Songworks :: Little Lanilei Tube Amp

SONGWORKS
Little Lanilei : 1/4 watt Tube Recording Amplifier

The little hand made amplifier comes factory stock with the new Songworks heavy duty proprietary 6 1/2” speaker. And features hand assembled point to point construction.
Hand assembled circuit’s feature one 12au7 and one 12ax7a tubes driving a small output transformer to the internal speaker.

The Little Lanilei 1/4 Watt answers the guitarists call for a small practice and/ recording amplifier that is all tube.
This little amp is feature packed most everything you would need for low level practice or recording. The Lanilei 1/4 Watt model has the classic oxblood grill with the Lanilei logo in 16 color embroidery. Size is only 8” x 8” x 7” at 10lbs.

They are stunning to play and look at!
Featuring point to point hand wired tube circuits with line out, speaker out, 3 way foot switchable gain settings. Controls are: Preamp,, Tone and Master. With a true tube pre and power amp, these are destined to be adopted as the creme de la crème of miniature tube based combo.

Sound Clip Click here to hear this beautiful little amp in action.

Faq’s

Little Lanilei 1/4 Watt all tube practice amp----What you need to know!!!

What is it?

It’s simply most versatile practice/recording amp made today, it has great features like:

1) One 12au7 tube
2) One 12ax7a tube used as a REAL output power tube
3) Master volume control, pre amp control, tone control
4) High gain, low gain, mid gain settings ,foot switchable.
5) Head phone out
6) Line out
7) Internal 6 1/2” speaker (same custom made version used in all our popular amplifiers)
8) Floating filament power supply for hum free operation
9) Star grounding
10) Two external speaker output jacks, one cuts off the internal speaker, one leaves it on.
11) Hand wired point to point tube socket assemblies
12) Hand made in the USA.

How does the Lanilei 1/4 Watt work?

The new little amp was design to recreate the warm tube tone of an “all tube amp”by controlling all electrical parameters on the circuit I have essential been able to achieve this very sot after tone in a very small light weight package You will NOT hear the thin preamp tube tone buzz we have all been subject to from other amplifiers. It has been completely removed with my design. The first tube handles all of the gain/tone portion of your audio signal, the second tube is driving a small output transformer to the speaker.

Is there a power tube?

YES. the little amp is using the last stage of 12ax7 as a power tube.The 12ax7 “power tube” is driving a small output transformer to the internal custom made 6 ½” speaker.

What does it sound like?

My inspiration was my Marshall 50 watt plexi and a Fender Bassman.mix I have been modifying amps for years and wanted to have a practice amp that sounded like my big amps.

How loud is 1/4 watt?

A good example of 1/4 watt of power in this amp is how loud most people normally speak. Its perfect for bed room/studio use.Case in point: I have a 4 year old son and a 2 year old son, I can get the VH 1 or Hendrix vibe at a level that they can be asleep in the next room and I won’t wake them.The little amp also has a master for total control of volume level.

Can I drive extra cabinets?

Yes, you can drive any cabinet(s) 8-16 ohm
Can I drive a 4x12?
Yes, easily.
Can I drive head phones
Yes.

Why does this amp have such low power?

For years I have been building this circuit into my other line of amps. I call it “amp in an amp design” .There has always been a lot of interest in a very low power all tube amp. I have been building them for over 10 years. If you want more of the same incredible tone at club or concert level try the other line of Lanilei Amps.They have the unique addition of an internal power soak driving into a solid state booster, this provides the same tone at earth shattering volume levels or turned down to a whisper. No one spends as much time with hi or low level tone as we do.

Why did you use the 12ua7 and 12ax7 tubes, can I use my own tubes?

The “12a” series tubes are readily available and cheep.Yes, you can use your own tubes but I have found the perfect combination of these two tubes to be the best at low noise and high gain usage. You are welcome to try your own tubes.

What is so unique about the 6 ½” speaker?

The Little hand made driver was developed to achieve a full spectrum of tone from warm lows to crisp highs. For over 5 years we have been hand building this speaker. We most recently have contracted US manufacture to build it for us.

Where is the amp made?

The amp is made right here in San Juan Capistrano Ca. Tube circuitry is wired point to point. When you buy from us you are helping to support no less than 5 small business’s in America .

Each amp is built one at a time.

Ordering is Easy, just give us a call! (949) 582 7720

Gibson Neal Schon Signature

If you want to see the details this link will take you to Gibson Custom Click Here

This is one wicked Gibson, for a great interview you can read more at Modern Guitars

This is a small exrtract from the interview.

Yes, they're only building 25 Custom Shop Masterbuilt Les Pauls with my name on them. Edwin Wilson was Gibson's master builder and he worked with my guitar tech, Scott Appelton. Gibson had Gary Brawer figure out the best set up for the guitar. It's a great guitar these guys have pulled together.

I've been working with Gibson forever and have always loved Gibsons. I've worked for years with Gibson's CEO, Henry Juszkiewicz, even though we never had a contract.
During the 1970s and 1980s Gibson did use my likeness, but we never signed anything. This new Signature model is the first time we struck a formal written deal for a guitar with my name on it.

I intend on working more with Gibson on other models -- I have a lot of design ideas and Henry's given me the green light to work the way we did on the Les Paul. I'll do the same sort of thing to future models, like doing the hot rodding thing.

The Ultimate Guitar Cleaner and Polish

When I first received up my Gibson ES-369 is was dull and had collected quite a bit of dirt and grim build up over the years it had been played, I guess this is to be expected since is was born in 1980.

I heard of this Virtuoso Cleaner and Polish and read a few of the reviews they had received, I figured I would give it a try not a lot to lose it was not expensive.

I can honestly say that I was super impressed. I mean I was taking off layers of dirt and grim, the important thing is to use a clean cotton cloth... I then used the polish and I can only say it is like looking at a new guitar, the transformation is amazing to put it simple and plain, Awesome.

I love this stuff I give my guitar a quick wipe down after playing it and the fingerprints and sweat come right off, it is a black guitar so it shows every mark. I just gave it a second application of the cleaner and polish after 6 months, I figure the product is going to last me a few years, great value.

If you owe a nice guitar and want to keep it looking good, do yourself a favor and your guitar a favor and use this cleaner and polish, you will be glad you did.

Here is a bit about them from their site:

The Virtuoso Group, Inc. has been active in the vintage and boutique guitar industry since 1995. The genesis was Virtuoso Vintage Guitars, Inc., which was started in a quest to provide a better alternative to serious collectors who sought out world class instruments. Virtuoso's specialty was pre war Martin and Gibson acoustics, Custom Color Fender instruments and rare Gibson's.

In the years that Virtuoso Vintage Guitars was in business, their offerings (and subsequent sales) included pre war Martin D-45's, OM-42'2 and OM-45's, civil war era Martins, numerous Fender Custom Color and maple neck Strats and Teles. The Gibson offerings included everything from Orville period mandolins, Style O's and Harp guitars to "59 Les Paul Standards, dot neck ES-335's and rare limited editions like "The Les Paul". Other notable instruments include the last guitar signed by C.F. Martin the III, a rare 10 screw pickguard '59 Stratocaster (Custom Color, birdseye maple neck, no neck date), The Gary Josey D-45 and Mike Longworth's employee 1968 12 fret Slothead D-45.

Virtuoso Premium Polish and Virtuoso Premium Cleaner grew out of the need to care for these instruments. Even though they may have been world class instruments, when we got them they weren't always in world class condition. The guitar care products available in 1995 would not clean the finishes without either (a) adding to the grime or (b) damaging the finish.

We set out to find a chemist capable of helping us develop a guitar care system that would allow us to clean years of accumulated dirt and grime without lifting or damaging the finish and also help protect the finish and wood underneath going forward. After numerous attempts and formula changes we arrived at the products now known as Virtuoso Premium Polish and Virtuoso Premium Cleaner. It is the only two part cleaning system designed specifically for nitrocellulose lacquer finishes. It also works wonders on polyurethane and UV cured finishes found on newer instruments.

The products were designed and developed to help prepare our instruments for sale, not specifically as a resale item. Only after numerous requests at vintage guitar shows did we decide to offer Virtuoso Premium Polish and Virtuoso Premium Cleaner for sale to the public.

Try some and find out why serious collectors around the world won't use anything but Virtuoso Premium Polish and Virtuoso Premium Cleaner on their instruments

Web Site: http://www.virtuosopolish.com/

WANTED - Ibanez Frank Gambale 'FGM 400QM'

I would very much like to add one of the FGM 400QM models to my meager collection, anyone out there who knows where I could find one please contact me.



If you own one I would love to hear what you think about it? Send me your review on it and I will post it, also any images would be very kool...

Gibson ES 369:
TONE to the BONE
Right now my guitar collection consists of an very limited run Black "Gibson ES-369."

I searched the web and found there really wasn't much out there in the way of information on the ES-369, the following is what I could find.

Toward the end of the 1970s, Gibson was looking for a viable adaptation of the popular ES-335 model guitar that would capture players imagination. Gibson brought out the ES-335 Pro (Dirty Finger pickups with exposed coils, 1979-1982), ES-335 CRS/CRR (Country Rock Models, stereo, coil tap switch, brass nut, 1979 only), ES-347 (coil tap switch, TP-6 tailpiece, ebony fingerboard, large block inlay, 1978-1992) and the ES-369. These models were made at a time when variations of popular models were created by the major guitar manufacturers to build sales. A few short years later the reissue period would begin that has engulfed the marketplace. By 1982, Gibson introduced the ES-335 DOT. A reasonable, but not exact replica of the early dot-neck models. Fender was also bringing out their '57 and '62 reissue Stratocasters.

By the early 1980's, the guitar market was faltering and both Gibson and Fender was having a tough time earning the level of profitability that their large conglomerate parent firms demanded. It was an era of electronic music. Keyboards, as well as cheaper instruments were in demand. The quality of guitars built in this period suffered. Within a few years, both Gibson and Fender would be sold.

The ES-369 is classified as a thinline, double-cutaway, semi-hollowbody instrument. A maple block extends end-to-end down the middle of the body with F-holes cut into the laminated maple top. Perhaps the most striking feature of the ES-369 is the double-bound (red binding) snakehead headstock with embossed truss rod cover engraved with the model designation. This shape is reminiscent of the snakehead peghead styles of the 1920s and 1930s. It's interesting to note that Paul Reed Smith (PRS) guitar headstocks somewhat resemble this styling. Also, Gibson's Mark series acoustic flat-top guitars built from 1975-1979 used a similar snakehead headstock. Gibson used a slant script logo inlay on the ES-369 like those used in the late 1920s. Chrome tulip button tuners were installed along with a brass nut.

The 369's scale length is the same as a Les Paul or ES-335 at 24.75 inches with 22 frets. A rosewood fingerboard with creme binding complements the front and back creme body binding. At the back of the headstock where it meets the neck, a large volute was added for additional strength. Stamped on back of headstock is the serial number and 'Made in U.S.A.' .
Gibson designated zebra (black/creme pickup coils) exposed coil Dirty Finger pickups for the 369 that are hotter than their regular issue humbuckers. A coil tap switch was included to emulate single coil Fender type sounds. This coil tap option for humbucker pickups was popular at the time this guitar was introduced. The typical Gibson three way toggle switch and input jack on the face of the guitar is the same as a ES-335.

A Nashville tune-o-matic bridge along with Gibson's TP-6 tailpiece was chosen for better intonation and control. The tailpiece is built with individual string tension adjusters. The idea is good theory, however players have not supported this idea and stop tailpiece Gibson guitars are the configuration of choice these days.


By the time the ES-369 was introduced, the ES-335 and ES-347 both had coil tap switch configurations. Gibson moved the coil tap switch on the ES-369 from the upper cutaway bout location of the other two models to just beyond the end of the pickguard and replaced the regular toggle switch with a mini-microswitch. Essentially, the most outstanding difference between those two models and the ES-369 are cosmetic. The ES-369's headstock design and trapezoid fingerboard inlay differentiate it from the others.

Gibson's original factory in Kalamazoo built the ES-369 as well as the highly sought after original ES-335 guitars which were first made in 1958. The ES-369 has a stamped serial number with 8 impressed digits. Digits 6-8 less than 500 (and produced before July of 1984 for all Gibson guitars) indicates it was made in the Kalamazoo plant. The company eventually moved all guitar production from Kalamazoo to Nashville.

Gibson produced ES-369 guitars with finishes commonly associated with ES-335 instruments, sunburst and cherry. In addition, a solid black finish was available. A rectangular label with white background and orange and black triangles can be viewed through the upper F-hole. The model pictured was equipped with black speed knobs and single-ply creme pickguard. There are no production figures available for these instruments.

These instruments were probably not built in large quantities and were not considered a market success. The 369 guitars are an eclectic mix of a few faddish features of the 1980's with old world styling appointments. In the end, a decent guitar that is mostly an ES-335. Guitar enthusiasts looking for something different will find it appealing due to it's one-of-a-kind looks and limited availability. by Larry Meiners

Tony Iommi Custom SG By Jaydee:

This is a nice guitar! What can I say it is Beautiful.... I have to add this to the list.

The SG has been around for forty years or more. During this period it has undergone a few design changes that have not always been in its favour. Yet, it has still become a favourite with many guitarists who have kept the interest in this instrument alive.

One such musician is Tony Iommi of "Black Sabbath" I met Tony Iommi in the early 70's while working with John Birch. Tony had a left handed SG special which had the most amazing body contours that were so pronounced, I must admit, I did copy them, and have done ever since. I believe this is what an SG should look like.

Special features

• Double octave ebony fret board. Joins body at 22nd fret
• Mother of pearl crucifix inlays
• Three or five piece laminated neck for strength and rigidity
• Solid Brazilian mahogany body
• Spertzel /Schaller machine heads
• Fully bound neck and headstock
• Slim fast low action neck
• Two Custom made "Jaydee" High performance pick-ups
• Combination Bridge and tailstock with micro tune or Standard Tune o, matic and stop bar tail piece
• Standard control arrangement: Two-volume, two tone controls and pick-up selector
• Power boost optional
• Finished in Cherry Red or Black

Ibanez HRG2007 RNS: Shred Heaven

IKEBE ORIGINAL MODELj-custom HRG2007

This is one very nice guitar, if you want a fast neck, great looks and shred style guitar then this is one of my top picks.

More details on the following link: Click here for details ( I took the liberty of translating it into english)

Specification:

Top: Selected Flame Maple
Body: S.A.Mahogany
Neck: 5pcs. Maple/Walnut
Fingerboard: Selected Rosewood ~ 430mm
Front Pickup: DiMarzio Air Norton (H)
Center Pickup: DiMarzio Blue Velvet (S)
Rear Pickup: DiMarzio Tone Zone (H)
PUHardware: Cosmo Black
Bridge: Edge Pro
Finish: RNS (lac varnish)

6 Strings or 7 Strings? Which AXE to slay the BEAST

I have been playing guitar now for about 10 years, all my guitars have been the 6 string variety. I have just recently been looking at the 7 string guitars and I am very tempted to give it a try?

From all the different types of necks out there I prefer the flat thin profile. Although I have not tried it, I would think the wizard neck on the Ibanez is what I am looking for. I used to own a Godin Multiac it had a very nice shaped neck that also had the unfinished wood feel. I crave this type of neck, thin, wide, and fast no glossy/sticky finish.

I was looking at the Stephan Forte Signature LAG model, this is an awesome guitar. I love the low profile body on this guitar with a wicked fast shredding neck. I was up last night surfing guitars and made an interesting discovery, the Ibanez Frank Gambale's S series from 1987. Take a look at the features and you will see that the LAG guitar is like a twin brother, judge for yourself... pictures below.

Stephan Forte Signature LAG: Shredders Dream Guitar


The "Stéphan Forté Signature" guitar represents the top of LAG craftsmanship and achieved innovating guitar concept. The most particular features of this guitar are the 27 easy-accessible frets, combined with a totally profiled and sculpted body.

10 last frets are scalloped for bend-easy-access, and neck contour is perfectly adapted to high-speedy-playing ! ( thickness: 19 - 21 mm )

Configuration Details:

Scale: 648 mm

Neck / Body Junction: Sculpted for high-notes easy-access

Headstock: Reversed and uses 7-high-precision Lag machine-heads

Woods: Neck comes from a tight-grained Rock maple piece from Quebec

Fingerboard: Selected African deep-black Ebony

Body: Fine-Flamed-Maple top on a light Basswood body base ( 50 / 50% )
Wood-binding enhances the slim body-shape with the natural flamed-grain of the maple-top.

Tremolo: Original US Floyd Rose built in 7-strings version, loud and deep sustain guaranteed

Electronics: DiMarzio Evolution-7 and Blaze pickups for extraordinary power and tone, intense overdriven response, but with deep clarity and string definition. 1 master volume, close to finger-touch, 1 master tone with push-pull split-control, leads from deep fast sounds to clearest tones.

The pickup-5-way switch is positioned at the last end of the index-finger, with circle-action, following perfectly finger movement !This switch allows all pickups combinations, including single-coil sounds with push-pull humbuckers-splits. All electronics routings are protected by Lag Exclusive Graphite painting, all hum and noises are totally eliminated.

Finish: Exclusive Black shadow varnish, with deep see-through black nuances, front and rear. Rear electronics and tremolo panels are made in solid-profiled maple, black-satin varnished.



Below: Ibanez FGM Frank Gambale Series:



Above: The Frank Gambale Series - FGM 400QM





Above: The FGM 300 in Metallic Green and Desert Yellow Sun



Above: The FGM 200 in Black and White

Configuration Details:

FGM 100 (1991～1994)
Body: Sculpted Ultra thin offset double cutaway Mahogany　
Neck: One piece maple, 22 fret Rosewood fingerboard Color matched "Shark tooth" inlay 　
Hardware: Black Hardware, 6 in line tuners and double locking vibrato. 　
Pickup：DiMarzio Super Distortion /Ibanez Single Coil / Ibanez Humbucker　
Control: Volume, tone, 5 way selector switch　
Color: Desert Sun Yellow, Pink Salmon & Sky Blue

FGM 200 (1994～1996)　
Neck: Clay dot inlay　
Pickup：DiMarzio Super Distortion x2 /DiMarzio HS-3　
Hardware: Gotoh fixed bridge　
Color: Black & White

FGM 300 (1994～1996) 　
Neck: Pearl "Shark tooth" inlay　
Hardware: Double locking vibrato　
Color: Desert Yellow Sun & Metallic Green

FGM 400 (1997～1999) 　
Neck: Pearl block "Frank Gambale Signature" at 12th fret 　
Pickup: DiMarzio Super Distortion /DiMarzio Fast Truck x2　
Color: Blazer Blue & Quilted Top Maple

The Best Guitars in the World

This blog is about the best guitars in the world. Guitars are my passion.