Arnold looks a LOT like an old friend of mine did back in the 80's, and sounds a lot like him, too, so I found his video highly entertaining, on many levels. I would gladly tune in to watch him hate on the Koloss 'kit' Guitar, and may have to dial that up. Twits that I wouldn't trust to make a birdfeeder or picture-frame, even for free. The necks are barely better than they would be if made of hard rubber.
It's one thing to have the output-jack located where it is, but even another for the jack to be angled the way it is- far wider an angle than that of a standard Strat-styled jack, which it otherwise copies And no Koloss aluminum body for me, I wouldn't want to put so much as a penny into the hands of these spamming, scamming, lying, crooked thieving jackasses. I have suspicions that the body's neck-pocket and bolt through-holes wouldn't properly line up with necks from reputable, decent makers, and that the paint or one thing or another would prove to be greatly carcinogenic or carry STD's If yer gonna claim to be a big dog, be prepared to do big dog stuff You and I and many others have played warm-weather gigs where that asinine rubbery neck would have had the guitar going unusably out of tune.
Yeah, whether he was just repeating it as the alleged material claimed by the maker, or just saying it robotically- that was a bit lame and muddying the waters Both exude the "play me" pheromone quite strongly, and I follow along. Give it a moment before you try to crank it back into place, well, as much as it'll really go, while still plugged in and powered up. It won't be in tune, but who cares? More visually striking than just smashing a Guitar onstage, and you can do it over and over again, using just this piece of crap.
More than likely, you'd bend the truss-rod in that rubber neck and the neck wouldn't return to being straight In the Buyer Beware video review it looked to me like you could accomplish the audio sound trick by just using the whammy bar faulty bridge design. It wouldn't be as dramatic for the audience as wrenching the rubber necking neck back and forth though LoL!
When doing a full-on dive bomb, the strings come completely off of the saddles and hopefully come back into position when you let it back up They would look most decorative festooned upon the upper curve of a arched garden gate, if I had an arched garden gate Or, bore holes into the ground on the perimeter of the front yard and make a lovely multicolored fence, if I had a front yard.
If you put foot straps on them, they might work as water skis, if I had a boat to take out water skiing. I could see doing a "Cadillac Desert"-style display, with a bunch of them sticking up out of the ground like 6-stringed Garden Gnomes. Having seen how the guy in the first video bent the neck like a big rubber band, I'm not convinced that there IS a truss rod?
If you are playing a well-paying gig, you could turn into a Sixties era Pete Townshend at the end of the show and go nuts onstage trying to destroy that piece of crap. Your video would go viral before you made it backstage. You can bend and dent 'em, but you can't quite smash 'em!
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Reply to this topic Start new topic. Prev 1 2 Next Page 1 of 2. Recommended Posts. Posted July 13, Link to comment Share on other sites More sharing options Top Posters In This Topic 7 5 6 3. Reminds me of a pop out surfboard. The pour a bunch of crap into a plastic mold and out pops a piece of crap surfboard I wouldn't let my dog piss on, let alone ride it. Jenny S. KuruPrionz Posted July 13, Maybe I can get one really cheap and tweak it into a shredder!!!
Then I will come back on here and taunt everyone. It would have to be unbelievably bad for me not to be able to resurrect it with a bit of work. Worst case, I could smash it on stage, been a while since I've done that. It took a chunk of my life to get here and I am still not sure where "here" is.
Dannyalcatraz Posted July 13, That is a whole lotta not love. Sturgeon's 2nd Law, a. Winston Psmith Posted July 13, Larryz Posted July 13, I only watched the Buyer Beware bearded guys video and it was all I needed to see. He did a great demo and great job of showing the design flaws. The biggest one for me was all the strings coming off the saddles of the bridge when doing a dive bomb LoL!
I didn't like the jack poking the belly on the back of the guitar either LoL! The nut cut was an unbelievable disaster The guitar didn't sound that bad. If the bridge and the nut were changed along with the jack location before they poured another one, the Chinese manufacturer might be able to salvage their line of guitars.
This model is a high-quality aluminum body, dynamic tremolo, carbon fiber neck and fingerboard, such as a relatively suppressed price in the lineup. The finger board R is relatively flat and relatively flat. The scale is the same as Electronics are simple and two Hambackers are controlled by volume, tone, PU selector, and tap switch.
Tremolo units are very smooth and beautiful bending is possible. Because the lock peg is adopted, the tuning stability has a certain quality height. It is characteristic of light sound with a sense of air, which is often found in semiholow guitar. However, it is characteristic that there are more tight attacks than such guitars.
We usually run through the stages—writing, arranging, recording, and mixing—separately. The ideas, however, have hopefully evolved a little through the years. This time we did it a little bit different. We started writing but then took a break to go on a summer festival run through Europe, and since we almost never write on the road, we came back and sort of picked up where we left off but instead of finishing the writing process before recording, we actually ended up doing it all simultaneously.
I think doing that was a great thing for the end result. It gave us a new kind of perspective, going back-and-forth between the two. Earlier you said that your ideas have evolved over the years. With every release, we've always tried to tweak and experiment with our musical expression. We are all rooted in the composing of music rather than being instrumentalists to some degree. So I guess trying to craft a voice of our own has been the goal. Not to be mistaken for trying to be as complex or technical as possible, as many seem to think.
That in and of itself is utterly pointless, in my opinion. Our approach has always been about the general expression—and we like weird stuff. The technical aspect is just a by-product. Speaking about the many Meshuggah-inflenced bands, are you flattered or irritated when you hear them?
I guess flattered would be more appropriate. I mean, I'm really out of touch with what bands are considered to have done that. It must mean that we probably did a few things right along the way. Yeah, some of these bands are quite amazing.
Have you also taken inspiration from a band that may have started out as a Meshuggah disciple? Not that I know of. Like I said, I'm not very in touch with the scene right now. Mostly because the band has been eating so much focus. And I really wouldn't know who you consider a Meshuggah disciple, so I guess the answer really is: I don't know.
There is no mathematical approach. I dislike that term. And to really mess things up for you and get even more vague, and this applies especially to Koloss , there is no one formula that everything we do follows. The logic that might be underlying most of our stuff is sometimes thrown out of the window completely laughs.
The new album is full of that type of illusion. But there has to be some kind of analytical process to get riffs to ultimately align in time, no? From a theoretical aspect, we could go into odd groupings and for memorizing certain things, it is maybe a useful term. But it really takes more away from the music than it clarifies. It almost resembles a puzzle. It really isn't all that special from a theoretical standpoint.
This concept is present in so much music and so many genres. We tend to work with really odd rhythmical patterns, however, and mess around a lot with how the notes in the riff might point to the riff working toward a natural conclusion that the rhythm pattern doesn't really support. For most guitarists, playing a riff while hearing the drums simultaneously imply a different meter can be extremely hard to do without some serious practicing.
How do you individually practice parts that might feel rhythmically uncomfortable at first, and also require precision—with a metronome, sequence, or drum machine? Where does that come from? I'd say that we stay away from major keys and then pretty much everything else is used. Our signature M8Ms are made by Ibanez. We just got them a while ago and they are modeled after the 8-string that we built with Ibanez. We didn't expect them to be quite as good as our originals, but man, they exceeded our expectations.
They are actually a little bit better. The M8M has an ultra-long Do you have to do anything to accommodate this extended range? Yeah, we have a custom string set made for us by Dunlop to accommodate for the extended scale of our guitars—. We also tune down a half-step from standard tuning. YouTube It To see Meshuggah obliterate their audiences, check out the following clips. Check out the haunting, dissonant clean-toned breakdown at followed by a killer solo from Fredrik Thordendal starting at A look at Meshuggah at its most intense.
As an added bonus, watch security remove a bandana-wearing fan at Feel free to alter these licks anyway you want with hammer-ons, pull-offs, alternate picking, hybrid picking, or however else you feel comfortable.
His sound was also not too overdriven. It starts out with a flurry of fast bends—which sound a lot faster than they are—packed with the wildness of rock. It then goes into a repeating, syncopated pull-off figure where you keep jumping back to the G on the 12th fret of the 3rd string. In notation it looks more complicated than it is, so just follow your ears with this one.
You can either try to play it rhythmically more on the grid or just somehow squeeze the figure into each beat. It starts off with some tremolo picking going into the V chord and then another pull-off figure that keeps going over the IV chord before ending in a bend from Ab to Bb the 5th of the IV chord on the 2nd string. It ends with syncopated notes and double-stops over the I chord. Another player that shredded the blues was the incredible Gary Moore.
He would play this with a mix of alternate picking and legato, but you can try to hybrid pick the sections where he only plays one note per string. It adds to the filthy attitude of these phrases. Ending it on the open 5th string and adding the open 3rd string the b7 of A makes it even filthier.
We stick with the key of A for Ex. He would take these little figures and squeeze them into smaller sections. It sounds wild and frantic, especially ending it on the open 5th string when the progression moves back the I chord. I used a similar pattern as Ex.
The next two licks are from the incredible Josh Smith. Both work over a D chord. Practice each one individually before combining them to get a hang of it. It then goes into a fast 32nd-note run that ends with a syncopated screaming bend after scraping some random open strings.
Pretty wild. Instead of launching into another full-on shred attack, we end the idea by immediately jumping back up to the 1st string and playing a surprising short melodic phase. This works over the I chord of a D blues progression major or minor as well as any rock riff in D. Bonamassa pretty much picks every note in this phrase, which is quite hard due to the string skipping and the odd accents.
Smooth pull-offs or aggressive picking: your choice. Ideally learn both and play it how the situation requires. Kicking the speed up a notch can add excitement to your solos. But remember to use it with taste, not as a crutch.
Break down these licks into more manageable pieces and work them up to face-melting speeds to prevent sloppiness. Pre-order yours. Read more…. We brought the Koll truck down to Los Angeles and had a blast sharing a booth with our friends at Benson Amps. And we had plenty of news to share over the weekend….
Two controls and a multitude of possibilities. Get higher. Just in time for winter in the Northern hemisphere at least we present these fine knitted head covers, embroidered with the Koll logo. This is a limited run, available in gray or hi-vis orange now in the shop! Mar 10, None More Orange. We recently finished a custom build for our favorite graphic designer, Aaron Draplin! Oct 13, Join the Koll Army. May 29, Mar 27, It's High-Rise release day! Our first effects pedal is now shipping.
Mar 21, A new guitar and pedal with a purpose.
The KOLOSS guitar brand has emerged from years of experience in manufacturing guitars made of traditional wooden components combined with exploration of. Koloss-guitars. likes · 4 talking about this. Koloss - forefront Aluminum Alloy guitar Manufacturing. When I saw the Koloss DIY kit with an aluminum body and a carbon fiber neck, for $, I was in. I think overall I'm impressed with the parts.