Guitars by Encore from John Hornby Skewes

For over 25 years, Encore guitars have been the number one starter brand.Dependable, Reliable, Playable, Affordable.If your pockets are shallow, your budget stretched but your expectations are high, join millions of others around the world who've picked and strummed their first with Encore. Encore Electric Outfit   Playing electric guitar is the most fun you can have with your clothes on, but how do you get started? You need a guitar, for sure, but don’t want to spends loads of money at this stage. And you’ll need an amplifier – aren’t they expensive? And a lead to connect them – what’s best to get? Well what is best to get at this stage is Encore’s excellent ‘Play Now!’ Electric Guitar Outfit. This package has the guitar, Encore’s E1BTR guitar, plus a neat practice amplifier lead and plectrum. E1BTROFT ENCORE ELECTRIC GUITAR OUTFIT COMPRISES OF: E1BTR Guitar, EMA1 Amp, Lead, Pick, Teacher List & Instruction Leaflet.. Playing electric guitar is the most fun you can have with your clothes on, but how do you get started? You need a guitar, for sure, but don’t want to spends loads of money at this stage. And you’ll need an amplifier – aren’t they expensive? And a lead to connect them – what’s best to get? Well what is best to get at this stage is Encore’s excellent ‘Play Now!’ Electric Guitar Outfit. This package has the guitar, Encore’s fantastically versatile KC3, plus a neat practice amplifier and all the accessories you need to keep having fun with your electric guitar! KC3TOFT ENCORE ELECTRIC GUITAR OUTFITS COMPRISE OF: Encore KC3 Guitar, Kustom KGA10FX Amp, JHS Guitar Stand, Lead, JHS Strap, Video, Qwik Tune Tuner, Pick, Kinsman Bag, Encore Strings Set, Teacher List & Instruction Leaflet. KC3TOFT Black • KC3ROFT Red • KC3SBOFT Sunburst • LC3TOFT Black – Left Hand KC3TOFT ENCORE ELECTRIC GUITAR OUTFITS COMPRISE OF: Encore KC3 Guitar, Kustom KGA10FX Amp, JHS Guitar Stand, Lead, JHS Strap, Video, Qwik Tune Tuner, Pick, Kinsman Bag, Encore Strings Set, Teacher List & Instruction Leaflet. KC3TBKOFT Thru Black • KC3TGNOFT Thru Green • KC3TGNOFT Thru Green • KC3PKOFT Pink • KC3TPLOFT Thru Purple • KC3TRDOFT Thru Red EIBTR £79.99 Black This popular Encore model has introduced many youngsters to the fun and excitement of playing electric guitar. Light and comfortable, the E1BTR’s downsize body makes it easy to play for kids who may not yet want to tackle bigger body instruments. Featuring a single double coil pickup, tremolo arm and straightforward volume and tone controls, the path to mastering the thrill of playing the electric guitar starts here! KC3T £115.00 Black KC3R £115.00 Red KC3SB £115.00 Sunburst KC3PK £115.00 Pink – Pearloid Scratchplate LC3T £119.00 Left Hand Black KC3TBK £119.00 Thru Black KC3TGN £119.00 Thru Green KC3TBL £119.00 Thru Blue KC3TPL £119.00 Thru Purple KC3TRD £119.00 Thru Red With a truly timeless guitar shape, Encore’s KC3 series has a great deal of guitar ability on offer. With a 5-way selector controlling three single coil pickups and a tremolo arm fitted as standard, the KC3 is a hugely versatile guitar capable of any number of music styles and sounds - rock, blues, jazz, country, funk...any or all of these will present no problems for the dynamic performance of the Encore KC3! KC375BLK £89.99 Black KC375PK £89.99 Pink So is pink the new black in 2005? Just to be sure, let’s have pink and black, like on these new Encore KC3 3/4 size electric guitars... These fantastic 3/4 size electric guitars offer all the features of their big brothers, including the full three single coil pickup layout, 5-way pickup selector, fully contoured body, shaped headstock, fully enclosed tuners, etc! Full size controls and hardware, including vibrato system, etc., and obviously accepts ‘normal’ 1/4” size jackplug. The 3/4 size Encore electrics are in standard guitar tuning (E – E) so you can play along with their full-size brothers! We need the next generation of guitar heroes to come through soon, so get the kids playing on these fantastic junior Encore electrics, available in either pink or black. What an absolutely brilliant present for birthdays, Xmas (not long now...), or just a surprise present at a very wallet-friendly price. Playing electric guitar is the most fun you can have with your clothes on, but how do you get started? You need a guitar, for sure, but don’t want to spends loads of money at this stage. And you’ll need an amplifier – aren’t they expensive? And a lead to connect them – what’s best to get? Well what is best to get at this stage is Encore’s excellent ‘Play Now!’ Electric Guitar Outfit. This package has the guitar, Encore’s fantastic P29, plus a neat practice amplifier and all the accessories you need to keep having fun with your electric guitar! P29OFT ENCORE GUITAR OUTFITS COMPRISE OF: Encore P29 Guitar, Kustom KGA10FX Amp, JHS Guitar Stand, JHS Strap, Video, Qwik Tune Tuner, Kinsman Bag, Teacher List & Instruction Leaflet. PK29BOFT Black • P29SBOFT Sunburst PK29BTBOFT Black Than Black (illustrated) • PLH29BOFT Black (Left-Hand) P29B £129.00 Black P29SB £129.00 Sunburst P29BTB £129.00 Blacker Than Black – Matt Black – Black Hardware PLH29B £129.00 Lefthand – Black This popular single cutaway guitar shape offers rock solid ability, thanks to its two double coil pickups, 22 fret neck and Tune-o-matic bridge system. A 3-way pickup selector and easily-accessed 4-rotary control grouping of individual pickup volume and tone knobs provides a host of classic rock and blues guitar tones. PK40OFT ENCORE BASS GUITAR OUTFITS COMPRISE OF: Encore PK40 Bass Guitar, Kustom KBA10 Amp, JHS Guitar Stand, JHS Strap, Video, Qwik Tune Tuner, Kinsman Bag, Teacher List & Instruction Leaflet. PK40BOFT Black • PK40SBOFT Sunburst • LPK40BOFT Black – Lefthand Total Retail Outfit Value (inc. 17.5% VAT) £247.18 PK40TBLOFT Thru Blue • PK40BTBOFT Blacker Than Black • PK40TRDOFT Thru Red Total Retail Outfit Value (inc. 17.5% VAT) £257.18 PK40B £139.00 Black PK40SB £139.00 Sunburst PK40BTB £149.00 Blacker Than Black LPK40B £139.00 Left Hand Black PK40TBL £149.00 Thru Blue – Pearloid Scratchplate PK40TRD £149.00 Thru Red – Pearloid Scratchplate These full size, long scale beauties really are the bass business! Low enders will appreciate the timeless shape of the double cutaway bodies with their vibrant finishes, the elegant maple necks with dark rosewood fretboards, and the stylish headstock design with its four large, easily-adjusted tuners. And, with a proven centrally-mounted, split-coil double-pole pick-up powering the heavy-duty PK bass range, this versatile bass can really demonstrate that it’s truly a class performer. Also available in a black finish, left handed format at no extra cost. All products contained within the JHS website are available throughout the United Kingdom and Eire from all good music stores. Please note, as trade only distributors we do not sell direct to the general public. Specifications, colours and pricing are subject to change without prior notice. Please contact your local music store. If you experience any difficulty in obtaining the products you require please contact us at webinfo@jhs.co.uk Please include your name, address and postcode. Detail...

Southern Rock - Even with an electric guitar, the past is never past. By Ethan聽Hauser

Even with an electric guitar, the past is never past. The Louisville band My Morning Jacket has a wildly allusive cameo in Cameron Crowe's Elizabethtown   They appear as Ruckus, a Southern-rock group covering "Freebird." It's a curious choice: an actual band from the South portraying a fictional band from the South playing one of the most iconic Southern-rock songs ever written. It's even more puzzling because My Morning Jacket has often railed against being identified as a Southern-rock band. As they told an interviewer, "Ever since day one, we've tried to do lots of different things on all our EPs and records and stuff like that, and feel like the image is mostly conveyed because we're hairy and we're from Kentucky and we play in bare feet sometimes." Like all labels, "Southern Rock" can be ghettoizing and silly鈥攖here's no such thing as "Northern Rock" or "Midwestern Rock." Yet, like most labels, it's an efficient shorthand, in this case for an unadorned guitar-based rock with a little bluesy swagger, written and played by Southerners. Dormant through much of the '80s and '90s, the genre has been freshened lately, courtesy of acts such as Kings of Leon, Bobby Bare Jr., Drive-By Truckers, and My Morning Jacket. In the media, each of these groups has been tagged as channeling progenitors: Lynyrd Skynyrd, the Allman Brothers, Charlie Daniels. They're also often depicted as small-town guys who play homespun music, drink too much, regret too much, and complain too much about their jobs at the factory. No band in this genre was so nakedly foisted upon us as throwback Southerners than Nashville's Kings of Leon, who have a marketer's dream of a bio (rural roots, sibling band members, an evangelist father). Too bad they're a very generic rock band, a Southern version of the Strokes: all hair, image, and carefully chosen vintage T-shirts. Their success has overshadowed a more talented old-fashioned Southern-rock band: the Drive-By Truckers. Hailing from Muscle Shoals, Ala., the Drive-By Truckers sing about officially sanctioned Southern themes like Wal-Mart and bar fights, complemented by accessible and unaffected guitar leads and basic rhythms. "We can't afford no insurance," frontman Patterson Hood complains in the song "Puttin People on the Moon," adding, "I been 10 years unemployed." Just in case you missed it from the album title ( The Dirty South   ) or the "I been" locution, the way Hood drawls "insurance" ("inshur-nce") reveals his Southern pride. If this all sounds a little self-regarding, it is. But the band redeems their kitsch with solid musicianship. Hood has a muddy, emotive growl, an instrument so distinctive that it can overwhelm the guitar play underneath. Continue Article   While Drive-By Truckers seem unconflicted about their heritage, My Morning Jacket's resistance to trumpeting their own roots stems from an idealistic hope that music need not be compartmentalized. Their ambivalence also likely derives from the fact that the word "Southern" (and by extension, "Southern rock") has often been used synonymously with "racist," "redneck," and "stupid." In 1970, on his album After the Gold Rush   ,* Neil Young famously admonished, "Southern man better keep your head/ Don't forget what your good book said/ Southern change gonna come at last." Which earned a rebuke from unreconstructed Southerners Lynyrd Skynyrd, in "Sweet Home Alabama": "Well I heard Mister Young sing about her/ Well, I heard ole Neil put her down/ Well, I hope Neil Young will remember/ A southern man don't need him around anyhow." My Morning Jacket, aside from chafing at their categorization, has remained above this fray. They don't grapple with the taint of racism that accompanies their drawl; they express neither sympathy nor condemnation toward neighbors who might still fly the Confederate flag. Lyrically, their songs are about the universal themes (love, loss, and hope) that are the purview of no single part of the country. Instead, their ancestry bleeds through in the way that their songs are assembled. Through four albums, the band has been lacing traditional rock compositions with bits of country, folk, and psychedelia. Jim James, My Morning Jacket's singer and songwriter, is obsessed with space. He attempts to widen the contours of a conventional rock song, cutting the fences circumscribed by hummable, melodic guitars and foot-tapping drums and bass鈥攁ll the while still preserving a classic enough sound so that a listener never feels alienated or lost. On the band's first two albums, the intensely personal At Dawn   The Tennessee Fire   , this spatial experimentation was accomplished through soaking the songs in reverb. James's voice is haunting even when it's unfiltered; tunneled through so much echo, it becomes heartbreaking. My Morning Jacket's 2003 album, It Still Moves   saw the band ambling toward a more standard rock sound. The churning guitars, always out front during the furious live shows, dominate tracks like " One Big Holiday" and "Mahgeetah." The songs reveal their influences, but they are not typical of Southern rock. Instead of grounding his songs with bluesy pain and an Elvis-esque strut, James turns to sources like the aforementioned scolding Mr. Young; he shares with the Canadian a voice that can transfix a listener with聽 lamentation, along with the ability to shift quickly between rough-hewn and fragile. It's a good bet that James has also listened to a fair share of Led Zeppelin. The most aggressive songs are underpinned with the kind of searing, shattering riffs found on "Black Dog." Finally, there's a healthy dose of Cheap Trick, whose looser guitars, driving and bright, show up here as well. On their latest album,   , My Morning Jacket has ventured even further afield, toying with reggae ("Off the Record"). Not all of the experiments work, but when the band sticks closer to home, as on the album's strongest cut, "Gideon," the results are moving. The song starts off slow and calm, with James asking, "Gideon, what have you told us at all?" Then, in the space of a minute and a half, it has built into a towering stream of glorious, melodic noise, with James howling at the end, "Animal, come on." It's a song that encapsulates My Morning Jacket, as much as any one song can: soft and loud, tiny and epic. For all of the band's protests at being called Southerners, they are engaged in the same sort of boundary-stretching as two of their brethren, albeit in very different fields: William Faulkner and Samuel Mockbee. Faulkner's sprawling sentences never devolved into mush because they were anchored by precise logic, a structure that let them veer and return; they too were about space, about carving new space and verging on the out of control. And the architect Mockbee, whose Rural Studio erected churches and homes out of cast-off tires, carpet tiles, and other detritus, worked within an inherited vernacular as well. That both of these men, and My Morning Jacket, were products of a region of the country so rich in charm and conflict has to be something more than coincidence. Correction, Oct. 28, 2005: The article originally and incorrectly identified the album that "Southern Man" first appeared on. (Return to the corrected sentence.) Ethan Hauser is a writer in New York. His short stories have been published in Even with an electric guitar, the past is never past. What did you think of this article?Join the Fray, our reader discussion forum Arts & Life   Irony MaidenIt's fitting that the comedian Sarah Silverman's impending cultural moment鈥攈igh-profile fil... More Press Secretary Arthur Sulzberger Jr.Notables who ordinarily shun television talk shows make an exception when the Charlie Rose ... More 漏2005 Washingtonpost.Newsweek Interactive Co. LLC | User Agreement and Privacy Policy | All rights reserved Detail...

The Machines. A group of electric motors who play electric guitars.

Music Department Institute of Artificial Art Amsterdam The Machines are a group of electric motors who play electric guitars. Installations and Concerts   Concert Reviews   Tapes, Records and CD's   Record Reviews   Radio and TV Broadcasts   Interviews with Roadies and Technicians   Film and Video Presentations   Theory   Installations and Concerts   Poort van Kleef, Eindhoven, April 1980. Guerilla Support Act for Bauhaus. TR3, New York NY, April 1980. Triple bill with Didgital Music (Wharton Tiers) and Glenn Branca Band. De Lik, Amsterdam. September 13, 1980. Geluidskunst. ("Uitmarkt"-presentatie Artzien / Galerie 'A'.) Concert. Curators: Michael Gibbs & Harry Ruhé. Pictura, Dordrecht. 1980. Concert, accompanied by Toon Bressers (Nasmak), drums. De Fabriek, Eindhoven. June 1980. Concert.   Palais des Congrès, Liège. November 29, 1980. Soirée Sous-terrienne (pour Humains et Autres). Double bill with Tuxedo Moon. Curators: Paul Pacquai & Françoise Lerusse. Video-recording for RTBF Liège (Rock around Liège / Festival du Futur). 't Hoogt, Utrecht. March 11, 1981. De Muziek van het Materiaal. Triple bill with Z'ev and Glenn Branca Band. Art Academy, Arnhem. October 28, 1981. Concert.   Corps de Garde, Groningen, October 22- 24, 1981. Installation "Guitar Mural # 1". Production: Van Lagestein. 't Hoogt, Utrecht. February 16, 1982. Concert.   De Effenaar, Eindhoven. March 18, 1982. Concert.   Art Academy, Rotterdam. March 24, 1982. Concert.   Apollohuis, Eindhoven. March 28, 1982. Concert.   Paradiso, Amsterdam. May 6, 1982. D-Day. Concert.   Rijksmuseum Kröller-Müller, Otterlo, May 15, 1982. Concert. Curator: Marianne Brouwer. Art Academy, Utrecht. September 3, 1982. Concert.   Sur+, Hasselt. September 7, 1982. Concert.   ZNLO, Delft. 1982. Concert.   Grand Theatre, Groningen. February 17, 1983. (Double bill with Ned Rothenberg, saxophone.) Production: Van Lagestein. Apollohuis, Eindhoven, May 26-27, 1983. Installation. (With Machine Drawings.) Carré, Amsterdam, June 15, 1983. "Aanvallen van Uitersten." Presented by Moniek Toebosch. During this performance, Sabre Saw #3 burned alive on stage. Also: Monks from Tuva presented by Marina Abramowicz, metal-thrashing by Z'ev, &c. Live broadcast by VPRO TV (Dutch national television). Dancetaria, New York, 1983. (Video-recording by Arlene Schloss.) Metropole, Berlin, 1983. (Double Bill with Fad Gadget.) Szabadidö Központ Almassy Tér, Budapest, November 13, 1984. Minimal Art Festival. Concert. Pulitzer Art Gallery, Amsterdam, November/December 1984. Installation. (With Automatic Drawings by The Machines, visual art by Frits Woudstra, electronic music scores by Ton Bruynèl.) New Langton Arts, San Francisco, February 12-16, 1985. Installation and concerts. Shaffy Theatre, Amsterdam. July 11-13, 1985. "Een enkele reis naar zee." Dance performance by Arnold Goores. Choreography: Arnold Goores. Music: The Machines (from the LP "Machine Guitars"). Text: Hans Lodeizen and Robert Graves. The Knitting Factory, New York, May 3 - May 10, 1987. Installation. Concerts on May 3 and May 10. Hogeschool voor de Kunsten, Faculteit Kunst, Media en Technologie, Utrecht. December 1989. Installation with concerts (December 6 and 14), and with a lecture by Remko Scha: "Chance Art, Formal Grammars and Perception Theory" (December 6). Technische Universität Berlin, Fachbereich Architektur, January 17, 1990. (Symposium "Intuition und Logik", organised by Galerie und Architekturforum Aedes.) With lectures by Kas Oosterhuis, Remko Scha, Fritz Zabransky and others. Kruithuis, Groningen. Vereniging voor Onderwijs, Kunst en Wetenschap. April 24, 1990. Concert for Four Sabre Saws. With a lecture by Henk Verkuyl. Galerie Geert Schriever, Amsterdam. March 22 - April 1, 1991. Installation and concerts. (With Machine Drawings.) De Zonnehof, Amersfoort, September 10 - October 13, 1991 The Synthetic Dimension. (Curator: Kas Oosterhuis.) Installation and concert. Théatre de la Monnaie / Muntschouwburg, Brussels, 1992. Concert. (Double bill with Gary Lucas, "The Golem".) Arti et Amicitiae, Amsterdam. Installation "No Guitars." (Exhibition "Mu", curated by Paul Groot and Peter Mertens.) December 13, 1997 - January 11, 1998. May 6- May 28, 2000. Temporary Branch Office Rotterdam of the Institute of Artificial Art. TENT. Centrum Beeldende Kunst. Witte de Withstraat 50, Rotterdam. Concerts by The Machines on May 13, May 20, and May 26. With an installation by Artificial and concerts by The Solenoids. Consortium, Oostelijke Handelskade, Amsterdam. October 28, 2000. An Evening with the Institute of Artificial Art. Program in conjunction with the exhibition Driessens/Verstappen by Edwin Driessens and Maria Verstappen. Also including an audiovisual performance by Artificial, music by The Solenoids, and a lecture by Huge Harry. Recordings   "Twice strings on overstrung guitar constant speed (high)." On: Michael Gibbs (ed.): Sound Art Anthology. C60 Audio Cassette. Amsterdam: Artzien, 1980. Radio/TV Broadcasts   WKCR-FM, Columbia University, New York. 1980.   WKCR-FM, Columbia University, New York. 1981. (Mark Abbott: Aspects of Minimalism.) Aanvallen van Uitersten, VPRO (Dutch National Television), 1983. Live broadcast from Carré, Amsterdam, presented by Moniek Toebosch. VPRO (Dutch National Radio), 1983. Live concert from 't Hoogt, Utrecht. WFNX. 1986.   VPRO (Dutch National Radio), 1989. Live concert from Anti Qua Musica (Haags Gemeentemuseum), presented by Michael Fahres. Het Klokhuis. January 12, 1995 and September 5, 1996. NPS, Nederland 3. (Children's program on Dutch National Television.) Films & Video's   Paul Paquay (RTBF Liège): Video registration of a concert by The Machines at the Palais des Congrès, Liège (Belgium), November 29, 1980. Soirée Sous-terrienne (pour Humains et Autres). (Rock around Liège / Festival du Futur.) Presented at: Rock Around TV (Foyer Culturel de Seraing, December 5, 1981); Palais des Beaux-Arts, Brussels (December 15 - 27, 1981). Polygoon Journaal: Highlights from a concert by The Machines in Rijksmuseum Kröller-Müller, Otterlo, May 15, 1982. Shown in all movie-theaters in the Netherlands, June 1982. "Huge Harry and the Institute of Artificial Art." Video documentary including highlights from concerts by The Machines in Carré, Amsterdam (June 1983) and in TENT., Rotterdam (May 2000). Interviews about The Machines with Kim Gordon, Huge Harry, David Lynton and Thurston Moore. Director: Luuk Bouwman. Concert Reviews   Fer Abrahams: "Luchtalarm." Oor, March 1981.   Ron Blansjaar: "Vage filosofie bij Artrock." Utrechts Nieuwsblad, March 12, 1981. Alfred Bos: "De Toevalsfactor." Oor, June 3, 1981. Hein Calis: "Elektrische geluidsobjecten in Gemeentemuseum Den Haag." De Volkskrant, January 23, 1984. Eddy Determeyer: "Visueel geluid in Grand." Nieuwsblad van het Noorden, October 10, 1981. Eddy Determeyer: "Gestructureerd geluid in Grand." Nieuwsblad van het Noorden, February 18, 1983, p. 23. Corné Evers: "Minimal music brug tussen muzieksoorten." Eindhovens Dagblad, April 2, 1983. Kim Gordon & Thurston Moore (Sonic Youth) and David Lynton talk about the early days of The Machines and their influence on Heavy Metal and Grunge. (Interview by Luuk Bouwman, 2000.) Frits Lagerwerff: " 'Aanvallen op het gezellige midden.' VPRO produceert anti-tv in ideeloze Carré-shows." Trouw, June 17, 1983. Brigitte Oberleitner: "Handgemachtes Fernsehen und Musik für Meditation." Neue Zeit, September 22, 1984. Kees Polling: "Boventonen." Oor 12, 6 (March 26, 1983). Edward Rothstein: "Avant-Garde: 2 Composers." The New York Times, February 22, 1984. Elly de Waard: "Geluidsritueel met ijzer, pauken en motoren. Primitieve schoonheid in Scha's ketelmuziek." De Volkskrant, March 5, 1983. Henk Willemse: "Cultuur bij de VPRO radio en TV." VPRO, June 25, 1983 (# 26), p. 3. Martin Zechner: "Kosmos-Paradies und der Film zur Zeit." Kleine Zeitung, September 22, 1984, p. 20. Record Reviews   Alfred Bos: "Remko Scha. Machine Guitars (Kremlin Products, KR 006)." Oor 12, 2 (January 26, 1983). Mark Dery: "Remko Scha's Sawtoothed Tremors." Guitar Player, August 1992, p.14. Joost Niemöller: "Remko Scha / Machine Guitars / Kremlin Products KR 006 / Elpee" Vinyl 2, 20 (December 1982), p. 40. John Rockwell: "Popular music takes a serious turn." The New York Times, June 26, 1983. John Schaeffer: "Machine Guitars (Kremlin KR-006)." In: John Schaeffer: New Sounds. A Listener's Guide to New Music. New York: Harper & Row, 1987. Interviews with roadies and technicians   Marianne Brouwer: "Be kind to the mediocre people. An interview with Remco Scha." The Kremlin Mole, March / April 1986. William Davenport: "Remko Scha" Unsound 1, 4 (1984). Unsound/Autotext Publications, San Francisco. Corné Evers: "Willie Wortel en zijn Workmates." Oor, March 24, 1984, pp. 32-34. Frans Hemelaar: "De Puinhoopmachines." Vinyl, February 1982 (# 11). Cor van Litsenburg: "Remco Scha, bouwt gitaarmachines. 'Muziek als het ruisen van de zee.'" Eindhovens Nieuwsblad, April 5, 1983. Kees Polling: "De Klank van het Mechaniek." Plug 16, 185 (May 1983), pp. 6/7/10. Kees Polling: "Geluid als muziek." Algemeen Dagblad, June 15, 1983. Kees Polling: "Machinaal." Muziek & Dans, November/December 1983 (# 11/12), pp. 9-12. Sjoerd Punter: " 'Akelige geluiden daar hou ik van.' " Eindhovens Dagblad, October 15, 1981, p. 31. Jaap Stam: " 'Ik duik nogal in dat geluid, gewoon mentaal.' " Folia 45, 28 (March 6, 1992). Frans de Waard: "Remko Scha (and The Machines)." H23, 3 (December 1991). The Minimal(ism) Issue, pp. 12-15. Noisingplace Research, Athens, Ohio. Niels Wiedenhof: "Remko Scha en 'The Machines'. Decoupeerzaag, ventilator en staalborstel bespelen gitaar." Philips Koerier, September 29, 1983, p.2. Niels Wiedenhof: "Immanuel Kant in de praktijk. Huge Harry en de volledig autonome machinekunst." De Ingenieur, 110, 8 (May 6, 1998), pp. 6-11. Rik Zaal: "De Menselijke Geest Transformeren. Aanvallen van Uitersten III: Techniek." VPRO, June 11, 1983 (# 24), pp. 6-11. Theory   Tak Kenjo: Electric Motors and their Controls: An Introduction. Oxford University Press, 1991. Remko Scha: "Automatische Muziek / The Machines." Artzien 2, 9 (September 1980), pp. 24/25. Remko Scha: "The Machines" Ear Magazine 9, 1 (May/June 1984). Detail...

Buying an electric guitar

Buying an electric guitar   Buying and choosing an electic guitar can be a trying process. Here's how to make it a little easier. So you鈥檙e ready to buy an electric guitar? Where do you start? That depends on what you鈥檙e looking for at the moment. Are you just beginning your journey or do you have few years of playing under your belt? If you are just beginning your journey then do not shell out more than $300.00. You can always find a pretty good used electric guitar for a little more than half that price. It would be a shame to have purchased a $1000.00 Les Paul that ends up collecting dust in the attic because of a passing whim. On the other hand you do not want to spend too little either. In most cases an electric less that $150.00 will more than likely fall out of tune constantly. This can be corrected but that would probably require new tuning heads, among other things, and you鈥檒l only be going through needless hassle. If you鈥檙e new to this then it always helps to bring along someone who is familiar with guitars to assist you. Let them test drive the guitars that catch your eye. If you have already been through all this and are ready to upgrade your guitar because you feel that taking the next step will put you closer to Hendrix, then consider this; it has been said that Jerry Garcia sounded like Jerry Garcia no matter what guitar he picked up. Another good example is Carlos Santana. He switched to playing a Paul Reed Smith later in his career but you would perhaps never know with your eyes closed. That being said, choosing a high-end electric depends on the sound and style you are going for. Two names always stand out 鈥?Fender and Gibson. There is a reason for that too. They have continued to be the instrument of choice for many professional musicians. This has been the case for well over fifty years! Everyone has an opinion as to which guitar they prefer, but it all boils down to this. What feels right to you? Before spending the money that a new Strat or Les Paul would cost, play them, and listen to the sound and tone that they make. Gibson guitars will always have a 鈥渇atter鈥?sound and more 鈥渂luesy鈥?tone. Artists like Jimmy Page, BB King, and Ted Nugent are rarely far from their Gibsons. Fender guitars have a thinner sound and are perhaps more versatile in the tones they emit. Artists that swear by Fenders are Eric Clapton, Bruce Springsteen, Stevie Ray Vaughn, and of course, Mr. Hendrix. Of Fenders and Gibsons there are many models in their ranks. Popular Gibson models include the Les Paul, the SG, and the ES-335. For all intents and purposes, Fender guitars come in two sizes, the Stratocaster and the Telecaster. There are others but those are the most favored. It doesn鈥檛 hurt to mention also that both companies have less expensive guitar lines modeled after their most popular issues. Epiphone guitars from the Gibson company are manufactured overseas and produce good copies of their most popular models. The Fender company also has a successful line of Mexican produced guitars that stand up well against their American made counterparts. There are other electrics well worth considering. As mentioned earlier, Paul Reed Smith guitars are almost second to none, combining the best features of both Gibson and Fender guitars. Dicky Betts and Carlos Santana can attest to that. The good folks at Ibanez also make great sounding guitars, and for affordable prices. Consult on-line resources for opinions and advice in buying your electric guitar. A great place to start is Harmony Central. There you can browse guitar reviews by manufacturer and model. Musicians rate such things as sound, construction, and price. Remember though that these are only opinions and should never be taken as gospel when it comes time to actually plunk your money down. Also browse your local magazine rack for guitar-related publications and buyer鈥檚 guides. The information found within can be priceless. On-line resources and magazines are only meant as guide to help steer you in the right direction. The choices are many. What you need to remember first and foremost is not to choose a guitar solely based on how it looks or what everyone else tells you. Choose the guitar that feels right. Play many guitars before making your final choice. You may start with wanting a particular guitar with all of your heart and soul, only to find yourself drawn to a completely different make and model simply because it 鈥渇elt鈥?right in your hand. Over the years your tastes will change, as will the guitars you play, but the actual purchasing routine should always be the same. When you wrap your hand around the neck and your fingers find the frets you will know when you鈥檝e made the right choice. Written by Richard DeCost - © 2002 Pagewise   Detail...

How to Play Electric Guitar

How to Play Electric Guitar   How to Play Electric Guitar DVD & Video by Bert Casey featuring guitar tab, guitar chords, and easy to follow electric guitar lessons. Learn how to play electric guitar. Introduction to Electric Guitar DVD & Video by Bert Casey is a 60 minute video that covers the beginning material in the Electric Guitar Primer Book. Intended for the beginning electric player, this video covers riffs, power chords, chords & strumming, and scales. It utilizes many closeups to show proper hand position and technique. Our unique split screens show both hands in detail and utilizes onscreen tablature for all of the music, with a bouncing ball type pointer showing each note as it is being played. The student plays along with a full band on all of the 12 song examples. This video starts the student on the road to becoming a rock & roll player by learning how to play electric guitar. DVD or Video $9.95 This is the companion DVD to Electric Guitar Primer Book with CD. Special Offer - $2.00 discount if you buy the book & DVD together or book & video together. Watch a demo of the Electric DVD   Contents Include   Holding the Guitar   Tuning   Using the Pick   Proper Left and Right Hand Position   Strumming   Power Chords   Barre Chords   Scales   Songs Include Instrumental Arrangements of:   Old Time Rock & Roll   Johnny B. Goode   Miss You   Black Magic Woman   Don't Be Cruel   Kansas City   That'll Be the Day   Rock & Roll Girlfriend   All Along the Watchtower   The DVD features:   Different camera angles and close-ups to demonstrate precise technique and hand positioning. Split screen technology that shows both hands in detail and provides on-screen notation for all music. Bouncing ball type pointer to show each note as it's being played. Video Clock and Chapter Markers to quickly locate information in the companion book. Recorded with broadcast quality equipment and state of the art editing facilities. Special features include the abilty to play the slow or fast versions of the songs back to back. Detail...