This is Der Fledermaus. the guitar, not the operetta by Johan Strauss. It was the most unusual thing to ever come out of the Höfner factory. Der Fledermaus translates to The Bat in English.
This was a nice guitar in the Höfner tradition; rectangular controls, just like on their famous violin bass, a zero fret, mother-of-pearl block position markers, toaster style type 1 pickups, and a two-tone sunburst finish. This guitar not only had bat wings, but it also had a built-in 4 watt transistor amplifier. There were only twelve of these guitars ever made.
And speaking about Bob Shade and Hallmark guitars, the Wing-Bat Guitar was based on the Hallmark Swept Wing Guitar, but was an enhanced version, which included bat-style wings that were based on the tail section of the George Barris’ Batmobile.
It also comes with an indented tail section, which has a working tail light, a turbine “power boost’ switch, a Mosrite style vibrato and a Hallmark 60 Custom single coil pickup.
Bernardo Chavez Rico owned a wonderful music store in Los Angeles called Bernardo’s Guitar Shop. Rico had purchased the building from the Candelas Guitar Shop, which had a rich history unto itself. But that is another story.
Bernardo’s son, Bernie, worked alongside his father. Bernie was an accomplished Flamenco player and became involved in luthery work. This shop became a hang-out for musicians in-the-know in the LA area.
Around 1968 Bernie began work on a solid body guitar. This started a venture that we know as B.C. Rich guitars, which became world famous. One of their best sellers with the Heavy Metal set was The Warlock, which was welded by such players as Mick Mars, Lita Ford, C.C.Devile, and Paul Stanley of KISS.
For the past decade, Epiphone, as owned by Gibson Guitars, has never been shy about jumping on a fad. Guitarist Wen Shang-Yi of the Taiwanese band MayDay is endorsing their lasted creation, The MayDay Monster Epiphone Guitar. This was introduced last August and is actually a very nice instrument. It has a 1960 rounded D profile neck, a glued-in neck, a rosewood fretboard with trapezoidal inlays, and twin USA manufactured Gibson Burstbucker pickups. MayDay is a very popular band throughout China.
Though he is really not a monster, he certainly has monster chops and has a nice costume. Buckethead has been playing his own style of guitar for a longtime, For a while he even wrote a column for Guitar Player magazine.
Gibson Guitars unveiled its Buckethead model several years ago. This Les Paul style guitar comes with an Alpine White finish on its two piece maple top and features a pair of Gibson contemporary-voiced Ceramic series humbucking pickups that are very hot. And it features two kill switches. It is indeed a gorgeous instrument.
Frying Pan - Gibson ES-150 - Ro-Pt-In Electric - Les Paul's "Log
In the scheme of things, the electric guitar is not that old. Since its inception, designers have thought of interesting ways to change its sound. Guitar players, in general, have been attempting to alter the guitars tone, even before pickups were added.
I recall watching a video of Andre Segovia in which he described by playing closer and farther away from the instruments bridge, one could change the timbre of the guitar to give it a more bright or mellow sound.
Guitar tone-shaping pedals came about in the mid 1960’s and by 2016 have evolved into devices that make your guitar sound like an altogether different instrument.
Electronics companies have also introduced guitar synthesizers, that essentially use the guitar as a controller that is connected to a sound producing device.
But before all of these pedals and synthesizers came into vogue, guitar manufacturers and designers were attempting to get alter the guitars tone by using some pretty zany pickup designs, lots of pickups, and unusual placement.
Some of these designs worked and some were just plain bizarre.
Probably the most well known is Leo Fender’s slanted pickup placement on the Fender Esquire, Telecaster, Broadcaster, Stratocaster, Duo-sonic, Bullet, and Mustang. I honestly do not think the treble is enhanced that greatly by slanting the pickup, however it does look cool.
However Fender was not the first to use a slanted pickup. In fact in 1940 Gibson had placed a 7” pickup on an ES-300 guitar that was anchored just below the end of the fretboard below the 6th E string and then anchored just above the bridge above the 1st E string.
A year later the pickup was redesigned into a much shorter version on the ES-300 that was placed just in front of the bridge.
The guitar craze reached epic proportions in the mid 1960’s. This was after the British Invasion that affected not just the United States, but Europe as well.
Countless youngsters wanting to be the next big music group went out and purchased a guitar or bass. Businesses were importing a lot of instruments not just from Japan and Asia, but from Germany, Sweden, Russia, Norway and other European countries. So designers were getting creative with the pickups.
The Framus Atlantik came out around 1966 and was available with either two or three pickups. The body was based on Gibson’s ES design and came with one or two cutaways. The pickups were slanted, but were not parallel. It was definitely not designed by someone with OCD.
The Japanese made Greco Shrike was one weird guitar. The twin pickups seem to be “L” shaped and placed opposite of each other. There are 3 electro-magnets in each pickup. Two are in the longer section and one is in the shorter section. By using the slider switches on the upper bout different combinations of the magnets can be turned off or on. How does it sound? Surprisingly it sounds very nice.
A player would need two amps to properly use this guitar. The biggest problem was the coil in each pickup was not wound enough to get any useful signal. But it looked great on paper. Sekova was a brand name that Kawai Music Company used on some of their guitars at that time.
This St. Moritz guitar is something of a mystery. It is a stereo guitar and was probably made in Japan by the Fuji Gen Gakki company, although the name conjours up images of Switzerland.
Although the pickups on this guitar appear to look fairly normal, they actually are stereo pickups. This 1966 era guitar was made by a woodworking firm from Neodesha Kansas caled Holman-Woodell for the Wurlitzer Music Company They produced guitars from 1965 through 1968, including the LaBaye 2 x 4 guitar. This is a Wurlitzer Gemini guitar and has Holman-Woodell made Sensi-tone single coil pickups.
Gretsch created a stereo guitar for that was designed by Gretsch demonstrator Jimmie Webster back in 1956. It was based on the top-of-the-line White Falcon model and made to be played through a pair of amplifiers.
It was called "Dark Eyes." If you look closely at the upper frets on the neck of this instrument you will see 6 pole pieces on the guitars fretboard that are actually pickups placed inside the neck positioned under the 5th and 6th strings, designed for Chet to run the 5th and 6th string through an octave box and into a second amp. A truly unique instrument. The project was deemed to expensive for the public and was shelved. The only model in existence is the prototype. At one time it was owned by Les Paul.
The USA was not immune to guitars with unique pickups. The Fender XII (that’s 12 for anyone whose school did not teach Roman numerals), came with four pickups and a 4 way pickup selector. This placement enabled the guitar to be played with the both neck pickups, the lower neck and upper section of the bridge pickups in series, the lower neck and upper section of the bridge pickups in parallel, or both sections of the bridge pickups.
Many recording artists preferred the Fender XII since the strings were back-loaded instead of attaching to a trapeze tailpiece, as on a Rickenbacker and each string had an adjustable bridge saddle.
The Fender Performer came out in 1985 in an attempt to win over the Heavy Metal players who had gravitated to super-strats. The Performer featured oddly shaped humbucking pickups that slanted upward. The pickups had plastic covers with no exposed pole-pieces.
This instrument came in two models; the Standard and the Elite. Both came with twin single coil pickups, although some models may of had three single coils. The pickup design was rather odd since it was an elongated quadrangle shape. Both instruments were originally made in Japan at a time when Fender had no US based production facility and were designed by John Page.
The Fender Starcaster was somewhat of an oddity in itself. It was built to compete with Gibson ES double cutaway thinline series guitars. The pickups on The Starcaster were Fender Wide Range pickups which were designed by Seth Lover, the man credited with inventing the humbucking pickup. Instead of AlNiCo magnets, the Fender Wide Range pickups used CuNiFe or Copper/Nickel/Iron magnets. The pickups pole pieces were staggered with 3 on the pickups bottom strings and 3 on the pickups top strings. This pickup was also used on some Fender Telecasters. It had a DC resistance of around 10 kΩ.
Gibson Guitars also came out with some unusual pickup designs. The Gibson Flying Vee - Model V2 was offered in 1978 with twin V shaped pickups aka boomerang pickups. The body was sculpted and it is a beautiful guitar. The pickups are single coil models with noise reduction features.
The Gibson Recording Les Paul is an excellent guitar if you appreciate Les Paul style of playing.
Les was a pioneer in recording and invented multi-track recording. His technique was called sound-on-sound, which could be accomplished with a tape recorder that had three heads.
Once the first pass was recorded, then laid subsequent passes were laid over over the first track. With high-impedance pickups or microphones the original sounds dissapated after about three or four overdubs. Les discovered the solution was to record with low-impedance pickups and microphones.
These instruments were equipped with low-impedance pickups for the clarity of their sound, that were meant to plug directly into a recording console, but came with switches and electronics to use with an amplifier. The twin stacked-humbucking pickups were slanted downward.
Gibson came up with some unusual designs during their Norlin years. One of these was The Maurader. It was a single cutaway guitar with a 12 1/2” body and a bolt-on neck. This guitar came with a humbucking pickup in the neck position and a single coil blade pickup, encased in epoxy in the bridge position. The bridge pickup slanted downward.
In 1973 Gibson came out with the Grabber Bass. This was a long scale bass, designed to compete with Fender instruments. The headstock on the Grabber was in the same pointed style as the Gibson Flying V guitar. The unique feature about this model was the sliding humbucker pickup.
It was a very bright sounding pickup and was placed in an indention in the center of the insturments body. The pickup could “grabbed” by the player and moved forward or backward to make tonal changes.
Goya Guitars were originally made in Sweden as Levin Guitars. A US guitar distributor named Jerome Herschman once saw Levin guitars at a trade show and suggested a name change to something that sounded Spanish. He suggested Goya. By the mid 1960’s, Herschman was importing Goya guitars to the United States. He sold his share to a company called Avnet in 1966, which branched into electric models.
The electric guitars produced under the Goya brand were actually made in Italy by the Polverini Brothers. One of these models with unusual pickups is the Goya Rangemaster. And though the guitar was produced in Italy, the vibrato system on this instrument was made in Sweden by Hagstrom.
The twin double pickups on the Goya Rangemaster yielded a variety of sounds and were controlled by the guitars selector switches.
The controls on the upper bout allow the following pickup combinations. The first is the two neck pickups together, the second switch activates the lower neck pickup and the upper bridge pickup, the third switch turns on the treble side of the neck pickup and the bass side of the bridge pickup and the fourth switch activates both bridge pickups.
The switches on the lower bout control the tone and there is a volume potentiometer.
The Hoshino Gakki company of Japan had been using the brand name Ibanez for some years. They were well known for producing a lot of copies of US made guitars and were eventually sued by Gibson guitars in the Gibson vs Elger action in 1977. It is a fact that Ibanez saw the writing on the wall a few years prior to the lawsuit, because in 1975 the company came up with a very original design called The Ibanez Iceman.
The Ibanez Iceman model 2663TC, introduced in 1975 and originally called the Artist model, is quite interesting because it has only one pickup; A triple coil pickup.
A Japanese company named Atlansia has created the Atlansia Breeze Bass. Instead of the usual humbucking or single coil, H. Nobel has placed 8 single pickups on this bass.
Each pickup, called ARS pickups, has two pole pieces. The bass is an extremely modernistic design.
Norma Guitars was the brand name that a United States distributors used on some Teisco guitars. This guitar seems to have a pickup layout similar to the aforementioned Greco guitar, but in reverse.
The switch on the upper bout controls the pickup configuration.
The Tokai Company of Japan began making copies of Fender and Gibson guitar around 1977. By 1983 Tokai introduced an aluminum body guitar and bass called The Talbo (Tokai Aluminum Body). The guitar comes with the usual humbucking pickups
