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From the Publisher
The Tools That Created Legendary Sound
From Chapter One – The First Telecaster
FZ’s first real electric guitar was an early Fender Telecaster, which he rented for six months in 1961 while he was living in Ontario, California. As he recalls: “There was a music store not far from my house, and I rented this Telecaster for $15 a month. Eventually I had to give it back, because I couldn’t make the repayments on it.”
First produced in 1950, the Fender Telecaster (originally named the Broadcaster) was the world’s first commercially successful solid body electric guitar.11 Leo Fender designed it to be easy to manufacture, with a separate neck that was bolted onto the body, a modular electronics panel holding the volume and tone controls and pickup selector, and a simple but stylish body shape that could be machined from a flat slab of wood.
From Chapter Four – Farfisa Professional Organ
When FZ hired young jazz musician George Duke to play with the new version of the Mothers of Invention in 1970, he gave him a Farfisa combo organ to play, along with a Fender Rhodes piano.
The Professional 222 was Farfisa’s newest model, launched in 1968, and their most expensive single manual organ. At the time, it was one of the most feature-laden combo organs around. It boasted three basic voices (Flutes, Clarinets, and Sharps) in eight different footages.
In keyboard terminology, “footage” refers to the approximate length of the pipes required to produce a range of notes on a traditional pipe organ. The longer the pipe, the lower the note that is produced, doubling in length for each octave. Footages on portable organs normally range from 16-foot for the very lowest notes to one foot for the highest register. Large cathedral organs may have 32-foot pipes, and very rarely 64-foot.
From Chapter 5 – The Utility Muffin Research Kitchen
FZ finally amassed enough capital to build his own recording studio at his house in LA in 1979. This was no small project studio, as they are known today, but a professional-quality facility, using the state-of the-art equipment for the time. The large control room had a 48-channel Harrison mixer, a 5-channel surround-sound monitor system with huge JBL speaker systems built into the walls, and racks full of…sound-processing equipment.
The studio had a drum booth, a vocal booth, a real echo chamber, and a decent-sized live room large enough to hold a dozen or so musicians, along with his huge Bösendorfer grand piano. One advanced feature that FZ had installed was a sophisticated headphone monitoring system, his engineer David Gray recalled: “We had a whole little thing called a ‘self-mix matrix.’ Basically, you could send any channel to this routing matrix and each individual out in the room could get four channels that they could mix themselves in headphones.”
Publisher : Backbeat (September 1, 2019)
Language : English
Hardcover : 248 pages
ISBN-10 : 1540012026
ISBN-13 : 978-1540012029
Item Weight : 2.55 pounds
Dimensions : 8.8 x 0.83 x 11.29 inches
