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Giannini – Fernando Temporão’s collection (part one)

By Brazilian vintage guitarsNo Comments

 

We are delighted to inaugurate the Brazilian instrument space with this nice article on Giannini guitars, which our affiliate Fernando wrote especially for Classic2vintage.

Lorenzo

Giannini 600

Fernando is a competent luthier and a great expert and enthusiast of the instruments of his land.

 

«Musical instrument manufacturer ‘Tranquillo Giannini S.A’, founded in 1900, is the largest and oldest manufacturer in Brazil and South America.

Its founder was Tranquillo Giannini, an Italian-born immigrant that 1876, who brought with him the tradition of Italian luthiery to the South American country.

In fact, it is interesting to note that most of the big Brazilian manufacturers are from Italian immigrant families: Giannini, Sonelli, Del Vecchio, Di Giorgio, Saema and many others.

Giannini has always been a quality manufacturer and has always had a huge catalog, building string instruments, percussion instruments, keys, accessories and, from the ’50s, electronics, microphones, keyboards, tube amplifiers and so on.

As a Brazilian factory, Giannini had at its fingertips a quantity and quality of woods of the highest standard, and its acoustic instruments – especially those manufactured until the mid-1960s – are internationally recognized, especially the brand’s original ‘Craviola’ design, which was used by artists like Elvis Presley, Jimmy Page, Robert Plant and so many others.

 

Giannini 600

It is important to note that, in terms of South America (maybe even in terms of Europe – ndr: in Europa there was EKO), there is nothing even close to Giannini’s production scale at the time in any country in the region.

Giannini had a huge factory and produced, at the end of the 60s, thousands of guitars a year, even exporting to the United States, as well as dozens of acoustic, electric and electronic instruments.

Brazil was probably the only country in the southern hemisphere on the planet with a strong, competitive and professional musical instruments industry.

The other countries in the region had an extremely artisanal and limited production of guitars, in an amount that, by far, would not reach what Giannini produced.

This article is a very specific clipping and talks about the main models of basses and electric guitars manufactured by the brand in its golden age, that is, from the late 50s to the late 70s. It would be impossible to talk about all models.

Let’s start with the ’50s and the first models of electric guitar – with archtop construction – made by the brand:

– Models 600 and 601 – 1958/1959: Those archtop guitars were built inspired by the Gibsons from the 50s, probably the ES series.

Giannini 601

It’s very cool to see that Giannini used, from the very start in the 50s, high-quality hand-wounded alnico single pickups with a hexagonal format. They used those fantastic pickups (that sound pretty much like 50s fender strat pickups) until the late 60s.

Those guitars were made with flamed maple bodies, red cedar necks and Brazilian rosewood fingerboards. The 600 model had 1 pickup and the 601 had 2 pickups. Very, very beautiful guitars and with a fantastic quality of woods and construction.

Fernando and his Giannini 600

– Models 701 ‘Strat’ (also named as Ritmo I) and ‘LP’ – 1961/62 – In the early sixties, starting in 1961, Giannini started to build their first solid-body guitars, all made in red-cedar (body and neck) and rosewood boards. The electronics are still the same used on the 600/601 ones and could be handled by taking off the back piece of the body.

701 LP

701 (Ritmo I)

701 (Ritmo I)

– Giannini Ritmo II – 1963 – Released in 1963, those were the first Giannini solid guitars that used – just like Fender guitars spreaded all over the world – all the electronics attached on the pickguard, pretty much like a Strat. Those guitars are fantastic and sound great. I’d say that, to me, they sound just like Fender Duo-Sonics.

Ritmo II

Ritmo II

– Giannini Supersonic – 1965 – The Supersonic was released in 1965 and is the most famous – and best selling – Brazilian solid guitar of all times. It’s a guitar 100% inspired by the Fender Models Jaguar and Stratocaster, creating a mixed design between them both.

Supersonic

Supersonic

Those guitars are absolutely amazing, extremely well built, with high-quality alnico 5 pickups – all hand-wounded – top quality tremolos (with amazing steel big blocks) and using one-piece Cedar Bodies, Peroba necks and Brazilian rosewood fingerboards.

The supersonics were the first guitars in Brazil built with bolt-on necks, exactly like Fender guitars. Until that time, all Giannini guitars were set and glued necks. Supersonics were sold by Giannini, with no interruption, from 1965 to 1993 and changed very much through the years.

… but how does it sound?

Click the button and listen to the sound of Fernando’s 1967 Supersonic.

– Giannini Apollo – 1967 – The Giannini Apollo Guitars were semi-hollow (with a center block of cedar) and had a very unique visual and constructions, mixing Fender and Gibson influences.

In 1967 Giannini started to built high-quality Jazzmaster soap bar alnico single pickups, to use in two projects, Apollo and Gemini, and the Apollo guitars were the first ones to be released, in 1967.

Although they were inspired with a very Gibson visual, those guitars have a Jaguar/Jazzmaster tremolo, soap bar pickups and bolt-on necks, all took from Fender projects.

It’s a wonderful guitar, extremely well built, and perfect for clean and crunchy tones.»

Apollo

Apollo

Article by: Fernando Temporão (Rio de Janeiro – Brasil)
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The article continues in the second part.

 

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Wandrè Blue Jeans

By Vintage Italian Guitars, Vintage Italian Guitars, Vintage Italian Guitars, Vintage Italian Guitars, Historical Figures, Historical Figures, Historical Figures, Historical Figures, Historical Figures, Historical Figures, Wandrè, Wandrè, WandrèNo Comments

Today we have a splendid Wandrè Blue Jeans owned by the collector Renato Cavallaro.

Lorenzo

One of the very first Blue Jeans with a wooden neck.

The Blue Jeans, as the name suggests, was born as an economic guitar dedicated to young beginners or amateurs.

Most likely predating her sister Piper, the B.J. it will then be renamed Teenager, to highlight even more its being destined mainly to that slice of the market.

The main difference with the Piper is the Florentine cutaway, which lightens the silhouette, making it even more provocative and modern, a modern classic like blue jeans, we could say.

To make the BJ cheaper, it was decided to use a wooden neck instead of aluminum, and (at the suggestion of Athos Davoli) the abolition of all non-essential elements such as the jack socket, which was replaced with an attached cable to the pickguard.

The price was thus settled at 18,000 lire for the guitar and 34,000 for the 4-5 watt guitar + amplifier set.

Through various modifications, the Blue Jeans remained in production from 1958-59 until 1967, making it the most popular and best-selling model of the Wandrè production.

Over the years, the B.J. will undergo several changes, including some very rare versions such as the very first samples with wooden neck with a particular trefoil section, those with sound holes with a curious shape reminiscent of the camel’s hoof, those without sound holes and with 3 pick-ups.

In 1961 the Nuova B.J. and the B.J. Major were born.

The first has a neck with a “non-deformable metalcore, adjustable (Wandrè patent)” and polyester paint.

The Major instead has an aluminum neck with a welded aluminum headstock. The aforementioned neck is fixed to the body by means of a tilting device that allows fine adjustment of the neck-chest angle and consequently of the action.

Further additions were the height-adjustable bridge, the curved top with a new shape of the sound holes, a new pickguard equipped with two pick-ups, volume and tone control and microphone jack output.

In the B.J. further modifications followed one after the other, such as the plexiglass pickguard, the neck-thru neck, the different shape of the harmonic holes and even their disappearance.

The name Tri-Lam is instead improper and derives from the tri-lamellar plywood with which the B.J. was manufactured, like also most of the other Wandrè models.

For more information, please refer to the excellent book written by Wandré’s leading expert, Dr. Marco Ballestri: “Wandré – L’artista della chitarra elettrica” .

… but how does it sound?

Click the button and listen to the sound of the Blue Jeans from the fingers of the great Mario Evangelista.

Overview of the wonderful Blue Jeans owned by Renato Cavallaro

A review of a Wandrè Blue Jeans from our affiliate Fernando Temporão

Credits

We thank the Facebook group and our affiliate Wandré Guitars who, in the person of Dr. Marco Ballestri, kindly provided us with information and photographic material, as well as kind advice.

A dutiful thanks always go to the creator, that Wandré who left us a heritage of art and innovation that never fails to make us remain in amazed admiration.

Swiss Made 2069

Swiss Made 2069 – 1969

By Cinema, Cinema, CinemaNo Comments

 

Swissmade is a trilogy of minifilms about the future of Switzerland, the third of which, 2069, is the film that features a young H.R. Giger, early in his film career.

The Boss

Yves Yersin, Fritz E. Mäder, Fredi M. Murer

Being an old admirer of Giger, I had long hoped to watch his first film work, the medium-length film ‘Swiss Made 2069’, which had been missing for many decades.

One day, coinciding with the announcement of the dissolution of Daft Punk, I remembered this curious cinematic experiment by the good H.R. in collaboration with his friend the director F.M. Murer, author of the documentary ‘Passagen’ dedicated to Giger himself.

Attempting yet another search on the web, believing it to be unsuccessful again, I found with great surprise a link to a 39-minute video: another old dream realized thanks to the web.

Swissmade is a trilogy of minifilms about the future of Switzerland, in the first, ‘1980 (Der Neinsager)’ by Yves Yersin, a revolutionary who returns from Brazil and discovers that his fellow revolutionaries have lost their initial determination and enthusiasm. He is seen as a caricature of the past and will end up being an actor in a commercial for a bank.

The second film, Fritz E. Maeder’s ‘Alarm’, sees a worker who wants to rebel against the system and a hag wife.

The third is our ‘2069’.

Swissmade 2069 is written and directed by longtime Giger collaborator Fredi M. Murer, and Giger’s footprints are everywhere in the film.

The script comes from a doubt, what will Swiss society be like in 100 years?

The world of 2069 is a set of corporate states that are each led by their own ‘Brain Center’, an AI computer that manages and monitors citizens in their every move. Everyone brings a camera and says goodbye by taking pictures.

Citizens can and must periodically contact the “Brain center” from countless “Braincorner” intercom columns. Nothing can happen without strict control, the deterioration of food data is also recorded, for which an alert system has been set up.

It is a complacent population, which voluntarily commits acts of self-surveillance and patriots are marginalized and dismissed as insane, for wanting to get away from this society of control.

It is the citizens themselves who submit “voluntarily” to this self-defined ‘Total Scientific Democracy’ based on mind-reading, the lack of individuality and choice: every decision is made by the AI, which also manages the sexual relations between citizens with the ” calculation of the ideal daily companion ”which is communicated to the applicants through the Braincorners.

Sexual relations are kept strictly occasional to maintain a social distance that prevents people from being able to unite in possible subversive associations; also the job duties and the workplace are constantly changed so that people do not come to establish relationships of interpersonal mutual knowledge.

All forms of emotion, including those deriving from contact with nature, are banned.

Families are tightly planned and managed and the children of the typical family are a couple of twins.
The maximum age at which it is allowed to reach is 41 years, after which they are eliminated.

A “citizen integrated into the system but with a latent tendency to move away from it” is commissioned by the “Brain Center”, the AI ​​that controls society, to produce a film report on the unknown mission of an alien being. The alien is an extraterrestrial with a built-in Bolex camera, a microphone and a Nagra tape recorder, traveling around planet Earth in 2069 to explore its current conditions.

A “philosopher”, in his studio located in a sort of large cathedral-villa, where he lives surrounded by a team of 7 young “helpers” remotely controlled by himself through various audio frequency impulses, is studying the system to be able to transform Switzerland into a place where the various corporations-states can, by paying, get rid of the system’s dissidents in special reserves.

The last thought collected is that of a technocrat who underlines – addressing the peaceful visitor with vigor and contempt – how successful this system of Totalitarian Democracy is, since, being based on the collection of data processed and managed by the computer, «There are no superior or subordinates citizens. Don’t you know anything about our Democracy? Which developing planet do you come from?»

The silent observer collects thoughts and testimonies of various types of the humanity of this dystopian world, from aligned to dissidents (with a preference towards the latter), to then be kidnapped, deprived of camera and recorder (head and heart) and then normalized by “scientists” of the Brain Center, with faces hidden by a surgical mask, preventing him from returning and being able to bring help to his world.

After this last terrible act, “thinking humanity” waves a symbolic white flag in flames and prepares to completely abandon this robotic society.

A veiled criticism of Swiss society appears quite clear: Switzerland is now shown as completely absent from the map of Europe, in its place there is now an immense lake, like an inland sea.

The outcasts have gathered on a boat and set off on the lake towards the horizon, leaving this society for good.

The finale shows what the alien’s “developing planet” will look like sometime later, seeing it hopeless.

The film journalist is played by Murer himself. All participants in the film were, in real life, authentic 1968 activists, some of whom later pursued a career in politics or art.

In a short scene there is also Li Tobler, the then companion and muse of Giger, who appears in the film as an artist/eminence who produces the plans of this dystopian society, a sort of ‘Architect of the Universe’ who interfaces with the Brain Center through an armchair with terminal, anticipating the station with which the crew of the Nostromo communicated with the system computer ‘Mother’ in the ‘Alien’ movie, an idea that will also be developed in the famous ‘Logan’s escape’ but even in the George Lucas’ ‘THX1138’ confessional.

Li Tobler

H.R. Giger

Tina Gwerder is The Alien

It is almost superfluous to underline that even the alien itself of Swissmade 2069 is a clear anticipation of the Xenomorph of the film Alien, just as the Brain Center is a version in swaddling clothes and without ‘filters’ of the computer Mother.

We close by pointing out the obvious similarity between the character of the alien observer and that of Thomas Jerome Newton, the protagonist of Walter Tevis’ novel ‘The Man Who Fell to Earth’. Similarity made even more evident by the final scene of 2069 with those depicting the planet Anthea in the film version of the Tevis novel directed by Nicholas Roeg.

A RARE EXTRACT FROM A TV SPECIAL ON GIGER AND “SWISS MADE 2069”

Credits/Cast

Buch, Regie, Kamera, Schnitt: Fredi M. Murer
Aufnahmeleiter: Giorgo Frapolli
Ton: Christian Kurz
Foto:
Doris Quarella
Future-Design:
H. R. Giger
Science-Couture:
Silvia Wolfensberger
Labor:
Cinegram SA, Zürich/ Genève
Lichtbestimmung:
Johannes Anders
Mischung:
Bruno Müller / Sonorfilm AG, Bern
Trick:
Charly Kresling / Probst film, Bern

Sprache: Hochdeutsch
Dauer:
40 min
Originalversiont: Farbe, 35mm
Verleih: FMM Film Verleih

Cast:
Humanoid (visitatore): Tina Gwerder

Reservatbewohner (abitanti della riserva)
Asther Altorfer, Hannes Bosshard, Carmen Corti, Ivett Epper, Kurt Eler, Kiky de Groot, Manon Küng, Anna Leskinnen, Ruth Murer, Sabine Murer, Robi Müller, Toni Holz Portmann, Lili Schiess, Hans Stamm, Verena Voiret, Paul Weibel

Integrierte Staatsbürger (cittadini integrati)
Dieter Ackerknecht, Gianni Bacchetta, Elisabeth Besmer, Sylvia Besmer, Alex Böckli, Pino Bühler, Ines Diemer, Doris Ehrler, H.R Giger, Cornelia Grossmann, Thomas Held, Peter Hürzeler, Daniela Indemini, Andreas Kappeler, Regine Kappeler, Su Kappeler, Bruno Klieber, Frieda Kurz, Egon Meichtry, Margrit Röllin, Raymond Scholler, Li Tobler

Credits

Thanks to the site of the director F.M. Murer for the images.

 

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Eko Dragon Electronic Renato Rascel

By Vintage Italian Bass, Vintage Italian EffectsNo Comments

 

We have a unique instrument on display, the Eko Dragon that belonged to Renato Rascel and we already know that we will make collectors happy by saying that it is for sale.

Lorenzo

Renato Rascel with Marisa Allasio in the film “Seven Hills Of Rome”

Renato Rascel, aka Renato Ranucci, was a multifaceted artist of great fame, especially in the period from the 40s to the 70s. He was an actor, comedian, songwriter, dancer, presenter and even a journalist.

He composed a song for Sanremo and also the famous “Arrivederci Roma”, the theme of the film of the same name which he interpreted alongside Marisa Allasio, a famous actress and sex symbol of the period. He worked a lot in cinema and theater.

On television, the Rai tv series “The Tales of Father Brown”, taken from the well-known stories of Chesterton, was particularly famous.

At some point in his life, Rascel bought or commissioned an Eko Dragon Electronic.

EKO 1967 brochure

The Eko Dragon is a high-end instrument that was produced by Eko in a limited number, the Electronic version is even rarer and brings a series of rather interesting and not at all useless onboard effects.

Being the Dragon Electronic manufactured by Eko in parallel with the Vox guitars, the effects, fuzz, bass & treble boost and tremolo, are of the same type as those found on the Ultrasonic, Chetaah, Bossman, Grand Prix Starstream, but also on the Apollo , the guitar that was practically the US version of the Dragon, with one pickup only and a different headstock.

Actress Elizabeth Montgomery with a colorful version of a Vox Apollo, in an episode of the famous TV series “Bewitched”

Vox entered the United States with energy and the instruments produced by Eko caused a sensation in the American market, they were seen in the hands of many of the psychedelic and pop groups of the time, becoming a symbol. You can even admire an Apollo, in psych finish, carried by Elizabeth Montgomery in a funny episode of the famous TV series “Bewitched”.

The first production of the Dragon dates back to 1967 and is one of the last projects of the then-owner Oliviero Pigini, designed by Augusto Pierdominici. The desire was to offer a professional, elite instrument, but one that was not elite also in terms of price. Note, for example, that it was one of the first instruments to have Grover die-cast keys, which Pigini himself ordered in the USA.

Woods of excellence: solid cherry, maple, ebony.

Being a hollow body, it sounds very good both acoustic and electric. The Eko Ferro-sonic pickups are very full-bodied, much more than the common single coil, at the same time defined and powerful.

The effects have a very actual sound, especially the fuzz and the boost, both very beautiful. The electronic tremolo turns out to be an interesting effect that can still be used with gusto. The effects are powered by two 9 volt batteries that do not pass through the primary circuit, so if missing or flat, the guitar will work normally as passive.

A vintage audio demo by Vox shows us how the onboard effects sound

The neck is made of three pieces of maple, it is rather thin, smooth and very comfortable. The fingerboard is ebony with binding, the back and top of the body are carved from two pieces of solid cherry. The front and back binding of the body is very elaborate and tasteful.

The Bigsby-style tremolo was manufactured at a foundry in Civitanova Marche and the tuners were, as standard in Dragon Electronic, the Grover Die Cast.

The Eko workers, understanding their importance, were particularly proud to work on these instruments and put all their passion into making them. Time has paid them credit because the Dragons have arrived today in excellent condition.

Luciano Dell’Aquila, its current owner, talks about this Dragon that belonged to Rascel:

«Rare and super equipped, this Eko Dragon belonged to Renato Rascel, who gave it to his pianist Tony Sechi in the mid-70s. Tony married my sister Liliana, in the year 83 and gave me the guitar, glad I took care of it.

I took it on tour and in Padua, I found it a nice hard case. Then I only used it in the studio to record, too precious to take it into smoky and crowded places. I would like to sell her to someone who treats her well, she has been with me for about 40 of her 53 years.

Top and back carved in solid cherry. Neck in three glued pieces made in European maple, flat back, narrow. Fretboard “vintage”, frets in good condition, ebony fretboard, celluloid fret markers, white “binding” on the neck and checkered on the body.

Overview of the Dragon Electronic that belonged to Renato Rascel

“Bigsby” type mechanical tremolo, three “Single-Coil” pick-ups circuit with a switch for each of them, passive tone and volume pots. By installing 2 batteries (9v) in the rear compartment, the distortion, the electronic tremolo and the treble/bass booster are activated, all very effective.

Vast timbres, in the Fender, Gretsch, Rickenbacker range. Original “Grover” tuners. This beautiful Marchigiana confirms the talent of the Recanati brand, of the “Made in Italy” and that the “Multi-Buttonism” of the 60s was not always mere adornment.

 

For info and purchase requests, please contact Gisèle

… but how does this Eko Dragon Electronic that belonged to Renato Rascel sound?

Demo of the Renato Rascel’s Eko Dragon Electronic

…and what about the bass?

The bass version is an extremely sensual and refined animal: the slender shape of the headstock fits perfectly with the roundness of the body and that particular string lock is almost a work of art of minimalist design…

Credits

Unfortunately posthumous thanks

A dutiful thanks go to the all-Italian initiative that Oliviero Pigini impressed on EKO, making it the largest and most active string instrument factory in Europe.

A heartfelt thanks to Augusto Pierdominici, a great designer and technician, whose inspiration is discovered and appreciated more and more over time.

 

Anna Corona Retro

Anna Corona Retro

By Instant ClassicsNo Comments

 

In the spirit of our Passion, in this article we will talk about a new instrument that looks back to the past in terms of aesthetics and sound, while retaining its own and very fascinating personality, the Retro by Anna Corona, an excellent luthier from Palermo.

Lorenzo

We are pleased to have Anna herself to tell us about this beautiful offset semi-hollow she created:

«The Retro was born from the desire to combine a classic sound, which refers to the semi-acoustics of the
mid ‘900, with the technique of a modern instrument.

Since the beginning of my personal sound experimentation I have always been attracted to the world
of the hollow body, by their peculiar relationship between the vibration of the hollow body and the electronics, by their
sustain and their harmonic richness.
So I wanted to give my interpretation, a tribute to what I love most about the vintage sound:
that’s how my instrument was born.

Using a specific design of tonal chambers and woods, coupled to the P90 with alnico magnets
II, the harmonic richness of the sound is emphasized to the maximum with controlled feedback, which becomes
an ally in the search for dynamics instead of an annoying problem typical of large hollow bodies.

What you get is a full and warm sound, rich in sustain but that does not lose in
dynamic. Even the line of the guitar refers to the vintage style, and to the most eclectic experimentations of Italian luthery, unconsciously evokes the most daring lines of Wandrè: the asymmetry of form as a guide.

The roller saddles bridge and the soft Duesenberg tremolo
complete the project, giving additional technical possibilities to the classic stop tail bridge.”

RETRO specifications

– Flamed ash monobloc body
– Flamed Maple Top
– Maple bolt-on neck
– Rosewood fingerboard with Abalone inlays
– 22 jumbo frets
– Radius 14”
– Diapason 25,5”
– P90 Alnico II pickups with AWG42 plain enamel scatter winding
– Kluson vintage tuners
– Duesenberg Les Trem II tremolo
– ABM roller bridge

… but how does it sound?

Click the button and listen to the sound of this wonderful Retro played by Fabio Lacca.

In the following images there’s another fascinating version of the Retro.

… but how does it sound?

Listen to the sound of the beautiful Retro, played by Alberto Santamaria.

logo_annacorona_classic2vintage.jpg

“I have always had a great passion for music and especially for musical instruments. Since I was a child I was curious about how they were made, how they generated sound.

Over the years my interest in the musical world was growing even more and I attended ‘Disciplines of music’ at the Palermo University, first obtaining a three-year degree and then a master’s degree in Musicology.

After my academic studies, I also dedicated myself to the whole “practical” part, unknown to me before. I started working with wood and studying all the characteristics related to sound, I deepened the fields of electronics applied to electric instruments, which have always been my passion.

And so, little by little, my business was born. Today I build my instruments in my little Palermo shop.”

 

Yamaha SA-15 D

Yamaha SA-15 D

By Japan Vintage Guitars2 Comments

 

Today we have a splendid semi-acoustic model, one of Yamaha's first experiences in the search for a personal design, which distinguished the aesthetics of its instruments from others.

Lorenzo

As Yamaha is the oldest still existing musical instrument manufacturer in Japan (the factory was born in 1888 as a producer of pipe organs and later pianos, and then moved on to guitars to all other electric and electronic instruments), there is no wonder it has produced truly excellent guitars.

Its old classics and acoustics are exceptional instruments, with a remarkable sound projection and dynamics, while the electric ones have always fascinated, not only for innovation and technical quality, but also for the peculiarity of the design.

The electric ones were produced starting from 1966 and over the years many different models saw the light, of which the SG played by Santana became famous but also a whole series of instruments related to a very specific genre, surf rock.

Among these were the first solid-body SGs (not to be confused with the Santana SG, which will be launched later) and the semi-acoustic SA series, with the splendid SA-20s. 30, 50 and SA 15 and 15D, hollow body versions of SG solid bodies.

The SA-15 and SA-15D differ only in the finishes, being the first less decorated than the second which instead has an elaborate binding around the top/back and a simple binding along the neck, in which we find inlaid frets on the upper part of the fingerboard. instead of the dot of her sister.

The SA-15D is a hollow body guitar inspired by The Beatles’ Rickenbacker and The Ventures’ Mosrite, which were the hottest bands in Japan at the time.

The sound is dark, woody and warm but well defined. The fully hollow mahogany body and bolt-on neck give this guitar a slightly thicker and darker tone than the more common SA30 and SA50.

The neck, also in mahogany and with a rosewood fingerboard, has the typical comfort of Yamaha instruments and the headstock has a simple and attractive design, very harmonious in the lines.

The controls are the typical two volumes + two tones and we find a classic three-way switch for the selection of the two high sensitivity noiseless pick-ups, with anisotropic ferrite magnet and adjustable poles.

The tremolo is a typical Bigsby-like Japanese style, with a faux wood inlay on the string retainer. The tuners’ design denotes simplicity and finesse.

The overall line of the body recalls a large sea wave in the act of closing on itself, recalling a sort of extreme and harmonious reinterpretation of the classic telecaster design.

The harmonic soundhole is also very beautiful and particular, instead of the typical “f”, it too reproduces the shape of a wave.

The SA-15D seems to have had a short production period, ranging from 1968/69 to 1972, but there are even those who say that it was only produced in a single year or two.

Comparing the serial number with the various guides, however, the guitar we have here seems to date back to 1973.

This guitar had a quite adventurous life, having traveled in a big band around Europe and on cruise ships in the 70s.

She then went through the orchestra and piano bar’s life to take a refreshment stop in Serena’s hands and finally continue on to other shores, continuing her adventurous life!

Yamaha SA-15D overview

… but how is the sound?

Demos of the sound of the Yamaha SA-15D and SA-30 to compare their sound in clean, overdrive, fuzz and overdriven amp.


	
 

Wandrè Rock 6

Wandrè Rock 6

By UncategorizedNo Comments

 

Speaking of iconic characters, it's hard not to immediately think of Wandrè, with his works on the verge of the paranormal, and Rock 6 is one of his strangest creatures.

Lorenzo

Being in the presence of a Wandrè instrument is like being in front of a modern work of art, works of this kind should have their rightful place in every contemporary art museum in the world, they are so devoted to design and conceptual art.

Our friend Gordy has kindly granted his two Rock 6 for the making of this article, telling us that one of the two guitars is available for sale.

The Rock 6 takes its shape from the Spazial, a model of which it retains the perimeter but significantly modifies its dimensions: the Rock is about 7 cm longer, narrower by about 5 at the shoulders and 7 at the sides while the thickness is about 2 mm less.

The Rock model, both bass and guitar, is a real sculpture, which recalls ancestral fetishes and symbolisms, a sort of wooden idol praising ‘Freedom’, which Wandrè identified in rock.

The wood chosen for the body is the wonderful African Padouk, oil finished, a very hard and heavy wood as much as it is fascinating, which contributes to giving a tribal taste to this unique instrument.

As usual, the neck and headstock are aluminum, neck through and with the usual plastic cover on the back. Initially it went through the major hole up to the heel, anchoring itself to an aluminum trapezoidal bracket.

Later it was shortened and the hole remained free, with great gain in the overall look of the instrument.

A dedicated headstock was not designed for the Rock 6 but were used the models already mounted on Selene, Waid and Spazial of the same period.

The electronic part consists of two Davoli pickups and a volume, tone and pickup selector inserted in the typical box of a chromed brass sheet already used in all the other guitars except for the Bikini.

The extreme peculiarity of the shapes of this instrument is given precisely by the two holes that open in the body, the large one which often has the shape of a heart or bean, and the small one, which varies from round to elliptical.

It has been mistakenly thought that the shape of the holes corresponded to different production periods, while more likely they differed according to the taste of the operator in charge of shaping, or, much more often, they were dictated by the need to correct any defects in the wood, errors or chipping that occurred during the processing of a difficult wood such as Padouk.

The Rock 6 is characterized by a decidedly warm sound and a notable sustain given by the Padouk and the lower hole that gives the body a shape like the famous Scacciapensieri (or Marranzano), imitating its physical abilities.

In this guitar, you can be surprised to see everything, from a strange face with only one eye, to the silhouette of a bird (personally we see something similar to the Woodstock bird from the Peanuts).

The Rock 6 model was produced from 2 September 1961 until the end of 1962, the two examples on display here belong to the 1962 production.

For more information, please refer to the excellent book written by Wandré’s leading expert, Dr. Marco Ballestri: “Wandré – L’artista della chitarra elettrica”

Overview of the Wandrè Rock 6

You may be wondering which of the two guitars is on sale, well this is the one with dot fret markers that we show you below.

It seems that this Rock 6 is the same one played by Eddy Grant with The Equals, as seen in the video of ‘Baby come back’ at Top of the Pops.

For inquiries, please contact Gordy.

Eddy Grant with The Equals in ‘Baby come back’ (Top of the Pops – 1968)

… but how is the sound?

Sounds of the Wandrè Rock 6

…and what about the bass?

The bass version probably came before the guitar and was called, in fact, Rock Basso.

Guitar and bass shared the same 32.6 scale but the bass only had one pickup and remained in production until the end of 1964.

The headstock and string holder were the same as in the Waid model and also the volume control, as in the Waid itself, was located at the base of the string holder.

How a Wandrè Rock Basso sounds

Credits

We thank the Facebook group and our affiliate Wandré Guitars who, in the person of Dr. Marco Ballestri, kindly provided us with information and photographic material, as well as kind advice.

A dutiful thanks always go to the creator, that Wandré who left us a heritage of art and innovation that never fails to make us remain in amazed admiration.

 

The Italian Connection

The Italian Connection – (La Mala Ordina) 1972

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Quale si può considerare il film della carriera di Mario Adorf? Sicuramente il ruolo del piccolo ruffiano Luca Canali che, davanti alla disperazione, si rivela una trigre indomabile, potrebbe essere il candidato ideale.

Lorenzo

Fernando Di Leo con Woody Strode

Luca Canali è un piccolo sfruttatore di prostitute, ingiustamente accusato dalla sua organizzazione d’avere rubato a Corso, grosso trafficante, i proventi d’una spedizione di droga, incassati invece dal boss don Vito Tressoldi. Due mafiosi americani, David Catania e Frank Webster, giunti a Milano, si mettono sulle sue tracce, mentre Tressoldi, nell’intento di catturarlo e consegnarlo agli americani, ne fa uccidere la moglie e la figlia.

L’uomo, rivelatosi più duro del previsto, metterà in atto la sua vendetta…

L’interpretazione di Adorf è eccezionale, talmente realistica ed efficace da essere realmente rara nel suo genere.Personalmente considero questo uno dei massimi film di genere, dove la sceneggiatura e la regia di Di Leo e il montaggio di Amedeo Giomini, con contorno delle splendide musiche di Armando Trovajoli, contribuiscono a creare un’opera noir magistrale e indimenticabile.

La scena dell’inseguimento, dove sono palpabili il dolore, la forza della disperazione e il sudore è, a nostro parere, la più bella mai vista nella storia del cinema, talmente vivida ed indimenticabile da lasciare a bocca aperta e riuscire a mettere in disparte anche quelle dei classici d’oltreoceano quali “Il braccio violento della legge” o quelle dei polar francesi.

Il cast è stato ben concertato da Di Leo e tutti danno il loro piccolo o grande contributo. Henry Silva è eccellente nel ruolo del gangster italoamericano, trovando una valida spalla in Woody Strode. Adolfo Celi è eccellentemente spietato nel ruolo del boss Tressoldi, Luciana Paluzzi fa presenza con il suo tipico fascino, Franco Fabrizi dona la sua tipica simpatia nel piccolo cameo del meccanico zoppo e traditore ma realista.

Femi Benussi sorprende, superando il tipico ruolo della sgallettata e rendendo bene l’immagine dell’inasprita donna di vita, l’alttssima Francesca Romana Coluzzi è efficace nel ruolo della hippie che lancia i suoi messaggi politici e anche le apparizioni flash di Renato Zero hanno un loro perché, contribuendo a dare un colore lisergico alla pellicola. Silva Koscina appare quasi straniata nel ruolo della moglie di Canali, un ruolo fuori dalle righe per lei.

La cura di scenografie e costumi è perfettamente curata e i colori saturi e vividissimi, rendono ad hoc l’atmosfera calda di una tragedia che si svolge, improvvisa, in una estate milanese di 50 anni fa.

I clichè del mondo mafioso sono perfettamente esaltati, in questo secondo capitolo della Trilogia del Milieu di Di Leo, gangster che sbocciano e spargono denatro a fiumi in night club pieni di belle donnine discinte e sculettanti, costumi sgargianti e cafoni, dialoghi aggressivi e coloriti, battute salaci e spicce.

Ma su tutto svetta il personaggio di Canali, dotato di una simpatia contagiosa e per il quale non si può non parteggiare, impossibile non calarsi nei suoi panni di uomo braccato, un antieroe che si dimostra più valoroso, coraggioso e profondamente leale di ogni altro personaggio del film, anche quelli apparentemente puliti e che, al contrario di lui, vengono rispettati dalla società.

Il merito di Adorf è talmente evidente, lampante, scintillante, che non si capisce perché nel cinema italiano non gli siano stati offerti altri ruoli del genere, invece di relegarlo sempre in ruoli di contorno.

Attore dotato di una mimica facciale unica unità ad una fisicità imponente, riesce ad essere al tempo stesso a proprio agio ed impacciato, eppure eccellente nelle scene d’azione, fino a dimostrarlo pienamente nella già citata incredibile scena dell’inseguimento, autentico nodo centrale che trasforma quello che poteva essere un qualunque film di gangster in una pellicola epocale.

Da notare che l’attore esegue la scena il più delle volte direttamente, senza quasi l’utilizzo di controfigure, davvero impressionante.

The Chase from “THE ITALIAN CONNECTION”

«A differenza di Melville e di Houston, io non avevo una visione romantica e idealizzata dei delinquenti, perché li conoscevo bene, essendo figlio e nipote di avvocati penalisti» dirà Di Leo del proprio cinema.

La mala Ordina è tratto da un racconto di Giorgio Scerbanenco, uno dei nostri vanti letterari a livello internazionale, autore di alcuni dei più bei racconti noir in assoluto.

Il racconto preso in esame è proprio quel “Milan by calibro 9” che Di Leo userà come titolo per il primo capitolo della sua trilogia.

Mario Adorf è Luca Canali

Henry Silva è David Catania

Woody Strode è Frank Webster

Adolfo Celi è don Vito Tressoldi

Luciana Paluzzi è Eva Lalli

Franco Fabrizi è il meccanico zoppo Enrico Morosini

Sylva Koscina è Lucia Canali

Francesca Romana Coluzzi è Triny

Femi Benussi è Nana

Trailer from “THE ITALIAN CONNECTION” by Peripheral Visions, music covered by Calibro 35

Locandina minimal by Federico Mancosu

 

buone notizie

Good News – 1979

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Elio Petri's latest film is a testament that contains a silent and desperate cry.

The Boss

Ombretta Colli, Giancarlo Giannini, Elio Petri

This article contains spoilers (plot previews) from start to finish, it is better to watch the film first and then come back to read the article.

In a Rome distressingly full of garbage everywhere, the tragedy of a ridiculous man takes place, indeed, of a ridiculous and hypocritical humanity, increasingly prey to the ego and the empty narcissism that characterizes the present times.

The protagonist, unnamed, is the embodied symbol of a sad and childish humanity, which feeds only on materialism, selfishness, meaningless sex, where values ​​are the shadow of themselves, now only a Catholic heritage cited only to save the appearances and to silence one’s own illusory conscience.

The inversion of habits and a new fierce feminism are at the door, the metaphorical “pants” are now female-owned, and the feminization of the male figure is already underway: it is today.

In this devastated and devastating society, he moves, very badly, like the worst fish out of water, the unnamed person played by Giannini, a slimy little man who has been entrusted with a leadership role in a large television station, all too easily imaginable. which broadcasting may be.

This homunculus, who spends his life between pathetic victimism and the constant presence of the TV news that emit only terrorism, is the center of a surreal story that is colored with thrilling.

He is approached one day by an old school friend now almost forgotten, who confesses his fear of being soon killed by an unknown association that, for some unclear reason, has targeted him in order to eliminate.

Gualtiero, the strange character played by Paolo Bonacelli, seems to have a strong attraction towards the “unnamed” calling him his best friend, constantly looking for him and also pushing him into his wife’s arms, with whom he has a relationship of mutual maximum “freedom”, saying happily that the two can fraternize since he will soon be killed and declares himself only interested in the practice of masturbation, a fact that seems to be reinforced by a manual that he always carries with him.

The unnamed man has a young wife, a teacher, who often has childhood or adolescent behaviors and with whom he lives a relationship with continuous contrasts but in which the sexual component is always alive.

Despite this, the unnamed one continuously and embarrassingly seeks confirmation of his charm from other women, always trying to circumvent them to satisfy his own narcissism, arriving then to never reach anything because, as said by Ada, Gualtiero’s wife, the unnamed is not other than a moralistic mentalist who cannot naturally enjoy anything in life, not even 10 minutes of liberating sex.

The relationship with the rediscovered Gualtiero turns out to be more and more upsetting for him, who begins to suspect an interest that goes beyond friendship. He will also reveal that he is deeply in trouble with the fixation of his friend, who lives in expectation of his killer because the nameless himself has a mad fear of dying.

No defect is missing in this character never mentioned by name, he is the perfect allegory of all human worthlessness and will come to fully reveal his hypocrisy when his wife, who had declared him to be pregnant, confesses to him that her son is from Gualtiero, with whom she had an affair because Gualtiero reminds her of the unnamed.

Gualtiero will finally be killed and the unnamed will go to the hospital where he left his friend, acting a pathetic scene in the hope of exonerating himself from a possible murder charge.

The policeman who interrogates him at the hospital, being strongly struck by this hypocritical recitation, begins to doubt that the two could have an affair and, laughing, throws it in the face of the homunculus, who, angry as usual, is fearing about that to be true inside.

The film ends in the usual park where the staff of the TV station goes during the typical “bomb alarms”. It is precisely these scenes in the park that moistly point the finger at how much humanity has been reduced to a childish mass of never-grown-up adults.

In the last scene, the unnamed person will open an envelope that Gualtiero left him, on which it says “not to open” and which contains other matryoshka envelopes with the same wording and at the end a series of tickets always written “not to be opened”, which unnamed / humanity will try to throw away and, following an afterthought, collect, as a last resort to find himself / herself.

The symbolic quotation is still directed to the famous Aldo Moro’s memorial, already mentioned in the finale of his previous work, ‘Todo Modo’, which makes it clear that most likely we are facing the second chapter of a trilogy of which his unfinished “Who enlightens the Vast Night “was the final chapter that, perhaps, we will never see.

Petri with the cast

The acting cast is excellent: we find a Giannini in great shape, a Bonacelli perfectly in part, the likeable Ninetto Davoli in a very marginal role and an exhilarating Franco Javarone in the policeman’s role.

The mysterious female side makes use of a young Angela Molina, very good, in the part of Fedora, the young wife of the unnamed, Aurore Clément, excellent in the role of Ada, wife of Gualtiero and a surprising and fascinating Ombretta Colli in the role of Tignetti, the colleague of the unnamed. There is an appearance of the young and attractive Ritza Brown in the role of Benedetta, a friend of Fedora.

A role was also proposed to Giorgio Gaber, who refused, proposing his wife Ombretta Colli instead.

Giancarlo Giannini as the Unknown

Angela Molina as Fedora

Paolo Bonuccelli as Gualtiero

Aurore Clément as Ada

Ombretta Colli as Tignetti

Of all Petri’s films, this is certainly his saddest and the most disconsolate act of denunciation, which arrived almost on tiptoe at the end of a great career dedicated to stripping humanity of hypocrisy and Catholic provincialism and respectability.

After the lucid but angry analysis carried out in the previous “Todo Modo”, sparkling even in its being deeply cloaked in Jesuit darkness, in Good News, as happens to its protagonist, Petri seems unable to find peace and does not see a possible solution to this rotten and twisted within.
The rivers of garbage present everywhere, streets, parks, sidewalks, along the Tevere river and on the beaches, are the clearest and most obvious symbol of what humanity is reducing itself to and at the same time they are the symbol of mismanagement that the “dark powers” leading of our society have been imposing on us for years, annihilating the human soul, forced to this image of rot and ugliness.

The female figure is represented as a sort of Modiglianesque sculpture which, with a mysterious playful smile (and without refraining from launching some salacious critical judgment), contemplates the childishness of this humanity made mad by preconceptions and social engineering, those tortures that humanity itself tolerates and self inflict to continue serving a ridiculous social order that has no other purpose than to ruin humanity itself.

With this last desperate act of love, Petri hopes to awaken humanity from this sordid numbness of convenience, before it arrives at the inevitable self-destruction that we are witnessing right now, at this very moment.

Giannini and Petri

Trailer from “Good News”

 

auriga_trademark_resize_eko_auriga_classic_2_vintage

EKO Auriga – Chariot of Gods

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Inspired by the famous Mandoguitar in the days when Eko produced instruments for Vox, the Auriga is a splendid example of Italian design, with its slender and well-proportioned lines and the 'reverse' headstock derived from the Eko 700.

Lorenzo

The year of marketing is 1968 and just by looking at it you are projected into an era of beat parties, colorful dresses and bobbed hair.

Augusto Pierdominici, the man who led Eko after the death of the founder Oliviero Pigini (times when a company executive had to be also his flagship designer, just like Pigini was), certainly did an excellent job with this instrument intended for the band Equipe 84.

The story tells that Maurizio Vandelli brought a Gibson Firebird with him to Eko, specifically asking that the instrument be made with a “reverse” headstock.

Inspired by the famous Mandoguitar in the days when Eko produced instruments for Vox, the Auriga is a splendid example of Italian design, with its slender and well-proportioned lines and the ‘reverse’ headstock derived from the Eko 700.

The potentiometers, very well organized, follow the profile of the body and on the horn there is the pick-up selector, two overwound single coils that aesthetically recall the design of those Burns Trisonic made famous by Hank Marvin of Shadows and Brian May’s Red Special.

The electronic is divided into general volume + volume and tone for each pick-up, a rather atypical configuration for Eko instruments, perhaps made at the request of the group itself. The selector is a typical slide with three positions.

The tremolo is common on the Eko solid bodies of the period, the 102 model, with its large and comfortable Bigsby style arm. The keys are of the hydraulic precision kind, Eko marked.

The nickname Palette (that means Palette), or even Picasso, was given due to the shape of the body which resembles that of the painting palette.

40 examples were produced, plus some basses and at least one 12-string model, also seen in a photo with Equipe 84.

The woods used, from what is understood, were poplar or alder for the body, maple for the neck and rosewood and ebony for the fingerboard.

The red Auriga in the photos is owned by the collector Simon Testamatta, who, understandably, has no intention of parting with it: “It was in a closet in an elderly lady’s house, I cleaned it and put it with the others of its ‘category’, the Italians.”

Simon’s Eko Auriga

The Auriga Bass

We close by adding some images of the bass Auriga, also in the typical red and sunburst colors.

The red bass inside the case belongs to our affiliate, the collector Sergio Lombardi, while the one in the image with the Auriga guitar is owned by another of our affiliates, the collector Jacques Charbit, creator of the famous line of effect pedals, Jacques Pedals.

Finally, we find a sunburst bass in an old photo of an Argentinian band.

Credits

Thanks to Fetishguitars for the use of some images.