Music of the week: I've just spent a few days in Berlin, and I couldn't help but listen to Lou Reed's Berlin album - and I've been roaming Berlin's autumnal streets humming Sad Song...
I took the opportunity to go rehearsing a couple of times in the excellent Noisy Rooms studios I already mentioned here before. Everything's good there - good rooms, good material, good people... They are so pro that they even have spacious toilets so a guitarist can take a leak without having to leave his instruments outside unattended!
About sketches A & D, I keep on exploring an idea I had and posted last week (I'm quite happy with it actually). A comment pointed out that it would be better headless - I usually don't really like headless guitars but it was worth trying! Lately I figured out that it would be easier to have guitarists accept radical ergonomic designs by keeping everything else very traditional, mostly with naturally finished wood and good old chrome gear - including an old fashion Bigsby-like trem (Bigsby is more about good looks than good trem, isn't it?)
About sketches A & D, I keep on exploring an idea I had and posted last week (I'm quite happy with it actually). A comment pointed out that it would be better headless - I usually don't really like headless guitars but it was worth trying! Lately I figured out that it would be easier to have guitarists accept radical ergonomic designs by keeping everything else very traditional, mostly with naturally finished wood and good old chrome gear - including an old fashion Bigsby-like trem (Bigsby is more about good looks than good trem, isn't it?)
Thanks for the headless version ;-)
ReplyDeleteI agree on the question of acceptance... Many headless guitars convey an image that doesn't fit well with playing in a rock band, being on the road, etc. They look far too fragile. A more rustic look would help (things such as a swamp ash body and a telecaster style control plate).