The other vintage controllers, the G-202 and G-505, are well-built, fine guitars.But they cannot escape the feel of being really well made Fender copies, no matter how nice they are. The more expensive G-808 has through-neck construction and other nice features, like gold hardware.
(For those on a tighter budget there are many worthy compilations available.) Cochran also appeared in several films, including Eddie Cochran’s techniques, licks, and fretprints are indelibly ingrained in the language of electric guitar as we know it today, which is why we’ve placed him under investigation.
RAISING A FUSS Big, bold, single-note and chord riffs powered many of Cochran’s hits, including “Summertime Blues,” “C’mon Everybody,” and “Weekend.” He sets the mood for “Summertime Blues” (which didn’t chart until a year after his death) with the Bigsby-inflected, low-) rhythm figure using the pinky dance notated in Ex.
K., his work was and remains criminally overlooked in the U.
S., bolstered mostly by popular cover versions of his songs and torch carriers like Brian Setzer.
If there is one guitar that has become the "gold standard" of guitar synthesizers, it has to be the Roland G-303 guitar.
No doubt much of the popularity of the G-303 comes from Pat Metheny, who has played this guitar year after year on stages across the world, always amazing audiences with the moving and emotional quality of the G-303 and GR-300 rig.1980 Roland Product Brochure on the Roland GR-300, G-303 and G-808.1982 Roland Product Brochure - Japanese - Featuring the G-303 and G-808.1982 Roland Product Brochure Featuring the G-303 and G-808.1984 Roland Product Brochure Featuring the G-303 and G-808.3a, inspired by the instrumental “Strollin’ Guitar,” reveals how Cochran would arrange three guitars—a low-register melody (Gtr. 2), and an emulsifying, chugging rhythm figure (Gtr. Cochran cut several versions of “Milk Cow Blues,” all of which showcased his wild blues playing. But sometimes the simplest moves are the most effective. 5c shows how Cochran created the illusion of a half-step whammy-bar dip simply by fingering the fretted notes of an open chord a half step lower, and then sliding/hammering them into their proper position. This is a great way to boost a tune’s energy level (just ask Brian Setzer), and Ex. Here, the sax section takes the lead and Cochran answers them with a pair of characteristic two-bar phrases that recall his cover of Ray Charles’ “Hallelujah I Love Her So.” IMPRESSING YOUNGSTERS The term “swipe file” usually refers to a piece of music appropriated from an earlier source, and here we’re definitely talking about the followers plagiarizing the originator.