The former members of Black Sabbath are currently embroiled in a legal dispute over who still owns the rights to the Sabbath name. Ozzy Osbourne is suing Tony Iommi, claiming that the guitarist has been claiming sole rights to the band, which has apparently cost the singer a hefty wedge of merchandise royalties.
The BBC reports that Osbourne is after damages, lost profits and confirmation that the singer is the half-owner of the Sabbath trademark.
In a statement, Ozzy said: "Tony, I am so sorry it's had to get to this point by me having to take this action against you. We've all worked too hard and long in our careers to allow you to sell merchandise that features all our faces, old Black Sabbath album covers and band logos, and then you tell us that you own the copyright."
The bat-worrying frontman's lawyers are claiming that he didn't give up his rights to the name, and that if he did (memories are obviously a bit hazy), it has been Ozzy's hard work and personality that's made Sabbath a going concern into the 21st Century. via
It seems every amplifier company has a flagship product designed to deliver the most popular features and innovations of the amps in its lineup. But even with all the bells and whistles, these top-of-the-line amps usually have a signature tone characteristic that pervades each of its channels and limits its versatility.
ENGL has taken a different approach with its monstrous Special Edition E670 amplifier. The Special Edition is built on a platform of relative neutrality and appointed with a litany of tone-shaping features and gain levels that make the amp adaptable to a wide range of styles. Adding to its attractiveness as the centerpiece of a professional rig, the all-tube Special Edition features a port for an optional MIDI foot controller.
FEATURES
ENGL’S Special Edition has a fortress-like appearance, with a tough vinyl hide, a prison-bar grille and a brushed-aluminum faceplate. Two pairs of 6L6s generate 100 extremely loud watts, and five ECC83s drive the gain stages. If the full power of this Bavarian-born beast is too overwhelming, it can be switched down to a more manageable 50 watts in Half-Drive mode. There are essentially four master volume–style channels with several ways to shift frequency ranges, gain levels and response characteristics. The clean and crunch channels share gain, bass, middle and reverb controls, but each has its own treble knob and volume. A gain boost switch affects both of these channels, as do switches for Normal Bright and Ultra Bright.
The Lead I and Lead II channels each have dedicated treble, gain and volume controls but share controls for bass, middle and reverb. A high-gain switch vastly increases the distortion level of both lead channels, and the midrange shape can be severely altered with contour and Mid Edge switches.
The Special Edition has two presence and two master controls, making it possible to set up footswitchable options at preset levels. For instance, Master 1 can be set for an ideal rhythm level while Master 2 is set for a solo level. The reverb can be deactivated with the front panel switch, and the two parallel effect loops or serial effect loop can also be activated on the front panel. If you’re in search of infrasonic bliss on any channel, a global Depth Boost switch will vastly increase the low-end response. Or if you’re really obsessed with a phat bottom, the Mega Lo Punch switch has your back.
One of the Special Edition’s most powerful response-altering tools is its Modern/Classic switch. It affects all channels and essentially changes the amp from a softer and darker character in the classic mode to a punchy and aggressive modern demeanor. Though their controls reside on the amp’s back, the noise gate and Tube Driver features can be activated on the front panel. The Tube Driver is a simple and separate tube-driven channel that bypasses all front panel controls. It has its own EQ section and delivers very basic tones that range from clean to overdriven.
The amp’s back panel has two sets of switchable speaker outputs with individual impedance selectors, plus two parallel effect loops and one series loop, a cable check circuit, a MIDI connection port with trimming dip switches and an advanced line out circuit for the preamp and power amp. The matching ENGL 4x12 cabinet is loaded with Celestion Vintage 30s and fronted by a woven wire grille. If you opt for the ENGL MIDI controller, practically every amp feature can be switched at your feet.
PERFORMANCE
Many American and British amps are described as having warm personalities because of their wide midrange accents. On the other hand, great German amps like the ENGL Special Edition have a cooler tone. It’s no less organic, just flatter. This impartiality and transparency illuminates a guitar’s own tonal qualities and makes the amp exceptionally compatible with a large variety of rack and pedal units. Clean tones are absolutely pristine and powerful, but the amp generates inspiring layers of crunch and overdrive as well.
The Special Edition is also one of the rare amps that will never need an overdrive pedal to push its preamp. There’s enough high-intensity gain in the ENGL to satisfy even the most diabolical desire for excessive distortion and sustain. The most insane gain settings never compromise focus or definition. It may take a little time to discover the amp’s astounding tones through the abundant sound-shaping switches, but it’s well worth the journey.
THE BOTTOM LINE
ENGL’S Special Edition is one of the few flagship amps that really delivers on the promise of ultimate tonal and feature flexibility. Its numerous tools are useable, and the gain range covers everything from bone clean to explosive.
Fender tube amps are considered the most treasured guitar amplifiers of all time. Popular models like the Showman and Band-Master were the first professional tube heads on the market and are now considered collectors’ items.
Models like the Deluxe Reverb and Hot Rod Deluxe are as desirable now as they were when they were first introduced.
With those classic models in mind, Fender now introduces the new Band-Master VM and Deluxe VM amps, and Band-Master VM 212 enclosure.
The 40-watt Band-Master VM amp, combined with the Band-Master VM 212 enclosure, is the perfect head/cabinet rig for onstage versatility and great Fender tone. The amp combines the mid-powered tube-head concept with “vintage modified” performance by pairing a real tube amp with several essential effects.
The result is a great foundation to build tone on, and the versatile tube preamp offers a panorama of tone and gain settings from subtle to aggressive. Its new high-quality DSP effects include reverb, chorus, and delay-all with the convenience and easy adjustability of standard stomp boxes but without the need for extra cables or power supplies.
Amp features include two 6L6 power tubes and two 12AX7 preamp tubes (one for preamp distortion, one for phase inversion); 12″ Celestion G12P80 speaker; famous Fender clean channel with dedicated pre-gain tone controls; drive channel with dedicated post-gain EQ for versatile tube distortion shaping, useful for styles from blues to hard rock; digital Fender reverb with level control; chorus/vibrato with controls for rate, depth and mix; “Tape emulation” delay with controls for delay time, repeat and mix; effects loop; 8-ohm extension speaker output; included four-button footswitch included for choosing channel, reverb, delay and chorus; and an included cover.
The Band-Master VM amp’s companion Band-Master VM 212 enclosure is rated at 160 watts (8 ohms) and features two 12″ Celestion G12P80 speakers for fat bottom end and clear highs, with premium ¾” birch-ply construction for resonant tone
Countless guitarists rely on some version of a Fender Deluxe amp when they do a session or a gig, thanks to its grab-and-go 1×12 combo portability, ease of use and great tone. Fender’s new Deluxe VM amp takes the sought-after Deluxe formula into the same new era of vintage modified performance as the Band-Master VM amp, with which it shares all the same features, only in convenient combo-amp form.
Fender friend and acclaimed artist Pamelina H. has brought her unmistakable graphic touch to bear on the unusual instrument you see here—a 60th Anniversary Los Angeles Lakers-themed Stratocaster guitar.
Pamelina created the instrument to raise funds for the Los Angeles Lakers Youth Foundation. It’ll go on the auction block on March 2, 2009, during the Los Angeles Lakers 19th Annual Celebrity Golf Invitational at the Riviera Country Club in Pacific Palisades, Calif., with an opening bid of $6,000 (all silent bids must be verified). Until that date, the instrument is on display at Guitar Center Hollywood.
The guitar began life as a regular black American Standard Stratocaster, donated to the cause by Fender. By the time Pamelina was finished with it, it was completely repainted, front and back, in purple, blue, black, brown and orange. The front depicts hands grasping for a basketball emblazoned with the Lakers’ 60th anniversary logo, with a hand-painted Lakers logo on the 12th fret. The back depicts banners listing all the team’s 14 championship years. The guitar also features gold hardware and an engraved neck plate.
“It’s just incredible,” said Roberta Mariani, Lakers Youth Foundation associate director. “Pamelina did such an amazing job.”
Straight from the who’d-a thunk-it file, it turns out that the talented Ms. H. is an avid basketball fan who couldn’t wait to get started on the project.
“It was my idea!” Pamelina said excitedly. “I am just such a huge Lakers fan, and it’s been the thrill of a lifetime working with them. I’d like to see this guitar raise as much money as possible for the Lakers Youth Foundation—they’re a real class organization and they do a lot for kids in the Los Angeles community. By contributing artwork, I can help to raise more money than I can personally afford to give.”
The team was founded in 1946 as the Detroit Gems and relocated in 1947 to Minneapolis, where the team took a new name—the Lakers—from Minnesota’s nickname, “Land of 10,000 Lakes.” They relocated again in 1960, to Los Angeles. The famous team has won 14 championships, 29 conference titles and 29 division titles, and has boasted 14 hall of fame players. via
Parker Guitars has announced the addition of the Parker Fly Mojo Single Cut to their line of electric guitars. Designed for the professional player, the Fly Mojo Single Cut brings a stunning new single cutaway design to the bestselling Fly Mojo Series.
Parker engineers have designed the singe cut series from the ground up, utilizing a solid mahogany body and mahogany neck joined together using Parker’s multi-finger joint technology. This patented design allows the Fly Mojo Single Cut to resist warping resulting in an amazingly responsive and stable guitar with unparalleled playability.
The Fly Mojo Single Cut features Graph Tech Ghost Piezo Saddles on a TonePros bridge resulting in absolutely stunning acoustic tones. Crystal clear electric tones are provided by a Seymour Duncan Jazz pickup in the neck and a JB pickup in the bridge. Paired with Parker’s revolutionary neck design, the Fly Mojo Single Cut offers an unrivaled playing experience.
The Mojo Fly Single Cut is available in the following finishes: Black Burst, Black Cherry Sunburst, Dusty Black, Emerald Green, Galaxy Gray, Italian Plum, Majik Blue, Ruby Red, Trans Blue Burst, Trans Purple Burst, and White.
Mojo Fly Single Cut Features: - Graph Tech Ghost Peizo saddles paired with a TonePros bridge - Revolutionary mahogany body and mahogany neck joined together by Parker’s patented multi-finger joint - Carbon glass epoxy fretboard - Sperzel Trim-lok tuners
Signature guitars simultaneously fulfill the sonic goals of the namesake artists and fans who want to emulate their tones. But Stone Sour guitarist and songwriter Josh Rand used his carte blanche opportunity with Peavey to benefit the Wounded Warrior Project, a non-government-related fund that helps severely injured veterans reintegrate into civilian life.
Rand was already working with Peavey on a modified version of the company’s award-winning HP Special when a television program on wounded veterans’ difficulties inspired him to cover his signature guitar with the U.S. Army’s desert digiflage pattern and donate a portion of the instrument’s proceeds to the Wounded Warriors Project. Everything else about the guitar is aimed at turning the existing HP Special’s platform into a hardcore weapon of sonic destruction that befits Rand’s thunderous tone. In his eagerness to create havoc, his design choices also created a killer old-school rock guitar.
FEATURES
The official U.S. Army digiflage camo pattern is applied to the JR Special’s flattop basswood body with Peavey’s patented ArtGuitar printing process. (Peavey can now affix practically any image or photo onto a guitar top through its custom graphic portal at peaveycustomshop.com.) Basswood’s natural ability to control resonance and balance high-gain tones makes this soft wood an excellent choice for the JR Special’s intended marriage to heavy distortion. Remember that players like Steve Vai and Eddie Van Halen have favored basswood bodies for most of the past 20 years. As for the flattop, this was Rand’s preference, as he likes how it feels under his picking hand.
Peavey’s longtime experience with oil-finished maple necks helped it create Rand’s relatively thin Eighties-style C-shape neck with reverse headstock. Although the guitar does not have the HP Special’s deep asymmetrical profile and multi-radiused board, it was comfortable to play. One feature that Peavey did incorporate from the HP Special’s neck is the dual-stabilizing bars that run parallel to the truss rod. This is a full 25 1/2–inch scale neck, but its deep adjoining neck pocket makes it feel more like a shorter 24 3/4–inch scale guitar. Five recessed bolts set in a unique pattern secure the neck and maximize the volume of high-register notes.
Resonance, sustain and low-end clarity are enhanced by Peavey’s patented Dual Compression tailpiece, which draws more vibration from the body via long string ferrule tubes attached through the bottom of the bridge. Its continuous metallic connection works the same theory as directmounted pickups, but with better results. These powerful lows, mids and highs are captured and amplified by DiMarzio’s most potent bridge pickup, the muscular X2N and the highly complex PAF Joe neck bucker. Single volume and tone controls and a three-way toggle complete the electronics.
PERFORMANCE Through a high-gain amp like my Elmwood or FJA-modified Mesa Rectifier, the JR Special’s X2N humbucker pummeled the speakers, producing a crisp thud every time I slammed a muted chord. The guitar cuts a wide and deep path through the mix, just above a bassist’s midrange territory, which is where so many bands lack power. This low-mid focus made it possible for me to engage more of the power amp’s presence and derive an earthier crunch from the power tubes, rather than rely on the preamp’s gain. Lead lines absolutely roared, and sweeps flowed gracefully through the X2N’s extreme output, but I ultimately preferred to use this bridge bucker for rhythm and then switch to the PAF Joe for my lead sounds.
The PAF Joe’s unique ability to highlight overtones increases the pickup’s intensity, especially through similarly endowed amplifiers—I don’t remember when I’ve heard so much angst and teeth-grinding tension from a neck pickup. On the other hand, the X2N’s beefy coils made it my go-to pickup for warm and velvety clean passages, proving that loud doesn’t always equate to harsh.
THE BOTTOM LINE
The signature JR Special’s heavy DiMarzio armament, oiled maple neck and Dual Compression tailpiece combine to deliver the powerful lower midrange tones that drive Josh Rand’s sound. At the same time, this guitar is no one trick pony. The JR special is a very warm and organic rock guitar with one of the better out-of-the-box brown sounds. And you can feel good about buying it, knowing that you’re doing your part to help veterans through the Wounded Warrior Project. via
In a statement, Ozzy said: "Tony, I am so sorry it's had to get to this point by me having to take this action against you. We've all worked too hard and long in our careers to allow you to sell merchandise that features all our faces, old Black Sabbath album covers and band logos, and then you tell us that you own the copyright."
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