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Mark Lucas Guitarist- Composer- Arranger: Blog


Posted on August 8, 2017 with 0 comments
I've been interested in a headless guitar for a while. The ergonomics, the modernity, the open-ness has appealed to me for years. It was Mick Goodrick who sparked this interest; then, Allan Holdsworth.
Ned Steinberger was the original designer of the headless guitar and bass, and it was quite popular when they first came out in the mid to late 80's.The design was so compelling that it reached across a lot of musical genres, from synth-pop, to progressive jazz. The original Steinbergers had a composite neck of graphite and carbon fiber that produced a very even and clean sound.
Unfortunately, Steinberger became a victim of their own success, in that they were not prepared for the incredible demand, which far outstripped their supply sourcing. In 1987, the Newburgh, NY plant was closed after Gibson bought the company. 
Over the years since then, there have been various incarnations produced by other companies. There is an organization called Headless USA that restores original Steinberger [...]
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Posted on July 26, 2017 with 0 comments
The first 'boutique' pedal I bought was a Fulltone Full-Drive 2 Mosfet OD; actually, it was a gift, in November of 2007. I still have it and use it, as it is a supremely versatile and reliable pedal. I have used a few others(it would be imprudent to name them), but have always returned to the FD2. The second Fulltone was bought in 2013, the OCD. Somewhat different in tonality than the FD2, it has a lot more headroom, and is more 'British' sounding. It took a while for me to learn how to use this one, but it's as equally compelling as the FD2. 
Fulltone is one of the few products that never fail. Mike Fuller is a brilliant designer, and I am so happy to be able to use Fulltone pedals.

One sound that has been very attractive to me since I lived in Boston is a 60's Strat with a rosewood fingerboard.
Unlike a maple board, rosewood has a punchy, tight response. Notes seem to jump off the board quicker; more transients, and in some ways, more overtones. More muscular, in essence.
I've played and/or demoed most of the Music Man guitars on the nstuffmusic youtube channel. The overriding thing about them is quality. They're set up perfectly right out of the case. Fit and finish is exemplary. Sterling Ball once said that the difference between a good guitar and a great guitar is 100 details. One of the most compelling details is the fretwork. There really aren't many US companies doing this level of work. And it shows over the long term. I've played a lot more expensive instruments that did not have this excellence present. Every note played is even without anomalies, regardless of how it s set up. It took me a bit of trial and error to get it where I like a guitar to be. I've [...]
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Posted on March 11, 2017 with 0 comments
Ce plus que ca change, ce plus que ca meme chose. The more things change, the more they stay the same. An old French saying.
What I'm referring to in this inquiry is guitar equipment, as a metaphor. When I first started playing gigs professionally, I had one guitar, one cable, and one amp. Then as time went on, to fill the needs of the different types of music I was playing, I got a chorus pedal; then a flanger; then an overdrive and/or distortion box. Then along came Mesa Boogie, which did away with the overdrive pedals. Around 1992, I started to use a volume pedal. I've used one since then. It is truly an indispensable part of my guitar/amp connection. For a while, I used Fender and Vox amps, adding an overdrive pedal to the chain, as the amps themselves are great 'platforms' to build a sound on, but not really great for amp overdrive unless they're really cranked up. I've tried a lot of different boxes; Fulltone, Xotic, J Rockett, etc. And the pedalboard became more 'involved' shall [...]
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Posted on January 10, 2017 with 0 comments
I find myself returning to recordings I listened to years ago. One example is In Passing, by Mick Goodrick; an ECM release from 1979, with Eddie Gomez, John Surman, and Jack DeJohnette. A musical colleague introduced this to me in 1984, a few months before I moved to Boston. The clarity of their playing as an ensemble is astounding. Air, space, the unbelievable quality of ECM, and the looseness of the compositions still inspire me. Mick is the rare Guitarist who is a true original. No one sounds like him, but according to him, no one sounds like anybody else. I had the privilege of studying with him for a short time. And his knowledge still resonates for me. I bought his book, The Advancing Guitarist, in 1988, from the International Reading Room; it was an independent bookstore in Harvard Square. This is, in my opinion, one of the most important books I've studied from.

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