The term Super Strat has been used loosely to describe a whole array of electric guitars with a doublecutaway, Fender Stratocasterstyle body, smokin hot humbuckers, and a locking tremolo system.

The trend was kicked off by Eddie Van Halen with his homebrew Frankenstrat, which inspired a rich tradition of amateurbuilt Super Strats. The Super Strat craze was born thanks in large part to these amateurs modding lackluster guitars built by the big manufacturers.

In the late 1970s and early 1980s, Fender and Gibson were growing out of touch with their market largely due to corporate mismanagement. CBS, for instance, was tainting Fender's established legacy as a highquality brand by prioritizing cost cuts over consumer demands. Unstable 3bolt necks were introduced and players were not happy.

Likewise, Gibson (owned by the Norlin company) was cutting costs by building inferior guitars with heavy, multipiece bodies. The Norlin eras ugly designs didnt help the companys case (check out the Corvus).

During the this time, companies such as Schecter, Warmoth, and Mighty Mite were offering replacement bodies for sale by mail order. Until then, only professional luthiers had easy access to replacement parts.

These companies gave the lay shredder and home tinkerer the ability build a guitar for the first time. This is how Eddie Van Halen became the prototypical amateur guitar modifier.

Of course, there is a massive amount of diversity amongst those manufacturers as part of a Super Strat arms race in the 80s, but some common tropes did emerge.

Literally going part by part to trace which builders were responsible for which innovations unfolds a fascinating tale about one of the few guitars that was not designed by one company and copied over and over like the Les Paul, for example but was truly designed by an entire industry.

Many guitar players were embracing heavy woods and hardware in a bid for better tone. Heavy body woods offered by amateurfocused companies like Warmouth and Schechter included padauk, zebrawood, and wenge, as well as heavier variants of the more commonly used maple and ash.

The advent of highergain amps, preamps, rack effects, and new pedal designs needed a more focused and direct guitar sound, and the heavier wood guitars helped create a more uniform tone.

On the other end of the spectrum, some modobsessed players wanted to go as light as possible and turned to poplar and basswood two woods that are now commonly used in guitar manufacturing.

ESP LTD Alex Wade AW-7, Padouk

Ibanez RG752 RG Prestige Series, Wenge

ESP LTD M-100 FM M-Series, Basswood

The neck joint on the original generation of Super Strats was almost exclusively a classic 4bolt neck plate design. This was more stable than the 3bolt design Fender was using in the late 70s and 80s, which led to the necks shifting and causing playability problems. In fact, many players at the time converted their 3bolt Fender to a 4bolt for better stability.

Yet two of the most important neck innovations at this time were the advent of the thinner neck and the widespread adoption of neckthrough construction.

Jackson Pro Soloist SL2Q

With the rise of fast metal playing and guitar virtuosity by the likes of Eddie Van Halen and Steve Vai, players at the time were seeking better and better playability. Thats when necks began to become thinner and wider, with Ibanez, Kramer, and Jackson leading the pack.

Ibanez also pioneered neckthrough guitars for the masses with its Alembicinspired musician models, and Grover Jackson made this a Super Strat innovation in its own right.

When working with Charvel, luthier Grover Jackson tweaked the Super Strat template through oneoff custom guitars he built as side projects. Those neckthrough projects would be refined into the Soloist, which Jackson would use to launch his eponymous guitar brand.

Neckthrough construction allowed for a more responsive guitar with much greater sustain. This method of construction also allowed for a greatly reduced heel, making access to the higher frets effortless. Shredders were no longer impeded by a bulky heel of a traditional bolton or set neck guitar.

Without a doubt, the iconic bridge of the Super Strat is the Floyd Rose locking tremolo system. While many have tried their hands at the double locking tremolo design game, only Floyd has become an industry standard.

Others have had limited or no success, such as the Kahler, Washburn Wonderbar, Kramer Rockinger, and various less precise variations. None have achieved the reliability of the Floyd.

Jackson Pro Soloist SL2Q with a Floyd Rose

Designing in 1977, Floyd Rose found that tuning stability was only achieved when the string was locked at the neck and at the bridge. With this doublelocking system, the string would no longer slip at the nut or the saddle of the bridge.

This doublelocking innovation not only contributed much needed tuning stability to a tremolo system, but also allowed for wild pitchshifting down and up. The range of that pitch shifting was more dynamic than ever, especially when pulling the bar to pitch the notes up. The Floyd Rose system became a tool that every burgeoning guitar player needed to master.

Floyd also pioneered the use of fine tuners at the bridge to really keep the guitar in playable and precise tuning. Kramer was the first manufacturer to adopt the Floyd Rose system, ditching the Rockinger system that was originally favored by Van Halen for his signature model.

Van Halen and Rose worked together on many of the systems refinements, and it has remained relatively unchanged and unchallenged since getting just about nailed in the mid1980s.

Fender Yngwie Malmsteen Brass Nut

Modders in the 1970s and 1980s were experimenting with heavy materials to induce more sustain. In the rare occasion that a Super Strat did not have a locking nut, brass was the ideal nut material.

Ibanez became the first manufacturer to popularize the brass nut, even though Gretsch had used the material on and off in the 1950s and Alembic started using it for smallerscale builds in the 1970s.

Jazz players such as George Benson (also an Ibanez endorser) used combination bone and brass nuts to get the best of both worlds. Many players found brass's long sustain worthwhile despite the inconvenience of strings breaking more often at the nut.

Pickups are the biggest tonal driver in the Super Strat. With the boom of companies building replacement pickups in the 1970s and 1980s including Dimarzio, Seymour Duncan, and Schecter the home modder had more options than ever for cultivating a signature sound.

Kramer Baretta 1985 Reissue

For the Super Strat, higher output humbuckers were preferred, since they made overdriving an amp a whole lot easier. Ceramic magnets were used over alnico since they created higher output, lending pickups a more powerful and focused sound. Popular ceramic models included the Seymour Duncan JB, Dimarzio Super Distortion, and the EMG 81.

Ceramic magnets can be harsh, but that harshness can be tamed through some creative design. A pickups positioning, for instance, is one of the most interesting influencers on tone.

Many Super Strat manufacturers angled their bridge humbucker like Kramer with its Baretta to better align the pole pieces with the string spacing of the Floyd trem.

This shifting emphasizes more bass and higher treble while limiting the flubby and harsh bass tones that bridge humbuckers on Stratstyle guitars can sometimes have.

You cant talk about the Super Strat without talking about the wild finishes and graphic art so many of these models exhibited. Starting with Van Halens Frankestrat, Super Strat players prided themselves on the individuality of their guitars.

Ibanez, Charvel, Hamer, and the many Japanese imports of the time (Aria, Westone, etc.) pioneered the unique solid colors, while Kramer and Jackson went over and above anything seen at the time.

Kramer had tiger, leopard, and other animal print color schemes, while Jackson had amazing graphics, with the samurai, lava, piles of skulls, and scantily clad women being popular themes. This movement toward art being a fundamental part of the instrument pushed figured wood to the background of guitar aesthetics.

Kramer Pacer, Tiger Stripe

Jackson USA DK1 Dinky, Skull

Ibanez Steve Vai JEM777, Loch Ness Green

When playing a classic Super Strat, it can sound harsh, heavy, and bright. However, these guitars come alive with heavy distortion.

The concentrated bright tone allows for the guitar to cut through a highgain amp. When played clean with delay, chorus, and reverb, the brightness keeps the guitar from getting bogged down by the lowend those effects tend to add.

While the Super Strat is very much so a relic of the 80s, nothing is better for highgain, highspeed, and deepdive tremolo playing.

Who made your favorite Super Strat? Ever made one for yourself? Let us know in the comments.

Continued here:
The Anatomy of a Super Strat - Reverb News

Welcome to the Anatomy of a Goal, where each week we dissect one goal (or near goal) from the previous weeks Columbus Crew SC match.

For match 20 of the 2017 MLS Season, we take a look at Kekuta Mannehs 58th minute long-range blast that put Crew SC up 1-0 as part of their 1-0 win over Minnesota United.

Heres a look at the finish from the Columbus winger.

Both teams struggled to get going for much of this match, with the Black & Gold recording only four shots before Mannehs goal. Crew SCs 3-4-3 formation, without both Justin Meram and Federico Higuain, lacked the creative force that Columbus typically relies on to provide quality chances. Minnesota started the second half well, forcing Zack Steffen to make two saves in the early part of the half.

Mannehs game-winner began off a Loon turnover, with Jukka Raitala arguably playing the ball off of his arm. Playing in the middle of the back three, Alex Crognale picks up the turnover and immediately has multiple passing options: a quick pass to Josh Williams, a pass downfield to Wil Trapp, a pass further downfield to (an offscreen) Mohammed Abu or a,very short pass to Lalas Abubakar.

Crognale spots Abu down the field and opts to slot the ball to the Ghanian midfielder.

Abu, with space to turn, quickly plays the ball to his captain to start off the counterattack.

With the ball and space to work, Trapp has multiple options: a quick pass to Hector Jimenez on the wing, carry the ball forward until defensive pressure arrives, a pass downfield to Manneh, or a quick pass back to Abu.

Notice Ibsons positioning during this play. Ibson, standing in the middle of Trapps decision tree, is blocking Trapps passing angle to Manneh. Ibson is also the closest defender to Trapp, but will decide not to engage with Columbus captain.

Trapp decides to carry the ball downfield. As he does, the midfielder still has the option to pass to Jimenez on his right and now a clear passing lane to Manneh has emerged. Ibson has barely moved, so Trapp decides to continue to carry the ball downfield.

After covering about 25 yards, Trapp is finally approaching defensive pressure from Minnesota midfielder Kevin Venegas. Venegas is forced to cover Trapp because both Ibson and Sam Cronin have failed to do so. Seeing Venegas shift to the player he should be marking, Cronin rushes toward Manneh. This defensive slip by the Loons will provide Trapp with a quick window to slot the ball onto the feet of Manneh.

Trapp makes the pass to Manneh as Cronin sprints toward the winger. Manneh will briefly hold the ball at his feet rather than continue his motion forward.

With the ball at his feet, and Cronin sprinting to catch up, Manneh will do a quick turn that uses the momentum of the Loon midfielder as a way to create space.

As you can see in the above video, Manneh waits for Cronin to arrive and then quickly spins away, sending Cronin six or seven yards passed and setting Manneh into the open field.

After completing his turn, Manneh finds himself with yards of space and available passes to Jimenez and Ethan Finlay. Manneh will carry the ball forward to look for defensive pressure.

As the Black & Gold winger heads toward the goal, and with Cronin scrambling to get back into a defensive position, Mannehs available passing options are Jimenez (to his right) and Finlay (straight ahead). Additionally, Manneh can carry the ball toward goal until pressure arrives.

Cronin doesnt arrive in time and neither do any of the other Loon defenders. So, Manneh decides to take a shot from about 25 yards out... and youll have to wait to see if he scores (spoiler alert: he does).

The question this shot, and subsequent goal, ask is why didnt one of Uniteds deep-lying defenders step up to help Cronin and challenge Manneh. The answer to that question is Finlay.

The above video shows Finlay quickly run from the corner of the semicircle to the middle of the top of the 18-yard-box. In doing this, Finlay occupies both Minnesota defenders, preventing either from stepping up to defend Manneh and opening up a lane for the shot and subsequent goal.

Just after the Crew SC match at Atlanta, Gregg Berhalter commented on the importance of Finlay to Crew SCs success. Even without touching the ball, Finlay is instrumental in creating the space necessary for Mannehs shot and goal. Lets look at Finlays movement and impact on this play.

As he enters the frame, Finlay is defended by Justin Davis. The defender likely sees Jimenez running unmarked on his left and is hesitant to totally follow Finlays run, which would open up space for Manneh to head right.

Finlay can either run into the channel between Davis and Joseph Greenspan or he can continue his run across the face of Greenspan.

Finlay continues across the channel and into the path of Greenspan. As Finlay runs along the offside line, while staying onside, the rest of the play will hinge on Greenspans next decision. If Greenspan decides to step to Manneh, Finlay will be open for a quick through pass. If Greenspan sticks with Finlay, Manneh will have the opportunity to shoot or continue in on goal.

Greenspan, slowed by Finlay, sticks with Columbuss right winger. Davis moves toward Manneh, closing his path to the right.

As Greenspan shifts toward Manneh, the Crew SC winger decides to take his shot on goal. Mannehs shot will slot right into the space just vacated by Greenspan.

The star in the above image represents Finlays starting spot in this section of his run. Notice how much space and time he creates for Manneh just by making a simple five-yard run across the face of two defenders.

And Mannehs shot finds the back of the net.

Findings:

Visit link:
Anatomy of a Goal: Manneh's long-range strike - Massive Report

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Amid the shambles that was the Anglo-French campaign in Norway in April and May 1940, a French officer observed that the British have planned this campaign on the lines of a punitive expedition against the Zulus, but unhappily we and the British are in the position of the Zulus.

A month later, many British officers would be pronouncing on French generalship equally tartly during the shambles that was the Fall of France. On the whole it doesnt do to criticise allies, but soldiers have got to be able to grumble about somebody, and its best (at the time, at least) to lay the blame elsewhere than ones own high command. Campaigns that end in ignominious failure and have few redeeming features tend to be forgotten quite quickly writes the author of this concise, penetrating study of a supreme example of such a campaign. Certainly Norway was quickly forgotten not surprisingly, given what followed in the summer of 1940 but it did have a profound effect on the way we organised ourselves for the rest of the war.

In one respect, Norway stands in that finest, and continuing, tradition of British arms: never getting off to a good start. But untraditionally, we never turned the campaign round, and although there were plans to open a front in Norway during the invasion of occupied Europe in 1944, they were never put into action.

The Norwegian campaign, though hastily improvised, was meant to play to Britains maritime strength. In this there were strong echoes of the Dardanelles and Gallipoli, not least in that Churchill was First Lord of the Admiralty during both. Unlike the Dardanelles, however, the strategic prize cutting off the supply of Swedish iron ore shipped through Narvik, which the Ministry of Economic Warfare believed could fatally weaken the German war effort in months was dubious. It might merit the mining of Norwegian coastal waters, but hardly an expensive side show.

However, events in early 1940 developed fast. Aided by the NaziSoviet Non-Aggression Pact, in November Russia had invaded Finland, fighting continuing until mid-March. Sweden was becoming increasingly accommodating towards Berlin, the Norwegian fjords offered a perfect base for U-boats, while the British and French armies were busy with the Phoney War on the Western Front. To Hitler, Norway looked like low-hanging fruit.

He invaded via Denmark and Sweden. The Danes resisted, for a short time, but the Swedes, to their eternal shame, simply obliged the German army with railway tickets.

At Churchills urging, a hastily assembled force sailed for Norway in an attempt to forestall the seizing of the northerly ports. The force, including French Chasseurs dAlpin (the elite mountain corps) and Polish infantry, arrived too weak and too late, although they did help extricate the Norwegian royal family and much of the countrys gold reserves (for which the Christmas tree in Trafalgar Square each year is a memorial gift).

John Kiszely is a former lieutenant-general who, in his later service, was much involved with the development and teaching of strategy and the political-military machinery to convert policy into campaign planning. He also won one of the best Military Crosses in its 100-year history, leading his company of Scots Guards in the Falklands. Unsurprisingly, his book pulls no punches.

What is perhaps most surprising and dispiriting because of its contemporary resonance (think Chilcot on the failure of strategic leadership in Iraq) is the extent to which the lessons of the first world war had not been taken to heart. As war loomed in 1939 there was some attempt at better pol-mil and inter-service coordination, thanks to the long-serving cabinet secretary and former Royal Marine, Maurice Hankey; but it was still too cumbersome for modern war. It allowed, for example, Churchills admirably combative instinct too free a rein, failing to subject it to rigorous strategic and operational scrutiny. Worse, it masked Chamberlains utter unsuitability as a war leader. Like Asquith in 191416, Chamberlain made war as if it were just another aspect of government. In both, too many men died needlessly.

But if Kiszely is scathing about the political leadership, he despairs of the military even more. The First Sea Lord, Dudley Pound, was a backward-looking sailor little aware of the growing influence of air and underwater weapons. The Chief of the Air Staff, Cyril Newall, by virtue of seniority also chairman of the chiefs-of-staff committee, was too easily dominated by his fellow chiefs and by others in the RAF, and insufficiently robust or forceful with the War cabinet. The newly appointed CIGS (Chief of the Imperial General Staff), Tiny Ironside (he was six foot four), had simply been too senior for too long.

Indeed, the most extraordinary thing about the high command of the army in September 1939 is that they did exactly what the high command did in August 1914: they emptied the War Office. The CIGS, Lord Gort, took the BEF to France, and with him as chief of staff the Director of Military Operations and Plans. Ironside, who had never even served in the War Office, would complain, justifiably, that when he turned to the man who knew all about plans, he wasnt there. Unlike the first world war, however, eventually, in December 1941, a superb CIGS would be found Alan Brooke. But the irony of Norway was that Hitlers brilliant strategic victory would bring to power Churchill the man who more than any other would ensure his ultimate defeat.

Anyone wanting to know about the pitfalls of pol-mil decision-making and campaign-planning, but who does not have the stomach to read Chilcot, should read Kiszely. However, the author deserved a better indexer; and at 35 bar a penny, so does the reader.

Read the rest here:
The disaster of Norway, 1940: Anatomy of a Campaign reviewed - Spectator.co.uk

If you've ever watched Rick and Morty in one of their absolutely bonkers adventures and then gone on to say to yourself, "I'd love to do that!" well, my friend, your dream can now come true. I'd hold off on imagining yourself getting a jetpack or being inside Rick's UFO to fly into the cosmos, thoughwe're probably still a few decades away from that. But don't worry, we have the next best thing.

#CartoonNetwork Enterprise has partnered with Cryptozoic Entertainment to bring us #RickAndMortyAnatomyPark, a board game based on one of the duo's most disgusting adventures: 'Anatomy Park.' In the Season 1 episode, the grandson-granddad duo, alongside other companions, venture into a microscopic theme park built inside a homeless man. It was hilarious and horrifying. It was...hilarifying.

The end goal of the game is to successfully build a theme park inside the human body, and the approach to its rules is pretty original and a great representation of the craziness that is #RickAndMorty's trademark. To build the different attractions, players will have to work their way through bodily reactions and diseases, and they have a real-life effect. If someone pulls a "Bodily Reaction" card, for example, the holder will have to act out its actions.

Who will fans be able to embody (uh...literally) on this insane journey? Players will be able to choose between Rick, Morty, Annie, the treacherous Poncho, Roger and the iTunes gift card-giver himself, Dr. Xenon Bloom. Unfortunately, none of Morty's family members will be able to join in on the fun, which is understandable since they didn't go into the theme park in the episode. Although... now that I think about it, Rick wasn't inside the body, eitherhe just threw it into space and blew it up (I know, that's the show)... But you know what? I won't try to make sense of the series' logic.

The game will be packed with content to make your experience inside the homeless Santa Claus as realistic and gruesome as possible. Here are all the goodies that will make that happen:

Going by the 'Anatomy Park' episode (and having a general understanding of the kind of gruesome things Rick and Morty go through on a daily basis) I have a pretty good idea of what we can expect from the diseases. But I'll be happy just as long as there's a giant Hepatitis C beast in there to somehow defend us from other monsters.

According to the game's lead designer, Matty Hyra, the game will include some new attractions not seen in the original episode, designed by Robb Mommaerts. "When can I get this sci-fi masterpiece," you ask? You'll be able to do it on July 12. Meanwhile, #RickandMortySeason3 will return on Adult Swim on July 30, 2017.

Will you be playing Rick And Morty: Anatomy Park once it comes out? Let me know in the comments!

Read more from the original source:
Remember The 'Anatomy Park' Episode Of Rick And Morty? Now You Can Act It Out In Real Life - moviepilot.com

The fashionable face of the Dubai-based blog, JMode, and celebrity stylist, spills all her styling secrets

The fashionable face of the Dubai-based blog, JMode, and celebrity stylist, spills all her styling secrets. Find out which silhouettes she cant get enough of and ones she can live without!

Understanding your body is the key to looking good and a trait found amongst all impeccably dressed fashionistas. While people shy away from talking about their bodies, these brave souls explain how they work their anatomies to their advantage

How would you describe your body type?

I would say I fall in the pear-shaped category of body types. My upper body is tiny and my hips are a bit broad.

Has your body type changed over the last five years?

My body has dramatically changed over the past five years and its all because of my change in lifestyle and nutrition. After I started working out, Ive seen such a huge change in my body, it hasnt just made me look good, but most importantly it makes me feel good. Now, thats a feeling I always want to wake up with.

How has your style changed over the years?

My style hasnt really changed over the years, but it has just progressed with time. I like dressing for my age and dont like looking older or younger than I am. I always maintain a signature Jannat style mantra, which is: dress to impress and less is more. I like to be understated, chic and classy.

In your opinion what is your most troublesome area?

My most troublesome area has to be my hips and thighs. Not so fun!

How do you dress your body according to your body type?

I prefer high-waisted trousers, skirts, and silhouettes that accentuate my figure. I love anything that starts at my waist. Because I have a tiny upper body, I highlight that area the most and tend to go for cuts and shapes that make my body look proportionate. I am a huge fan of crop-tops, high-waisted bottoms, and of course, heels to give me some height!

In your opinion what is the biggest mistake a person can make while dressing here?

I have always believed that less is more. Over-dressing can really kill your outfit and I think that keeping it simple and classy is the best way to step out. Dont go over the top it really doesnt do anything good for you! Simplicity is the smartest form of elegance.

Which silhouettes suit your body the most?

High-waisted trousers, skirts, jumpsuits, crop-tops and pencil skirts.

What is the one piece of clothing that you shy away from wearing and why?

Im not a big fan of low necklines and mini skirts I like straight cuts and most importantly I like being, feeling and looking comfortable yet classy at the same time. Attitude is everything, and that is what shows most in any outfit you wear.

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Style Anatomy: Jannat Miranda - The Express Tribune