NEWS
news bits
LAUNCH
dean zelinsky
launches
dean zelinsky
private label
Guitars
The man behind Dean and
DBZ Guitars has announced
his new company, Dean Zelinsky
Private Label Guitars. The guitars will feature both familiar
shapes and new models with his
Z-Glide reduced friction neck.
The entire line will be available
in Fall 2012 with imported models ranging from $299 to $1,299
and USA Custom models starting at $3,599.
Solid cables Founder
Funds “Stoner Rock”
Amp company Via
kickstarter
Solid Cables founder Nial
McGaughey used Kickstarter.
Dean Zelinsky Private Label Stret- taVita hollowbody
com to fund a run of guitar amps
inspired by rare tube amps from
the late 1960s to early ’70s. The
line, called Hovercraft Amps,
takes inspiration from vintage
Matamp, Orange, Laney, and
Sunn Amplifiers. Each amp will
be priced at $750 and uniquely
tailored and voiced to the owner.
THEFT
petty’s Vintage Gear
nicked, Recovered
Five guitars were stolen from
Tom Petty and his band
in April: a 1967 blonde
Rickenbacker, 1965 Gibson
OBITUARY
The Father of loud—jim marshall:
1923-2012
London – Like so many guitarists around the world, we were
deeply saddened to hear that Jim
Marshall—the creator of the iconic
Marshall amplifier—died on April
5 at age 88. According to his family,
Marshall was suffering from cancer
and passed away at a UK hospice
after a series of strokes.
It’s no exaggeration to say that
Marshall—affectionately known
as “the Father of Loud”—forever
changed the sound of rock ’n’ roll with his guitar amps.
Marshall began his business in 1962 with a small drum shop
in London. When Pete Townshend, Ritchie Blackmore, and
other British rockers suggested he produce and sell guitar gear
(they were keen to have an alternative to expensive imported
Fender amps), Marshall began developing prototypes with technicians Ken Bran and Dudley Craven. After hearing the sixth
prototype, which was inspired by the 4x10 Fender Bassman, Jim
pronounced that the “Marshall sound” was born.
Before long, Marshall and his engineers had tweaked their
Fender-derived circuit to produce a distinctive and original tone
Marshall signs autographs for
fans at Summer NAMM 2007.
Photo by Penmachine
26 PREMIER GUITAR JUNE 2012
SG TV Junior, Fender
Broadcaster, 1967 Epiphone
Sheraton, and a Duesenberg
Mike Campbell 30th
Anniversary guitar. The guitars
were recovered weeks later after
one showed up at a Hollywood
pawnshop and a private security guard was arrested.
RECOVERY
Iommi completes
chemo
Tony Iommi updated his website on March 27, reporting
that he’s undergone his last dose
of chemotherapy. The Black
Sabbath guitarist continued to
work with Ozzy Osbourne and
Geezer Butler on an upcoming album, and Sabbath has
been confirmed as headlining
Lollapalooza on August 3, 2012.
AUCTION
les paul’s personal
Instruments hit the
Auction block
Julien’s will
auction
equipment,
memorabilia, personal
effects, and
instruments
spanning Les
Paul’s entire
career on June
8-9, 2012, in
Beverly Hills.
Among the
instruments
up for auction
are a 1952 Les
Paul Goldtop, 1968 Prototype
Gibson Les Paul Custom
Recording Model, 1927 Gibson
L- 5 Sunburst Cremona, and a
1951 Fender Nocaster.
that was raw, rich, and aggressive—perfect for a new form of
rock that was emerging in England and had little to do with the
glistening, reverb-drenched sound of surf music that was ruling
America at the time.
With the shop’s first production amp, the JTM 45, Marshall
had discovered the voice of hard rock. Other early innovations
included the 4x12 cabinet, which quickly led to the dual-cab full
stack—a tower of power that looked as impressive as it sounded.
A young Eric Clapton used to practice at Marshall’s shop,
and at his request, Marshall built Clapton a 2x12 combo. When
Clapton cranked it to amplify his 1960 Les Paul in the studio
with John Mayall’s Bluesbreakers, the world got its first taste of
a throaty, singing sustain that was eventually dubbed “woman
tone.” Soon Marshall amps became synonymous with rock’s
mighty roar, a fact that remains true today.
Owning a Marshall stack was—and still is—a dream for aspiring rockers around the world. In 1970, this writer acquired two
full 100-watt Marshall stacks (of course, these were old-school,
non-master heads—all that was available at the time). Our trio
hoped to be the next Cream, so the bass player was similarly
equipped with his dual Marshall stacks. Perhaps there are audience
members from our shows in Germany whose ears are still ringing.
A cranked Marshall unleashes an unforgettable sound—one so
potent that it often changes lives. For that, and all the other ways
you enriched our work, we thank you, James Charles Marshall.
Rest in peace. —Andy Ellis
premierguitar.com
