’s familiar “Superstrat” style RG570 shape stemming from a few modifications to the traditional Fender Stratocaster design, and it doesn’t dissapoint with it’s sharp looks and (in this case) Royal Blue sparkle finish. The new numbering system for Ibanez goes like this, if it’s got 4 digits in the number, and the starting digit is a 1 or a 2, it’s got a Prestige neck. This Japan-made guitar has a 24 fret Prestige Neck with Jumbo wide frets, Ibanez V7 and V8 humbuckers with an S1 in the middle, simple 1 volume and 1 tone control configuration, a set-in (not plate mounted) input jack, Gotoh tuners, and a double locking Edge Pro Tremolo.

Now that the boring crap is out of the way, lets get to the guitar instead of the numbers and letters which mean close to nothing for someone who’s never seen or played one.

The Neck: Ibanez’s aim for the RG1570 is to tailor to the higher skill level, middle budget guitar player with interests in speed. And in that area, it does not dissapoint. The prestige neck I made a deliberate effort to explain is quite the nice thing when it comes to speed-friendly guitars. It’s 2 millimeters thinner than Ibanez’s already thin neck, not to mention it has a flatter fretboard. For those who want to go from 0 to 24 in a few notes flat, this is your guitar. The unfinished back, jumbo frets and low action makes sure you’ll hit the notes no matter how fast you’re going. Of the very few qualms with the neck of the guitar, one has to be the finished frets. The edges have been rounded a little too much, abandoning a more squared off edge. What this does is it gives a slight less crown to the top of the fret, therefore allowing a little bit less vibrato room on the high and low strings. This may seem like nitpicking, but when something one would easily overlook is actually noticed, it needs to be said.

The body: It is very comfortable, and the cutaways allow a decent amount of access to the upper frets. The countoured edges are rounded and comfortable while still maintaining the sharp looks associated with an Ibanez RG. Over the last few years, the paint has changed. The 2004 model had a finish with a much finer sparkle to it, but over the last year the price has jumped and the sparkles in the finish have become much larger. A benefit to this is the new thickness of paint and durability, while the 2004 model’s had a slightly less sparkle to it, they were noticeably weaker and prone to small chipping in sharp areas like the pickup and neck sockets. Assumedly, Ibanez figured it out an accounted for it with a thicker, stronger type of finish, hopefully picking up the shortcomings of the older finish.

The electronics: They are one of the very few dissapointments of this guitar. To pair a medium-priced guitar that is conducive to lead playing and crunch with the lower output, lower costs V and S series pickups is a shame. They should’ve used their upper range Dimarzio IBZ pickups with much higher output and versatility. However, what it does mean is that the weak pickups on the guitar are just begging to be replaced with whatever pickups (EMG, Dimarzio, Seymour Duncan, ETC) you desire. Personally, I like the idea of putting my own pickup preference. The guitar you buy was mass produced with a general population of guitarists in mind, and you want your guitar to have you in mind. There’s a HUGE range of pickups for every tone out there, and there’s no reason why your BC Rich can’t have jazz pickups, and your Benedetto Hollowbody can’t have a metal pickup. Obviously this is an exaggeration, but i’m trying to emphasize the fact that since no two players are the same, their instrument should follow suit.

The Hardware: The edge pro bridge is a mixed blessing. While still being a nuisance like all floating bridge, it does have some endearing qualities. While Floyd Rose bridges require you to cut the ball end of the string to insert them into the bridge, the Edge Pro lets you slide the strings through the bottom and lock them with the ball end or cut them off if you desire. Of the biggest annoyances of the bridge, it’s the fact that the peolpe at Ibanez put the fine tuners at an angle, basically asking you to scratch up the finish with your finger nails when struggling to change the fine tunings. The Gotoh tuners, like always, are great. They are smooth, sensitive, and don’t fatigue the hand when using them like mini-grovers seem to. And you will be using these tuners. When you change strings, you’ll be using them while you’re trying to find the right tuning while finding that precious equilibrium you need from a floating tremolo. What they should’ve done, much like every company should do with their floating bridges, is incorporate a mechanism by which you can lock the bridge to turn it into a fixed bridge. There are people out there that make such products, but I can’t really give them support until I try one out myself.

The whole shebang: It’s a great guitar, but as I mentioned, it has its irritating shortcomings. But that shouldn’t stop anyone from seriously considering adding this gem to their collection. With a few modifications, like any guitar, it can turn out to be your perfect guitar. Unlike some guitars, this shows potential to be spectacular, but it didn’t quite jump the hurdle.

The Pros: Fast neck, comfortable, great action, excellent tuners, durable hardware, Ibanez reliability.
The Cons: Low output pickups, poor fret finishing, poorly designed bridge.

The Grade:

B

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Filed under 1570, guitar, guitar review, Ibanez, Ibanez Prestige, Ibanez RG, music, RG1570