Jerry Jones has been building custom stringed instruments for professional recording artists for the last 30 years. Probably the most recorded of Jerry’s instruments is the electric sitar. These instruments successfully replicate the sounds on numerous recordings from the 60’s & 70’s and are handy to have around the studio for adding a different tone-colour to a track.
MORE →In a world of copycat designs and guitar look-alikes, why not dare to be different? Finished in blazing red, the Electromatic Bo Diddley features two chrome humbucker pickups, a maple bolt-on neck with rosewood fingerboard, an adjustable bridge, volume and tone controls plus master tone control and a master volume control, a 3 way pickup selector, and die cast tuners. The distinctive rectangular body measures 9 1/4″ x 17 3/4″ x 1 3/4″.
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The first time I ever encountered a Jazzmaster in person, it was in the hands of a great guitarist by the name of Stan Gadziola, who was one of two guitarists slinging their axes in the service of an amazing R&B band called Sounder. They played around the Georgian Bay area in the 1980s, and I managed to misspend a fair chunk of my misspent youth at their gigs. I thought the Jazzmaster was just about the coolest looking thing on the planet, especially in an era that was overpopulated by Kramer and Charvel wannabes.
MORE →Connections are the very heart of the music industry. There are all sorts of connections that help us do what we do. From 1/4 “ connection to SPDIF connections to Firewire, they all are integral to the way we make music. There are other connections that are more human and involve a sight, touch, smell and sound. From the first phone call that I took from Dean Campbell, we had a connection, as we are both no-nonsense, brutally truthful to a fault and proud fathers to some very cool kids. Dean’s guitars are about a human connection. They are built one by one and with a whole lot of love and mojo thrown in for good measure.
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I have a very clear memory of the first time I held a Campbell American guitar in my hands. It was a double cutaway solid body with a flat black finish and a bolt-on maple neck. For such a basic design, it looked surprisingly cool. There was something very elegant about the simplicity of it all. Then I played it, and all thoughts of “simplicity” got burned away. The guitar played like an absolute dream. The neck was beautifully carved. The fretwork was impeccable. The body was lightweight and well contoured. The hardware and electronics were all top notch. Never before had I played a guitar that relied so little on flashy looks, yet was able to completely blow me away.
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It isn’t often that a guitarist gets to be given a “Carte Blanche” on design and building a guitar. This is exactly what happened in the case on this fine specimen…after Dean won the Floyd Rose debate. Owner Dean Campbell and I went back and forth until we came up with this winning combination of features and aesthetics.
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