#Gambale Tuning

[jazzdailyblog]

Frank Gambale: The Virtuoso Guitarist Who Revolutionized Jazz Fusion

Introduction: Frank Gambale’s name resonates as one of the most innovative and technically proficient guitarists in the world of jazz fusion and instrumental music. Known for his groundbreaking sweep and economy picking techniques, Gambale’s career spans nearly four decades, during which he has redefined what is possible on the guitar. From his collaborations with jazz legends like Chick Corea…

[guitarsandviolins]

Guitars and Violins II Chapter 5

Chapter 5: Problems Arise

(Disclaimer! I own nothing of Korra!)

Korra and her friends made it to their favorite spot where they would be playing.

The Axis Nightclub.

"We finally made it," said Korra.

"Its finally ready!" Said Tahno, "We're gonna rock their socks off with our awesome sound."

Bolin was clacking his drumsticks.

Marcus was looking at some paperwork walking by.

"So much to do, so much going on with this place," he said.

"Hey guys!" Said Zoe, "We're excited to see you guys jam."

"Hey Marcus, that thing that happened with the beer fight…." Korra started.

"All water under the bridge," said Marcus, "Maybe those guys will be a bit wiser for the wear, but don't worry about it."

"What should we do until the show Marcus?" Asked Varrick, "Any papers we have to sign or what?"

"Oh yes well…. I hope to see you here," said Marcus, "Pardon me for not showing you around, there's a map inside I'm sure you can read it out."

As he left, Korra and the gang went inside.

"Just look at this fucking stage!" Said Tahno.

"Its amazing," said Opal, "The entire area is a lightshow spectacular."

"Guys?" Asked Tahno.

They were all looking at the schedule.

"That's odd," said Opal, "Your band isn't on there."

"What happened?" Asked Korra, "Was there a mess up?"

"I don't know Korra….. but I'm gonna find out," said Varrick.

He went to the room where Marcus was and Korra followed.

He was filling out some paper work.

"Pardon me," said Varrick trying to get his attention.

"I am incredibly busy sir," said Marcus bluntly ignoring them.

"I know and I won't take much of your time, I just had a concern about the schedule," said Varrick, "The schedule for the concert tonight, we noticed that The Tone Benders aren't in the set. I just wanted to ask when they're playing."

"They're not," Marcus said still ignoring him.

"Why not?" Asked Varrick.

"Because they violated the contract rules," said Marcus smoking his cigar.

"What contract rules?" Asked Korra, "We didn't see any contract rules did we guys?"

Marcus threw his bottle of beer at the wall.

"Wrong toots, wrong!" He said frustratedly.

Everybody was surprised in his change of tone.

"Under section 39-a of the contract which all of you signed, it states quite clearly that all performances shall become null and void IF, and you can read it for yourselves in this photostatic copy," said Marcus beginning to read, "'I the undersigned do hereby forfeit all rights to perform with said band herin, and herin, contained et cetera et cetera, fax mentis incendium gloria culture et cetera et cetera, memo bis punitor delicatum!"

He slammed the contract down still angry.

"Its all there, written in black ink, and CLEAR AS FUCKING CRYSTAL!" He shouted pointing at Korra and Asami, "You allowed lesbians to perform with us, and to make matters worse…."

He opened the door pointing at Mako.

"You allowed your bassist to sleep with our vocalist, a bassist from Japan no less!" Marcus said, "Now there's rumors going on about them dating! By committing these acts you violated your contract, so you will not be performing here tonight. You lose, good day sir!"

He went back to his work.

Varrick was indeed shocked.

"You're a cheat… you're a tycoon and a scoundrel!" He said, "THAT'S what you are! How can you do a thing like this, build up a group of young musicians hopes and smash all their dreams to pieces? You're an inhuman TYRANT….."

"I SAID GOOD FUCKING DAY!" Marcus shouted.

"C'mon guys," said Korra, "Let's get out of here."

"I'll get even with that son of a bitch if its the last thing I do," said Varrick, "If Cass wants a nirvana tribute band, she'll get one."

Zoe was listening to the whole thing and called a number.

"Hey, its us," said Zoe, "We've got a bit of a problem."

Korra and the gang were eating at a bar.

"I can't believe this," said Mako, "We don't get to play at the performance because of that guy being an asshole."

"What I wanna know is where in the contract it says that lesbians can't play with the band?" Asked Bolin, "What's that guy's problem with us?"

"Exactly," said Asami.

Varrick was busy calling his friend about the upcoming Nirvana Tribute concert.

"He's real hell bent on getting back at Marcus," said Opal.

Zoe walked in.

"Hey Z," said Mako, "What's shaking?"

"Guys, good news, you can play tonight!" Said Zoe.

"Really?" Asked Korra.

"Yes," said Zoe, "But….. on one condition."

Later, Korra was looking at Marcus.

The two of them were trying to outdo themselves at the guitar battle.

Marcus was looking to the crowd thinking that he won.

Korra however had a trick up her sleeve.

"Wait til you hear this."

(A few hours earlier)

"Come again?" Asked Asami.

"Well, Marcus thinks you have talent, and he even told us so," Zoe repeated herself, "He doesn't wanna say it out loud though because it might destroy his image."

"Then why is he so uptight about her relationship with Asami?" Bolin asked.

"Well to answer that question, its because his old girlfriend cheated on him, and dumped him for a woman."

"Bambi all over again," Tahno said.

"So he wants to have a guitar duel with me?"

"Correct."

"And if we win, we get to stay on the tour."

"Exactly."

Korra thought for a moment.

"Alright I'll do it."

Asami kissed Korra's cheek.

"That's my girl."

Opal groped Korra's breasts.

"For luck."

The others laughed.

Korra tuned her guitar and went to MArcus' room.

"So did you give my offer some thought?"

"I'll do it," Korra said.

He grinned.

"Get ready to meet your maker."

The two of them went to the main stage of the Axis Nightclub.

Marcus grabbed his guitar and plugged up.

"I think its time I gave you a taste of what I'm made of."

He played a guitar solo.

Korra looked at him.

"Oh I didn't realize it was my turn, I thought that was just you tuning up."

Korra countered with a bluesy riff.

"Ok so you can walk, but can you run?"

He played a punk rock riff.

"Sure, but I prefer to fly."

Korra played a solo using her thumb as a pick.

"Just like Jeff Beck…." Blake said.

"She's good," Shelly said.

Marcus countered with a heavy metal solo followed by a dive bomb.

Korra retaliated by playing guitar with her teeth.

Marcus played a lick and Korra copied it in her own style.

The two of them kept going at each other with different licks and riffs trying to outdo each other.

"We gotta get in on this," Blake said.

The band joined in doing a blues shuffle.

Marcus did his thing and then Korra did her own.

Marcus played the guitar behind his back.

Korra did some slide guitar riffs.

Varrick was watching Korra bust the moves.

"You show that dickhole who's boss," he said.

Zhu Li called him on the phone.

Marcus did a trick using a delay pedal.

Korra did the same using reverse delay.

Marcus then did something similar to Pat Metheny and then Frank Gambale.

He then turned around believing he won.

Korra then started a new lick.

She then played something that was similar to Paganini's Caprice no. 5.

Varrick was listening.

"What the devil?"

She then played another Paganini riff.

She merged a few Paganini riffs together to create one incredible guitar solo and then finished it.

The audience clapped for her.

Marcus attempted to play the same thing but kept messing up on a few parts.

He then put his guitar down.

"You're a fucking legend," he said smiling, "You get the first set tonight."

Korra's band cheered and chanted her name.

Zoe smiled.

Tahno took the microphone.

"Ok tell you what, its time you all joined me," he said, "Everybody is gonna keep yourself alive!"

Korra started playing a riff.

Tahno took the first half of the microphone off.

The band started to join in.

Marcus found himself clapping along with everyone else.

Keep Yourself Alive by Queen

Tahno: I was told a million times

Of all the troubles in my way

Mind you grow a little wiser

Little better every day

But if I crossed a million rivers

And I rode a million miles

Then I'd still be where I started

Bread and butter for a smile

Well I sold a million mirrors

In a shop in Alley Way

But I never saw my face

In any window any day

Now they say your folks are telling you

Be a super star

But I tell you just be satisfied

Stay right where you are

Korra and Asami: Keep yourself alive

Keep yourself alive

Tahno: It'll take you all your time and a money

Honey you'll survive

Well I've loved a million women

In a belladonnic haze

And I ate a million dinners

Brought to me on silver trays

Give me everything I need

To feed my body and my soul

Well I'll grow a little bigger

Maybe that can be my goal

I was told a million times

Of all the people in my way

How I had to keep on trying

And get better every day

But if I crossed a million rivers

And I rode a million miles

Then I'd still be where I started

Same as when I started

Korra and Asami: Keep yourself alive

Come on

Keep yourself alive

Tahno: It'll take you all your time and a money

Honey you'll survive

Bolin did a drum solo while Opal recorded it.

Zoe was watching Mako play the whole time.

"This guy is amazing with his bass playing! GO MAKO!"

Marcus laughed.

Someone was watching them and had her eye on Tahno.

Korra stepped on her tone bender and played one of her signature guitar solos.

She then walked out to the stage using a wireless.

"I knew the wireless would do the trick," Asami said.

Korra and Asami: Keep yourself alive

Keep yourself alive

Tahno: It'll take you all your time and a money

To keep me satisfied

Mako: Do you think you're better every day

Tahno: No, I just think I'm two steps nearer to my grave

Korra and Asami: Keep yourself alive

Come on

Keep yourself alive

Tahno: You take your time and take more money

Keep yourself alive

Korra and Asami: Keep yourself alive

Come on

Keep yourself alive

Tahno: All you people keep yourself alive

Korra and Asmai: Keep yourself alive

Come on

Come on

Keep yourself alive

Tahno: It'll take you all your time and a money

To keep me satisfied

Korra and Asami: Keep yourself alive

Keep yourself alive

Tahno: All you people keep yourself alive

Take you all your time and money

Honey you will survive

Keep you satisfied

Keep you satisfied

The band finished and the audience cheered.

"Looks like we're back in business," Korra said.

[jazzviewswithcjshearn]

A deeper look at: Chick Corea, “The Musician” (Stretch Records/Concord Jazz, 2017)

Collective personnel includes: Chick Corea: piano, keyboards; John McLaughlin, Frank Gambale, Nino Josele: guitar; Wallace Roney, Wynton Marsalis: trumpet; Kenny Garrett, Gary Bartz, Eric Marienthal: alto saxophone; Jorge Pardo: saxophone, flute; Stanley Clarke, Gary Peacock, John Pattitucci, Eddie Gomez, Carles Benavent: bass; Lenny White, Brian Blade, Jack DeJohnette, Jeff Ballard, Dave Weckl: drums; Gary Burton: vibes; Harlem String Quartet; Bobby McFerrin, Gayle Moran Corea, Concha Buika: vocals, Marcus Roberts, Herbie Hancock: piano.  Recorded live November 2011 at the Blue Note, New York City

Chick Corea now in his fifth career decade, has remained one of the most vital improvisers and composers in all of jazz providing consistently engaging material.  The 75 year old has not rested on his laurels and in recent years come up with fresh music for ensembles like Vigil, the John McLaughlin co lead, Five Peace Band, a substantial piano concerto “The Continents” (Deutsche Grammophon, 2012) and reunions with older ensembles like the pioneering jazz rock outfit Return to Forever, and the plugged in legacy continuing Elektric Band that have provided fresh looks at older material. He has also maintained fantastic trios with bassists Eddie Gomez, Christian McBride and drummer Brian Blade, touched base with old friends Steve Gadd, Roy Haynes, Gary Burton, Herbie Hancock and many others.  Keep in mind this massive outpouring of activities has taken place in the last decade!  The pianist and keyboardist has entered a career renaissance, releasing some of the very best music he has in years, and as last year's  residence from mid October to mid December at the Blue Note demonstrated, he shows no signs of slowing down.

“The Musician” is a gorgeously packaged 4 disc deluxe box set consisting of 3 CD's documenting his November 2011 70th birthday run at the Blue Note in New York, and blu ray documentary focusing on his life, and musical associations interspersed with footage of each band.  The list of all star musicians that appear with Corea on the three discs of music is staggering, including vocalists Bobby McFerrin and Concha Buika, trumpeters Wallace Roney, and Wynton Marsalis, guitarists Frank Gambale, John McLaughlin, Nino Josele, saxophonists Kenny Garrett, Gary Bartz, Eric Marienthal, and drummers Lenny White, Brian Blade, Jack DeJohnette, Jeff Ballard and Dave Weckl among many more.  Each disc is chockful of highlights, and contains three to four bands per CD and while it does seem like band whiplash, each group sequence makes perfect sense to the overall flow.  The set takes its cue from 2003's now out of print massive 10 DVD set “Rendezvous in New York” of which a 2 CD sampler distillation was released.  “The Musician” makes more sense as an album, each group's highlights being taken together as an overall mini set and p, and the performances are always exciting.

The classic “Captain Marvel” starts the album with a bang and is re framed in the context of an acoustic Return to Forever group with the Elektric Band's Frank Gambale, who appeared with RTF's electric incarnation for their 2011 tour captured on “The Mothership Returns” (Eagle Rock Entertainment, 2012) replacing Al Dimeola.  What's fun and outstanding about this version is the fun and quicksilver interaction taking place between the quartet, Lenny White immediately responds rhythmically to the pianist in between the memorable melody, and then through Corea's solo he keeps the pot boiling and wisely chooses his spots with snapping declarations.  Gambale is the perfect combination of chops and restraint and demonstrates why he was a worthy replacement for Dimeola on RTF's second tour following the 2008 reunion.  Clarke is a wellspring of limber ideas, winding up his solo as he alsodoes on the sensually simmering “Light As A Feather” with his signature whirling dervish lick that always generates heat.  White sounds beautiful on the streaming eighth note feel of Clarke's first ever RTF composition, and his subtle Latin bass drum pattern brings a wonderful buoyancy, he smolders through some double time during the pianist's solo, dismounting into sizzling swing.  Return to Forever tunes such as these have appeared before in the past decade, but these versions  brim with the vibrancy of new compositions and make for fascinating comparative listening next to Corea, Clarke and White's offering “Forever” (Concord, 2011).  

Five Peace Band with John McLaughlin was a project that took many years to come to fruition.  Indeed the two men were on the cusp of pioneering jazz-rock ensembles, and had a collaboration been realized at the time, it would have been nothing short of astonishing.  However, when the duo released “Five Peace Band” (Concord, 2009) a 2 CD set of the band's 2008 European tour with Kenny Garrett, bassist Christian McBride, and drummer Vinnie Colaiuta, it was worth the wait.  Rather than being a purely testoterone fueled affair recalling their jazz-rock roots, the quintet deftly balanced the acoustic and electric concerns on new compositions and some chestnuts.  The absolutely incredible playing of Brian Blade was a wonderful fit for the group, and he replaced Colaiuta on subsequent tour legs.  That is the version of the band heard on disc 1, which also features John Pattitucci instead of McBride and the maturity of the ensemble from the initial album grew exponentially between  the 2008 tour and the November, 2011 shows taped at the Blue Note.  “Spirit Rides” a recent Corea composition, is enhanced by his on point Rhodes playing and also the fiery, eager McLaughlin.  Corea's own solo on acoustic piano is marvelous, paying homage to McCoy Tyner with his rumbling left hand fourths, and a fountain of invention in the right.  Blade's completely cliché free, organic comping and explosions during both the pianist and guitarist's solos are something to behold. McLaughlin's pretty waltz “Special Beings” highlights his own torrential solo as well as a signature slowly burning alto solo from Kenny Garrett.  These two tunes are a standout of the  three CD's and are a welcome addition to the Five Peace Band's lone album discography.

Corea's association with Miles Davis in 1969 is one that was fruitful for the pianist and in the midst of an incredibly creative period where he put forth some of his most forward, avant garde leaning music.  The early to mid 60's introduced him as a voice of note, first with percussionist Montego Joe, and then on several classic Blue Note sides with trumpeter Blue Mitchell, with his heralding achievement; the path breaking trio album “Now He Sings Now He Sobs” (Solid State, 1968).  The recording with bassist Miroslav Vitous and Roy Haynes defined a new mode of thinking for the piano trio, and pianists in general, widening the harmonic landscape opened by Bill Evans, Herbie Hancock, Paul Bley and Bud Powell before him. The period with Miles Davis though was one that really opened the pianist's vistas to electronics, but also sound as a canvas and improvising with a true fearlessness. On the second disc, he reconvenes with Davis alum Jack DeJohnette on drums along with fellow Miles alumnus Gary Bartz, trumpeter Wallace Roney, and Eddie Gomez on bass for searing interpretations of two classics from Miles' cannon, the standard “If I Were A Bell” and Wayne Shorter's “Nefertiti”.  Corea's witty comping on the burning 22 minutes “If I Were A Bell” is a love letter to Miles of sorts, as the entire lineage of pianists in Miles' acoustic ensembles is summoned, note the pianist's sly nods to Wynton Kelly. Roney is transcendent, soaring above the rhythm section setting off a torrent of elated abandon from DeJohnette.  Gary Bartz' soprano dances in front of Corea, Gomez and DeJohnette, and the pianist's solo is pure joy,  his eight bar trades for several choruses with DeJohnette examines their long held rapport and penchant for pushing each other to greater heights.  Versions of Shorter's “Nefertiti”, played with solos, as the rendition is here boldly underlines the genius of the saxophonist's composition played with the Davis quintet.  It's winding, snaking melody famously reversing the roles of front line and rhythm section, DeJohnette's titanic fills between the melody statement, incredibly different from Tony Williams famous interjections, still maintains it's near through composed character. Bartz's moody alto solo leisurely takes off from portions of the melody, and the group's Spanish tinged interplay to the close is a perfect lead to the Flamenco Heart portion of disc 2. These pieces end the disc in a frenzy with a memorable take on Paco DeLucia's “Zyryab” from his 1990 album of the same name and the tender “Mi Nina Lola” featuring Concha Buika's earthy vocals.  Flamenco Heart,  is an offshoot of Corea's in depth exploration of Spanish music that began with “Spain” on “Light As A Feather” (Polydor, 1972) and continued with the whimsical “My Spanish Heart” (Polydor, 1976) featuring multi reedist Jorge Pardo, bassist Carles Benavent (a holdover from “Touchstone”) guitarist, Nino Josele, and ex Origin and New Trio drummer Jeff Ballard.

What really makes the album special though for the inspired level of the performances throughout are the duet performances, and the scintillating “Overture” with Gary Burton and the Harlem String Quartet reprised from the pair's “Lyric Suite For Sextet” (ECM, 1982). The gorgeous classical meets jazz blend is enhanced by the warmth brought out by the strings, and Corea and Burton impress with chance taking solos, while Gayle Moran Corea's ethereal voice graces the group for “Your Eyes Speak To Me”.  Moran Corea's classically trained and show tune honed voice retains the stratospheric range that marked her appearance on classics by the pianist and Mahavishnu Orchestra, weathered a bit by a wider vibrato.  Her voice works much better here, than in the context of a standard like “Someday My Prince Will Come” found on “Trilogy” (Stretch/Concord, 2013) because the moodier, rhapsodic nature of the composition suits the natural qualities of her voice much better.

The rapport that the pianist has with Bobby McFerrin on “I've Got the World On The String” allows them to go just about anywhere, their comping for each other is terrific. McFerrin's approximation of female vocals and emulating Liza Minelli's vibrato is fun and hilarious, and the duo's look at the well worn “Spain” adds interest through the way they atmospherically navigate the tune's famous intro adapted from Rodrigo's “Concerto de Aranjuez”.  The piano duets with Marcus Roberts, with Wynton Marsalis guesting on a gut bucket “CC'S Birthday Blues” are a lesson in the history of the jazz tradition. Roberts' style, whose single note lines recall that of the great Earl Hines are the perfect complement to Corea's post modern fervor  on “Caravan” and their interaction is that of a relaxed conversation.  The duets with Herbie Hancock though are the centerpiece of the duos and a perfect new chapter to the two double albums they released in 1978   The three compositions chosen, the bebop anthem “Hot House”, and Hancock's standards “Dolphin Dance” and “Cantaloupe Island” are a testament to both pianists harmonic and rhythmic subtleties and seemingly endless invention. Only does a fragment of the “Hot House”  theme emerge mid run during one of Corea's dizzying flights as the two men take improvisational liberties within the structure.  “Dolphin Dance” rendered here as a beautiful impressionistic ballad, is at turns lyrical and heavily abstract due to Hancock's detailed listening.  He follows Corea like a laser, at points adding spiky rhythmic dissonance, or chunky ostinatos to the leader's evocative explorations, and the piece moves a bit further outside from Hancock's prodding.

The Elektric Band's renditions of “Ritual” from “Paint the World” (GRP, 1993) and “Silver Temple” from their 1986 debut close things on a high note and absolutely smoke their studio counterparts being double the length. As the Elektric Band is currently on a  extended tour following their support behind “To the Stars”(Stretch/Concord, 2003) it begs for reconsideration of their output that due to the very era specific production, has been heavily criticized in some circles.  The tracks here display that the original classic lineup have lost none of their intuitive telepathy, and ability to navigate through complicated unisons. The Pattitucci-Weckl hookup is as strong as ever on “Ritual”, and Eric Marienthal shows once again just how good of a player he is, something not always evident on his own solo releases. Corea's Rhodes playing on “Silver Temple” is sublime, and adds a considerably different color than the studio version featuring the lighter textures from his MIDI'ed Rhodes.

The documentary portion is a lot more of a true documentary than the one that accompanied the “Rendezvous in New York” DVD set, which primarily summarized each set in that package.  Corea's anecdotes about his time with Miles Davis, and the first Return To Forever album on ECM are particularly interesting, as is Jack DeJohnette's detailed account (accompanied by rare footage) of the time he and Corea played dual drums in Davis' band, an aspect not documented on any official recording.  Much of the performance footage does not duplicate the renditions heard on each of the three CD's, but it does leave one wishing that extended unedited performance clips were available as an extra on the blu ray, particularly of the trio with Gary Peacock and Brian Blade, the For Miles, Five Peace and Elektric ensembles.

“The Musician” beautifully packaged in a hard bound book, featuring an essay by Monk biographer Robin D.G. Kelley, and great photos of each of the ten bands is an invigorating, often times breath taking summation of the pianist's entire career.  Though the title of the set may lead one to believe it is a box set retrospective of studio recordings, these three and a half hours of live recordings in November 2011 render many Corea classics afresh, and one hopes that a similar set memorializing his 75th birthday festivities is on the way soon.  Even long time fans of Corea who own a large portion of his output will be unable to resist picking this one up, ranking right up there with “Trilogy”, and “Two” (Stretch/Concord, 2015) as far as recent releases.

Rating: 10/10

[omgguitarstuff]

An interesting Nashville-inspired tuning that lets you keep your Standard tuning chord forms.  Looks cool, will need to do some restringing...

[guitareurope-blog]

Ronin Mirari

I have been playing guitar for over 20 years new (a 10-year hiatus not counted). There were a few bands, a few projects, but none were really quite successful.A few years ago I realised I didn’t want to be part of a band no more, it’s just not my thing.I’m having enough trouble already interacting with people in daily life, so being in a band is actually just making things worse.

At some point, ditching all the non-music related clutter proved exactly what I needed to rediscover the sheer joy of playing music, discovering and learning every day.

So there you are, I am what is referred to these days as a “bedroom player” I think (I don’t have a YouTube channel though) and quite frankly, it was the best choice I made in years.

I made this blog because I am guitar-obsessed. I confess. I need guitars, I crave guitars.

Below is a list of all the ones I’ve ever owned, on a 30-year basis. Not bad I’d say (but surely there are many severe cases).

  Session Super Strat

Fender pink Paisley MIJ Telecaster

Ibanez Frank Gambale S series

Hamer Chapparal with Sustainiac

Gretsch 1969 Country Gentleman

Ibanez Joe Satriani

Squire Telecaster

Ibanez Artist

Gibson Les Paul Standard

Hohner Explorer

No brand Strat

Peavey Super Strat

Nik Huber Dolphin

Collings LC-35

TLL Daphne

Hayride Telecaster

VC Telecaster

Maybach Lester

Gibson ES335 CS

Warmoth Strat

Epiphone Les Paul Custom Inspired by ‘55

Valley Arts Custom Pro

Gibson ‘57 JR Custom Shop VOS

  And now, a Ronin Mirari.

  This, my dear friends, was a life-changing experience.

It had such an impact, I felt I just had to write about it. Mainly because I’m just head-over-heels with it, but also because I thought it would be good to have a real-world review out there from a non-pro user, as honest and un-biased as possible.

  I remember looking at the Ronin website a few years back, thinking I’d never come across one I’d be able to buy, they’re quite exclusive and are almost never to be found used.

But then it suddenly happened. A 2018 Mirari in Castilian Red was listed on Reverb. Mint condition. I sold my Gibson JR as quick as I could to free soms funds and took the leap.

  I’ve never looked back since.

  From the first day on I couldn’t put her down.

This is the most inspiring instrument I have ever played. And more importantly, it lasts. Every time when I put the Mirari on my lap, the magic is there. Over and over again.

  I heard people put them off as “hipster guitars”, “overpriced boutique stuff that’s just well marketed” and so on …

I can tell you that every that word on the Ronin website is so accurately true, it is almost frightening. My Ronin lives up to every single-one of their claims. Period.

  And don’t just only take the word of an unknown bedroom player all the way from Belgium, but also from well-seasoned musicians as David Torn, Keith Urban, Jo Mahieu, Eric Melaerts, Dan Phelps, Eddie Martinez, Walter Becker … to name a few. I’m definitely in good company here!

  So, here’s my in-depth review.

  The first thing you notice when picking up a Mirari, is the weight, or better,  the lack of it.

It is ridiculously light.

Perfectly balanced and curved, it is a joy to play during long sessions, either standing or sitting.

Acoustically, there is a lot going on here, even before plugging in, playing this guitar reveals spectacular sonic qualities. Notes and chords ring and chime, there is plenty of definition and a wide range of dynamics at your fingertips.

I sometimes refer to complex wines as “3D”, in this case this description is equally appropriate.

It truly is a beautiful marriage, the redwood body and the mahogany neck, resonance is almost felt before heard.

  Plugging in, all of the above gets amplified and multiplied.

Ronin makes their own pickups, mine has two Foilbuckers, standard wind.

You immediately notice how incredibly dynamic these are. They respond to every nuance in your touch. Hence Dan Phelps’ observation about them:

  “Ronin guitars sound big, resonant, and nuanced. Between the old redwood and the foilbuckers, the sheer amount of sonic information coming out of my Mirari can be overwhelming. What I love about that is how much expressive possibility is available to me, literally at my finger tips. ” Dan Phelps

  Compared to a Warmoth Strat I own, outfitted with an Amber Spirit of ‘59, (a relatively low output, vintage style HB) at the bridge, these pickups are even less hot. And ultimately this makes sense. Here’s what Marc Cuthbertson has to say about this, I couldn’t put it any better, so I just quote:

  "Ronin have some very detailed pickups, even in their higher gain models. But I've never played a guitar where I thought, "this pickup isn't LOUD enough." I truly do not understand that concern. Guitars are for tone. Pedals and amps are for gain (and tone, of course). Most people do it backwards and that's partly why most people sound like most people.

  Gain is the most abundant resource in the universe. You can have it easily and cheaply anywhere in your signal chain. I do not understand why people insist on getting it from the guitar. The guitar is the place to set your EQ curve. More often than not, when you coax gain out of the guitar, you do so at the cost of DATA...tonal details. Those 1's and 0's that carry the info about exactly how you picked or didn't pick that last note? Those are mostly in the highs, and those are the frequencies that you start sacrificing when you just HAVE to make the whole thing LOUDER by the time it even hits the first cable. There's no way to get that data back; it just wasn't transmitted in the first place. But if you come off the guitar with the data in tact, even if you darken at a pedal or the amp, tons of that data perseveres through that later darkening."  - Mark Cuthbertson

  When playing a Foilbucker for the first time, you most likely will have to adjust some amp/pedal settings. I found this actually very rewarding. Every small tweak translates into a huge difference in tone, due to the sensitivity and responsiveness of these pickups.

My standard go-to hi gain fuzz is a Catalinbread Antichton. Capable of producing huge amounts of sonic mayhem, pinpoint articulation is always there, even with tons of gain and while playing complex voicings.

The foilbuckers react to the slightest of touch, making them especially suited for fingerstyle techniques and players with a soft touch.

  Construction is flawless as you may expect (and should) from instruments in this league. The neck profile, a traditional C on my Mirari, suits me perfectly, you just play and forget about it, which is a very good sign. It is extremely comfortabe but by no means a thin shred-affair.

Frets are Stew-mac 154, a high-ish medium wire. Paired with a 12” radius, this lends to a more contemporaty feel.

There is also a soft-V to C neck option for those wanting a more vintage style feel if desired.

Laquer is nitro and is executed flawlessly. The Castilian Red is deep and warm and has a beautiful solidness to it.

The neck is finished transparant, showing off the georgeous mahogany grain.

  Hardware-wise it doesn’t get any better than this. Hipshot open-geared tuners and a Mannmade tremolo provide ultra-stable tuning, even when dive-bombing in the best of Van Halen manners.

  I won’t go further explaning how this guitar sounds and plays, you’ll just have to discover it for yourself. By now I’ve already told you the most important things. Dynamics, responsiveness and unique tone are what it’s all about.

  Jo Mahieu once said to me, “A Ronin isn’t for everyone”, and I now fully understand what he meant by that. The Mirari is a very confronting instrument, forcing you to play very consciously to reveal all the nuances she has in her. And when you do, she really gives back what you put in.

  Sorry Jo, Ronin suits me just fine, she’ll have to stay :-)

  Ronin Mirari

Specifications:

Body: Master Grade Reclaimed Old Growth Redwood

Neck: Honduran Mahogany

Heel: Mannmade® 4 Bolt Heel Plate

Frets: 22 Stewmac 154

Scale Length: 25.5”

Truss Rod: Single Action

Radius: 9.5”, 10” or “7.25-9”

Back Contour: C or Soft V .89 - .94

Nut Width: Approx 1” 11/16ths

Nut Material: Unbleached Bone

Inlay: Dots

Finish: 100% Un-Catalyzed Nitrocellulose Lacquer

Pickguard: Celluloid Nitrate Multi-ply

Hand Made Bone Nut

Weight: 6.5 - 7.0 lbs

Hardware

Mannmade® 2 Pin Full Size Steel Block Tremolo

Hipshot® Open Gear Tuning Machines

Electronics:

NOS Vintage .047uf 200V Tone Cap

Treble Bleed Cap + Resistor

CTS 250k Pots

Switch Craft® Switches

  Pickups:

2x Ronin Foilbucker Standard Wind Set

2x Ronin Foilbucker HOT Set

Controls:

1x Vol 2x Tone + 3 Way Switch

  Options:

Resonator Switch

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Gambale Tuning