The Music Zoo's Blog Your destination for the best guitars on the internet. Sat, 30 Aug 2014 18:17:03 +0000 en-US hourly 1 Photos Of Eddie Van Halen’s Guitar Collection At 5150 Sat, 30 Aug 2014 15:44:12 +0000 Eddie_Van_Halen_5150_Studios_guitars_2-620x435

If you consider yourself an EVH fan, you’re more than likely aware of Eddie’s extensive collection of guitars. Well, the Van Halen News Desk has quite the treat for you; a look at never-before-seen photos of Eddie’s guitar collection at 5150. These rare images feature an assortment of Kramers, Marshall heads, and a bunch of customs. Click here to get the full story along with the rest of these cool photographs!

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Factory Tour: Stephen Stern & The Gretsch Custom Shop Fri, 29 Aug 2014 14:38:02 +0000

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The name Gretsch is one of the most revered in the history of musical instruments. Starting as a family business in the late 1800s making banjos and drums, Fred Gretsch Sr. and “that great Gretsch sound” left quite an impression on the 20th century producing unique, often hollowbody guitar models which would appear on records by the Beatles and into hands of landmark players like Chet Atkins.  The 1950s and ’60s would prove to be Gretsch’s heyday.   Unfortunately, hard times fell on the brand when Gretsch was sold to Baldwin pianos in 1967. Quality suffered, sales wilted, and Gretsch was eventually laid to rest by 1981.

However, the Gretsch family wanted their piece of American history back.  They fought to regain control, and in 1989, they succeeded in acquiring and relaunching Gretsch.  By 2002, they had built the brand back up to the point where Fender Musical Instruments Corporation (FMIC) bought the company, whose ownership continues to this day with close partnership with the Gretsch family.

So it’s a happy, all-American success story: the modern Gretsch brand exists today as the finest version of itself.  The Gretsch Custom Shop is a high end workshop inside the Fender facility located in Corona, California.  Under the leadership of Masterbuilder Stephen Stern, the Gretsch guitars of today are truly the best that have ever been built.  A lot of manufacturers would like to say that their “reissue” guitars are as good as their vintage counterparts, but in the case of Gretsch, these modern guitars are simply light years ahead of anything from the past.  Come with us as we take a walk around this workshop, where history is preserved and the future of Gretsch is being written.


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The Music Zoo Interviews Richie Faulkner Of Judas Priest Thu, 28 Aug 2014 16:41:03 +0000 Judas Priest Interview

What can any metal fan say about Judas Priest except, “You are my masters!”. The pioneering British band has survived through the decades with a few changes and some slight variations in sound. Still, they’ve  never tampered with the leather, the attitude, the take no prisoners rock and roll, and those blazing guitars. Original guitarist K.K. Downing retired in 2010, and his vacancy was filled by 34-year-old Richie Faulkner. Faulkner is a veteran of the London metal scene with credits that include playing with actress/musician Lauren Harris, Voodoo Six, and Dirty Deeds. Faulkner has also earned the distinction of being musical supervisor for London stage and screen legend Christopher Lee, who at 91 years old released a metal album called Charlemange: The Omens of Death.

Faulkner,  a regular Music Zoo customer, recently sat down with our resident metal authority, Steve Ternai, to discuss his career, love of guitars (and The Music Zoo), and passion for music. Throughout the interview, he emerges as a thoroughly humble guy who’s still getting over the honor of being picked to play guitar in Judas Priest, alongside the great Glenn Tipton.

Tell us about the record. It sort of has a very vintage Priest sound.

Well we didn’t try to set out to recreate any former glories or any kind of era or sound from the past, or any formula that used to work, really.Judas Priest Interview We just went in and got something from the heart that was pure and natural and Judas Priest. When  you’ve got a strength of character from all of the guys individually like Glenn [Tipton]  and Robbie [Halford] and Scott [Travis], you’ve got a big, strong, musical character, and when you put all those characters together you get that one unique Judas Priest character that everyone knows and loves. So if you go in and write from the heart and you do what comes naturally it’s going to be pure Judas Priest. If you listen to some of the tracks, some of them harken back to ‘70s style. Some of it harkens back to the Painkiller stuff, or sort of ‘80s stuff, but we didn’t consciously try to strive to recreate our moments. It’s just, that’s what we’re all about.

It came together like that because that’s what the roots are and that’s what happens when you guys play.

Exactly, and myself personally, I grew up on Priest and on Hendrix and the early influencesand those dual harmony parts…Thin Lizzy, [Iron] Maiden…so that’s what’s inherent  in my musical character. So when we went into the studio I was doing what came from my heart as well.

It’s funny that you say that about Maiden because I noticed that on Redeemer of Souls there are a few leads and melody parts that seem to go hand-in-hand with Iron Maiden

Well yeah, certainly. There are moments in both band’s careers that where both bands sound sort of Priest-esque or Maiden-esque.  And also Sabbath’s in there. They’re at the beginning with Priest and they invented this thing called Heavy Metal. All the strands that came after that, they’ve been responsible for. So I think it’s kind of natural that you have certain characters or certain essences , and you can see similarities between certain bands of the time. And also things like [‘70s German proto-metal band]  Running Wild…there was a bit of an influence from that. It’s all kind of intertwined in the great musical Metal tapestry.

In its deluxe edition, Redeemer of Souls  is 18 songs which is pretty awesome. You could’ve just cut it in half and put out the other half in two years. The five bonus songs just by themselves could’ve even been a separate EP. Who made the decision to put out these 18 songs in one shot?

Judas Priest InterviewInteresting question…we did consider doing a double album, but what we went with is the 13 songs on the standard edition—and five bonus tracks. It was such a creative atmosphere in the studio that we just kept writing and writing and writing.  We had three songs and then it was eight songs and then we had 12. It just kept growing and growing and it got to the point that we had to stop writing and focus on  recording and getting it all down. We could’ve done a double album but it would have diluted slightly the statement of one single standard release. Also, we felt the bonus tracks didn’t quite fit into the vibe and the statement we were trying to put out there on Redeemer of Souls. At the same time we didn’t want to put those songs on the shelf or in a metal box and gather dust and get forgotten about. We know these tracks and we love them. We don’t’ think they’re any lesser songs. And we knew that Priest fans would love them.

Let’s talk about the tour that’s about to happen. You guys are about to come to the US and tour with Steel Panther.

We’re really excited. It’s been two years now since we finished the Epitaph tour and we’ve been writing since then, recording, and now that the album’s out and Redeemer’s been unleashed on the world and now we can get the band on the road and tour. When you get those songs down, and you listen back for the first time, songs like “March of the Damned” or “Halls of Valhalla,” it’s a feeling of, Oh my god we’ve got to get out and play this live. It’s immediate.

I listened to Halls of Valhalla yesterday and thought, I hope they play this live. This is going to be awesome!

It’s one of those songs where, it’s based on Norse mythology so you just open up your imagination visually and musically. And as soon as you listen back to it, even “March of the Damned,” it’s an immediate feeling of wanting to play it live and we can’t wait to get out and share these songs with the metal maniacs. They’ll be screaming and singing the songs with us, and hopefully they’ll become the future Priest classics, 20 or 30 years to come.  For me, it’s an incredible honor to have that opportunity to be creating the future classics, even though you never know it that’s going to be the case. But just to get out there and play these songs. We start off in Rochester [New York]in October. And the great thing about it is, if you start off in the US and then you’ve got to do Europe and you can’t do Europe without doing Japan and then South America. And then all of a sudden, it’s evolved into this big world tour.

Was touring with Steel Panther a choice made by you guys or was it a label decision?  Are you all friends? They must be happy as hell to be on this tour, that’s for sure.

It’s all of the above really. Ultimately everything gets signed off by the band and nothing gets done without the band’s approval. If anyone in the band is uncomfortable with the decision we won’t do it. It was talked about with promoters and agents and labels and bands, and very few bands were being considered. There are a lot of great bands out there and Steel Panther just was the best of them. We just thought it would be a great, fun evening. I mean, admittedly, they’re kind of like a parody band but you can’t be a parody band without being phenomenally good at what they do. They’re all great players. The singer’s great. They’ve got some great, fun songs that are excellently crafted.

When you guys are getting ready to play, what’s the preparation like? Are there any special rituals you do [laughs].  Do you practice? How much time do you give yourself to warm up, or do you just grab a guitar and go. Or, do you eat something special, drink something special?

Judas Priest Interview Not really. I mean we all do our little things but there’s no special mystical rituals or anything like that. I wish there was [laughs]. I can try to make something up for you! No hard drink or anything like that. Me and Glenn might have a couple of beers before we go onstage. You put your superhero costume on and it feels like you become your alter ego and a member of Priest, or the Avengers [laughs]!  But we do go in a few minutes early just to feel the atmosphere of the room and check out the crowd and just to soak in the vibe. And then the lights go down, the roar goes up, and we go onstage. When the curtain goes up and the lights come down, it’s just incredible. But, you know, you’re travelling a lot and getting up early to make flights and standing on lines and getting on buses and it does take it out of you. And sometimes you can be a bit down. But as soon as that curtain goes up and you hear the roar of the crowd, you’re flying. It’s a completely energizing experience to be in front of those passionate fans.

As far as gear goes, how many guitars do you bring on tour with you at one time?

I know guys who take one or two, but I take six. It’s personal more than anything. Some of the songs require a whammy bar and some don’t. So, a whammy bar guitar and a spare whammy bar guitar—which is a flying V. And I have a Les Paul and a spare Les Paul. And I have two others, because I beat the shit out of guitars. Just normal playing. I wear the frets down pretty quickly. They’ll wear out over time but having a couple more [guitars] out there helps spread the wear across the guitars and they last a bit longer.

What about setups on your guitars. Do you have them setup daily by your tech with new strings?

Normally, my tech restrings the main guitars every day. I’m not really fussy but he likes to make sure the main guitars are as good as they can be. The other ones, the spare guitars, he’ll change strings once every few days. But once you set them up, we’ll check them every week or two weeks to make sure they’re exactly where we like them. They’re all pretty stable. They’re Gibson guitars…all set necks, and they’re all pretty stable. The only thing I’ve had a problem with, as I’ve said, is with the fretwear. And I dig in pretty hard so it makes waves in the frets and we have to shave them. You can only do that every so often before you’ve got no frets left. And that’s why I take so many guitars out and you get more life out of the collection. They’re good workhorses. You can beat them up a little bit and they won’t let you down.  I love talking about guitars and I love equipment. In the US especially, I’ll get to the hotel and then find the local mom & pop guitar stores. Sometimes you’ve got the Guitar Centers and the Sam Ashes, and nothing else.  But the mom & pop stores are where you’ll find the treasure.

You bought a few Gibson Customs from The Music Zoo a few months ago—a Flying V and a one-pickup Les Paul Custom Black Beauty. How are those guitars doing?

The Flying V is going on tour with us. I’m making a few mods to it. I’ve put a different scratch plate on it just to make it look more individual. But I’m always looking for guitars, both on tour and off tour, and I’ve been waiting to get out to the The Music Zoo. Everything about it is 17413_Flying_V_Custom_Ebony_CS301587_1beautiful, from the website to the videos…even before you get to the store!  And the guy who helped me out was great—helpful and informative. So, yeah, I walked away with the Flying V and the P-90 single-pickup Les Paul Custom Black Beauty. Now, the P-90 Les Paul…I was going to take that [on tour]. It’s a beautiful sounding guitar. It has a lot of character and attitude in the P-90. The problem was, for the amount of gain that we use with Priest, the P-90 was going to be a bit noisy.

Well, that’s an easy fix. You can always swap that pickup out [laughs].

But I wouldn’t want to with that one!  It’s got such character and attitude in the pickup. I did consider it, but I’ll take the V out, and I might change the pickups in that one. I do have a few ideas of what I want to do with that one, like changing the scratch plate. But a V is synonymous Judas Priest, innit?

What are your early musical influences?

The guys that started it off for me were Hendrix, Sabbath, and [Deep] Purple. And then it was bands like Lizzy and Maiden and Priest and then Metallica. So you go through the years with different influences. And there are also people like Brian May from Queen and Eddie Van Halen. Michael Schenker is a big influence. But Hendrix is the man.  You know, I go through Hendrix phases all the time. I just bought a couple of old Strats, and one of them is upside down with the big headstock, so you know [laughs].

So right now on your iTunes list, besides metal, what are you listening to?

Well, some things I won’t tell you! [laughs]. But I listen to a lot of soundtrack music—movie soundtracks or video game soundtracks, which these days are amazing.

What games, just out of curiosity?

Well, the [Halo 3] soundtrack…I’m doing these digital paintings and this game and its soundtrack, it just takes you to another world musically and I’m always into that dynamic. So whatever it is, I don’t know, metal or whatever that sound is, if it takes you to another place I really like that. I also listen to a lot of ‘80s…maybe I shouldn’t say this, but Duran Duran [laughs]. I love Duran Duran!

Well, that’s what you grew up with and there’s nothing wrong with Duran Duran. That’s great stuff!

Yeah, well some people might be like, You’re in Judas Priest but you’re into Duran Duran? But I like Duran Duran. I think it’s great music. That’s a bit of a guilty pleasure for me. You know, I like a lot of pop stuff, a lot of ‘70s stuff. Sabbath, obviously. The new Sabbath record [13]came out and I listen to that. I mean, I listen to all sorts, really; a lot of guitar-based music, obviously. Classical music. It’s pretty varied. I don’t really listen to a lot of rap or hip hop music but I understand where it comes from and the statement it’s making, and it relates to a lot of people. I understand it and respect it. But it’s mainly guitar music and soundtracks. Also I kind of create a little bit more than I consume if that makes sense. I’m always creating more melodies and lead stuff, and I’m probably doing that more than I’m listening to other music. If I get a flash of inspiration I’ll sit down with a guitar and recording rig and put that stuff down. More than I’m consuming music, I’m creating it. The last couple of weeks I’ve been on a Hendrix trip again. I’ve been listening to Stockholm ’69 and Rainbow Bridge. Sometimes it’s good to go full circle.

If you were not in Priest right now what would you be doing?

That’s a really good question. I would be doing the same thing and trying to break through with either my own band or…

You were playing with Lauren Harris at one point, right?

Playing with Lauren, playing with a few bands in London, and just writing and creating and playing our own material and just trying to make it in the industry. I think I’d still be doing that. I was playing in a great cover band in London town for the last 10 years. We played Priest and Sabbath and Maiden and Ozzy, and all those great things so I’d be doing that too. So, I’d just be trying my best to make it in the industry as I was before, you know? I’ve got a big creative drive. I love the guitar and playing the guitar and taking the opportunities that present themselves and making new ones. I love doing graphic arts and painting, and I’d probably be doing that, too. And fortunately a new opportunity presented itself with Priest. I was a big fan of them and it was a perfect match. It’s such an honor to be up there and be considered for the band. The ethos of trying your best and writing your best and being true to yourself…that’s the ethos I’ve always lived by and that’s again why I fit so well in Priest.


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Victory V30 “The Countess” Amplifier Review Wed, 27 Aug 2014 21:41:35 +0000 Victory V30 Countess review


Recently, Guitarist Magazine did a review of the much anticipated Victory V30 “The Countess” head. With all of the buzz around Victory right now, expectations were high for this micro-powerhouse amp, and judging by this review, Victory got it right! Read the magazine scans below of this awesome review to get the inside scoop on this great amp! Also, check out our selection of Victory amplifiers we have in stock here!

Click on the images below for a larger view


Victory V30 the countess review


Victory V30 the countess review


Victory V30 the countess review


Victory V30 the countess review




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Maneli Jamal Demos Cole Clark Acoustic Guitars Mon, 25 Aug 2014 20:19:05 +0000

All Cole Clark guitars have a unique feel and tone to them that sets them apart from other acoustic brands. Constructed with integral neck joints, the neck runs straight through to the soundhole, providing you with a depth of rich and balanced tone from the instrument. We were fortunate enough to have acoustic virtuoso, and Cole Clark endorsee, Maneli Jamal stop by to give a rundown on a few of these great guitars. We captured some cool video of him demoing the FL-1, FL-2, FL-3, and AN2, along with an explanation of what makes these guitars so special. You can check out Maneli demoing all of our Cole Clarks by clicking on the links of the Cole Clark guitars we have in stock!



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Cars & Guitars: Gibbons Fender vs Shelby GT350H Fri, 22 Aug 2014 17:01:03 +0000 Fender versus Shelby Main Image

We’ve always lusted after the 1966 Shelby Mustang GT350H that lives in the stable of cars just beneath the Music Zoo. It’s owned by the Zoo’s landlord, Howard Kroplick, a car collector who knows the way to our hearts via a pretty amazing collection of vintage cars. With its Wimbledon White finish and gold Le Mans stripes, Ford Mustang GT “Fastback” body style, and car-isma that nearly had us forgetting that guitars ever existed, Howard’s car and its ilk epitomized automobile greatness. It’s these cars that paved the road for those incredible Detroit muscle cars that came in the next few years, among them the Camaro, GTO, Barracuda, and AMC Javelin.

Car culture was beyond huge in the ‘60s, and the automobile mystique seemed to tie-in with everything, including guitars. It wouldn’t be long before the racing car motif found its way onto ’69 Fender Mustangs with competition “racing” stripes. Meanwhile, the off-white and gold mashup bridged the connection of cars and guitars when a very, very rare Fender Custom Shop guitar built specially for Reverend Billy Gibbons showed up at our door. We realized there was a Cars and Guitars hookup that had to happen.

We’ll start with the car since it was here first. On first glance, the casual passerby might think, “Okay, a vintage Ford Mustang with racing stripes.” Howard’s car is actually a 1966 Shelby Mustang. Certainly, the GT350 began life in a Ford factory in San Jose, California before making its way to the garage of race car legend Carroll Shelby, whose Shelby American company would modify the cars with custom Magnum 500 wheels, disc brakes, a Cobra engine (water-cooled V8 with overhead valves and 306 hp at 6000 rpms), high-performance shocks, and a torque-controlled rear axle.

Of the 2,370 GT350s acquired by Shelby, 999 were specially modified for the Hertz Sports Car Club, which invited card-carrying Hertz car rental customers the privilege of driving a Shelby modified racing car, for $17 dollars a day and 17 cents per mile. “Business travelers whoMustang Main (1 of 1) want a change in pace in motoring, sports car owners away from home, vacationers who consider driving an enjoyable holiday sport,” read Hertz’s advertisement. You can tell that its 1966, and traffic wasn’t what it is now. The GT350 earned the “H” designation for the purpose of distinguishing it as a Hertz rental car. Another tell-tale indicator of this car—and any other Mustang, new or old, is the gold racing stripes throughout. The gold stripes specifically indicate that the car is a Hertz rental, along with the standard automatic transmission. Kroplick acquired the GT350H in 2004 at an auto auction, the first car in a collection that also includes the famed 1909 Alco Racer that we profiled in the Cars and Guitars: Beauty and the Beast article that we published as a blog in July, 2014. Vroom! Let’s now turn our attention to the guitar.

Approximately three years ago, guitar journalist Tom Wheeler created a meticulous and detailed coffee table book that celebrated the Fender Custom Shop and its one-of-a kind guitars. Titled “The Dream Factory: Fender Custom Shop”, it captures some of the most fantastic, inconceivable solid-body Fender guitars ever created. Interviewed within are a cast of artisans involved in making the Custom Shop guitars such as jewelers, graffiti artists, fire breathers (just kidding!), wood carvers, pinstripers, pearl inlay artists, and a master luthier or two.

One of these master luthiers is Chris Fleming, a Music Zoo friend and Custom Shop veteran who’s built many incredible guitar imaginings for players such as Billy F. Gibbons—a guy known for his hardly unordinary guitars. In the “Dream Factory’s” introduction—written by Gibbons—he describes a visit to the Custom Shop to pick up three new instruments that he commissioned Fleming to build. Gibbons took two and left one behind with Fender Custom’s Mike Eldred, and much later the guitar made its way to The Music Zoo.

So what is it? In essence it’s a Fender Custom Shop Billy Gibbons Stratocaster. One of us—okay, this writer in fact—have called it the “Fender Custom Shop Duo-Strato-Tele” because it draws inspiration from three distinctly Fender designs: The late 1950s-era Fender Duo-Sonic (and Mustang Shoot (4 of 7)single-pickup Musicmaster), the Stratocaster, and the Telecaster. Fleming essentially took a Stratocaster’s contoured body, pickguard shape, the slanted bridge pickup, and Strat control knobs, and combined it with a Telecaster neck. The pièce de résitance, however, is the late ‘50s classic, eight-screw gold anodized pickguard which perfectly completes the look. And, all you have to do is hold this thing to realize it’s the greatest guitar of all time, or at least that moment in time; a feeling similar to watching a guitar master like Jeff Beck, when all sense of temporality is paused and for that distinct moment he’s the only guitarist that matters. And then the bubble pops.

The Gibbons Strat was built by Fleming with an ultra-lightweight ash body, perfect for Gibbons who always plays guitars as close to featherweight as possible. There’s an aged maple neck with a Tele headstock, 9.5” radius, a big soft “V” profile, and 21 big 6105 frets. The pickup is a custom-wound and noiseless stacked humbucker pickup. Electronics also feature a volume control and a Greasebucket tone control that allows Billy G. to retain top end when he lowers the guitar’s volume. Then there’s a chrome vintage-style hardtail bridge that aesthetically compliments the gold pickguard. Finally, the Sperzel non-locking tuners have pearloid knobs that subtly blend in with the entire color story. And them’s just the parts; Chris Fleming’s brilliance as a guitar builder is evident with the Gibbons Strat’s brilliant aging. He could probably be on staff at New York’s Metropolitan Museum of Art doing anti-restoration or aging if he wanted. Let’s start with the body and its translucent Vintage Blonde finish, which is lacquer-checked throughout and aged such that a slightly brown-ish discoloration appears in all the right places: near screws on the side-mounted jack plate, on the tummy cut, on the body’s edges and cutaways. The very subtle dings and marks here and there have the kind of slight discoloration that would normally happen over time. Meanwhile, the neck is aged to show heavy player wear and lacquer checking, and Fleming even captured the time-honored discoloration around the frets that occurs with vintage guitars. Yep, exquisite is the word.

As we said earlier, playing the Gibbons Strat is like suspending the space-time continuum. That lightweight ash body contributes to amazing acoustic transparency and presence. And plugged in, it’s bridge-pickup Stratsville all the way—somewhat hot, but combined with the natural sustain Strat Edits (7 of 7)and acoustic properties you’ll hear amazing harmonic detail and nuances. Up the amp gain and this guitar growls and barks. Hit some nice broken chords while picking close to the bridge and it’s too beautiful for words. The sonic detail is the result of the lightweight ash, that great Strat-like custom-wound “hot” single-coil, and a whole lotta mojo and x-factor that we can’t pinpoint. Often, great guitars—and great American cars from Detroit’s golden era of high-quality, high-performance design—just have that…thing! Hats off to Ford, Carroll Shelby, Leo Fender and Chris Fleming, and Reverend Billy for helping to make American design and culture the envy of the world.

Written By Mike Bieber

Photographs By Walter Bryant

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Doug Doppler Demos The Music Man Petrucci Majesty Thu, 21 Aug 2014 16:13:55 +0000

Music Man’s latest creation, the Majesty, is a testament to Music Man’s will to push forward in guitar design and technology. Music Man has worked alongside John Petrucci to produce what John believes is the greatest signature he’s ever had. Featuring the power and grace of a stallion, and the edginess of an Italian supercar, the Majesty features neck-thru construction, angled headstock, and Dimarzio Illuminator pickups. Believe us, tone is the guitar’s middle name; but you shouldn’t have expected any less from JP and Music Man. Watch as the ever-so-imformative Doug Doppler demonstrates the great qualities of this guitar in this great video. You can also check out our full inventory of Music Man guitars right here!




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Video Demo Of The Louis Electric Buster Amplifier Mon, 18 Aug 2014 14:43:35 +0000


One of the joys of playing electric guitar is the magical relationship between a guitar and an amp, and the wondrous results that different combinations yield. We carry many different guitars and amps here at The Music Zoo, and they range from the more traditional to modern and advanced. One of the more traditional and pure examples of tube amplification are amps that are designed and built by Lou Rosano, the guy responsible for  the Louis Electric Amplifier Company.

Rosano makes boutique amps that capture an “old,” vintage sound using circuitry that’s straight out of the RCA Receiving Tube manual. In other words, think old Tweeds, Gibson GA series amps, and anything involving bare bones Western Electric circuitry. A Louis Electric amp naturally captures the gorgeous tonal characteristics and physics of vacuum tube technology and the principles of even-order harmonic distortion. In this video clip, watch Music Zoo friend Dennis Del Gaudio demo the 25-watt Louis Buster amp using a ’63 Stratocaster. You’ll hear the amp’s natural breakup into tube saturation as the volume is pushed to maximum. Interested in purchasing this amp? Check it out here!


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Guitar World Inside Look At The History Of Caparison Guitars Sat, 16 Aug 2014 18:40:04 +0000 guitar world magazine article on caparison guitars history

Caparison is a company that we’ve come to know and love for there quality and innovative design. At the forefront of the metal-scene, Caparison guitars are the weapon of choice for players who demand a fast neck, durable tremolo, and endless amounts of sustain. Yet, this company has loads more to offer. Check out this article by our friends at Guitar World illustrating Caparison’s journey that has led to their present-day techniques in guitar-making. Also, be sure to check out our great selection of Caparison guitars we have in stock!


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New 2014 EVH Guitars & Amps Announced Mon, 11 Aug 2014 17:22:00 +0000 EVH Blog Main Image

Don’t fault Eddie Van Halen for not being prolific enough with new music; he’s been hard at work on his line of EVH guitars and amps, creating some great new products that The Music Zoo will be stocking in the next few months. Among them is a 5150III 50-watt guitar amp combo with one 12” speaker. More compact than the 2 x 12 version, this  1 x 12 version is equally powerful and tuneful, with plenty of “brown sound” and super-high gain on tap. Other features include three channels (clean, crunch, and lead) and onboard DSP reverb, and power scaling from 50 watts down to 1.

EVH’s new guitars include a variation to the EVH Striped Series guitars that retains the same specs and build characteristics. However, this guitar is finished in a very unique—like, we’ve never seen it before!—“Circles” finish that evokes those eerie crop circles burned into farmlands all over Great Britain. Perhaps some UFO’s will be circling overhead when you play this guitar. Who knows? The guitar’s back has the familiar EVH stripes with red words that read: “BYE SEE YA LATER.” Another addition to the EVH guitar lineup is a Wolfgang Special with a gorgeous, carved flame maple top over its basswood body. Other features are a compound radius, a Floyd Rose tremolo system, and two very powerful EVH Wolfgang humbucker pickups. Scroll below for the complete spec-lists of these new guitars. If you want to be the first to get your hands on these new items, contact our sales team to pre-order or receive information on arrival dates. Don’t forget to check out our stock of EVH guitars and amps here!

5150III® 2x12 50W Combo

5150III® 2x12 50W Combo

5150III® 2x12 50W Combo

5150III® 2x12 50W Combo



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