One response to this blog? Why did I even bother? by the kozy king on The Pipeline at IndieMusicPeople

One response to this blog? Why did I even bother?
This is blog is doing worse than my "town raised $60,000 for dying kids" blog which was pushed off the page by somebody's blog about a sick dog. :-)))))

Thanks to Hugh for posting the link the first time around, tho'.

Kranky King won't like this one cuz it's a long read...

Late last month I took a couple of days off work to float in a mineral spa with my wife and then continue on to Saskatoon ("biggest" city in Saskatchewan 208,000+) where I visited Glenn McDougall who has been making electric guitars in Saskatoon since 1962.

Since 1962!!! That's longer than I wanted to play electric guitar -- almost pre-Ventures isn't it?

Anyway, the thing with Glenn (now age 71) is that he has not copied other guitar makers. Over the four and a half decades he has developed Fury guitars as an original and possibly superior alternative to Fender and Gibson. I say "possibly" superior because if you must have the Fender or Gibson sound then you may as well get one of those (or one of their ubiquitous knock-offs).

It's too bad Glenn has not been able update his website (furyguitar.com) in eight years, because what's up there barely scratches the surface of the man's innovations. Glenn produces 200 guitars a year SINGLE-HANDEDLY. He works "only" ten hours a day after major surgery although he hopes to be back up to 12 to 14 by summer.

He has made all his own guitar-making machines -- brilliant devices, some new, some decades old -- which allow him to easily, quickly and economically fabricate a hand-made guitar in a fraction of the time of other custom luthiers. The only parts with another manufacturer's name on it are the tuning pegs

Glenn holds many patents on his guitar innovations -- including bridges, tremolos, pickups, potentiometers and truss rods. The man can talk for hours (literally) about all the features that make his guitars unlike any other. His manner is confident yet never boastful or cocky. An unassuming genius who has the demeanor of a blue-collar next-door-neighbour.

Some things I noticed -- while in his shop he completely ignored the telephone ( I had his complete attention at all times); no secrecy about anything (photos allowed, all questions answered in detail); lots of beautiful guitars hanging up, but there is only one guitar to play (somewhat disappointing until you realize, even Glenn wears gloves to handle his clients' guitars -- your hands will be the FIRST to touch your new Fury).

I tried his BBM model (single,single,double). The output is startling in its clarity and power. It will take some getting used to. The neck is more like a Gibson and less like a Fender.

I ordered a Fireball (his original 1962 design with decades of improvements) you can see my guitar at the website same colour and everything, the only difference being mine will have a tone control as well (to dull things down occasionally tor softer, jazzier work).

Glenn put on the gloves and placed a customer's Anthem bass guitar on the test bench to demonstrate the infinite sustain that he has achieved in that instrument-- absolutely astounding.

His newest guitar is the Bandit with his patented "compression bridge". All Fury guitars will display 24 harmonic overtones on the oscilloscope ( only four overtones on the average non-fury guitar). The Bandit will produce overtones until the scope can no longer detect them!!! I considered the Bandit (his hottest item today), but after discussing my playing styles and sonic requirements, Glenn recommended the Fireball.

It will take him a year to catch up to his current orders, but I was able to lay claim to a Fireball body in the rack which was available and is included in the current painting run, which started this week after Glenn took some time to wind over 250 pickups for his current orders.

Fury guitars are more popular with session players than they are with high-profile stars which partly explains why I never heard of them until a couple of years ago. Also,

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Hugh Hamilton

5/24/2008 12:14:16 PM ---- Updated 5/24/2008 12:14:48 PM

Cool! Thought I'd help with a link:

FuryGuitar.com

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kranky king

5/25/2008 4:42:06 AM

What do you expect when you blabber on and on like that? If I have to scroll I don't read it.

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never never band

5/29/2008 8:25:48 PM

wow, a bunch of responses vanished last night...

We were talking about Heritage Guitars and Carvin Guitars..

I'd type it again but...I dont wanna..

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The Black Orchids

5/29/2008 9:08:46 PM ---- Updated 5/29/2008 9:10:17 PM

no offense, but that was a bit long. I couldn't read it all. Sorry.

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never never band

5/30/2008 1:46:40 PM

oh very well I'll chime in again..

I think thse guitars are interesting and at $1500 they seem to be priced pretty fair,

I'm a huge fan of the HERITAGE guitar compny, I play a heritage CM150 ultra and a Heritage 170 with a bigsby..
I wouldn't own a Gibson as they are now made by amatures and priced like diamonds..
But I do own a Epiphne Zack Wylde les paul and I love it! $800 for a real top shelf les paul..

What I had said in last post was that I really like the idea of a heavy slab of mahogany and the pickups that Seth Lover designed...Thats pretty hard to beat.

We had talked about Carvin Guitars and I think they are one of the most exciting things in American Made electrics. I played a Holdsworth model and it was a neat, if somewhat strange guitar. Amazing tone and response..

To be honest I dont like the look of the Fury models (yes, I'm that shallow) they look awkard,
I'd love to play one though, I'm a believer in handmade guitars that are affordable enough that actual Musicians can buy them .

s.

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Steve Ison

5/30/2008 4:17:32 PM ---- Updated 5/30/2008 4:18:52 PM

Sounds a fascinating guy..
Must be great being a master craftsman like that..

Hope you enjoy the guitar Terry :)

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the kozy king

5/30/2008 5:11:58 PM

Thanks to Larry Johnson and Stegor who both responded while IAC admin was battling to save the database -- both their posts where lost in the ongoing struggle.

Larry and Steg both liked the awkward looks of the Fury. "Retro/futuristic" Larry called 'em and felt some real gear lust surging in his soul. "Almost Folk Art" Steg said and, of course, he's the professional artist so that's a real compliment.

Contrary to their looks the guitars are the pinnacle of comfort. (And yes, I grew up in the sixties so a guitar has to look a bit goofy to look really good.)

As far as Carvins go, NeverX2, I do have one from the early ninties and it's the only guitar I have ever kept up to this point -- all Gibsons, Fenders and vintage collectors' items have been sold. I will keep the Carvin for making noisy music with its whammy bar and thin neck. I plan to re-fret with jumbo's and add the Fernandez sustainer for further noise-making. I'd love to try a Heritage.

The Fury will be played with somewhat more restraint and taste (hopefully!!!!!! :-))))))))))

Thanks everybody.

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never never band

5/30/2008 6:15:10 PM

I didn't mean to Dis your guitar dude!

I'm sure it's a gem..
That Compression bridge is a similar concept to the ''Tone Pros'' bridge and tail piece, it's a remarkable invention and transfers a lot more vibration to the wood!

I'm glad you bought a guitar from a real Luthier, I dream of someday owning a Steve Andersen archtop, but I doubt I'll ever have 8 Gs to lay out for a guitar..
I have an Ibanez archtop that I fitted with Custom Duncun seth lovers that I really like though...It was $400 and the pickups and new pots were $300 so for $700 and a little soldering I have a guitar that rivals any Gretsch or Gibson laminate guitar..
I will but a Heritage 575 , maybe this year..
It's the best deal in America for a real carved top axe, made on the same tables where Les Pauls guitar was made..
that warms my heart to know somehow, I really love those guys at Heritage.
I'd love to go there and ask them to just let me watch them work for a few days...

s.

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the kozy king

5/30/2008 6:39:25 PM

Scott:

No offense taken, of course -- this stuff is so subjective after all.

Mostly I was just amazed at the quality because no other Canadian guitar makers that go back that far (altho' our Traynor and Garnet amplifiers from the sixties and seventies have enjoyed some notoriety).

Archtops -- For a few years now, I've had a 1939 or 1940 Cromwell archtop (licensed L4 clone) that I probably will never part with. It's carved so thin that it's as light as a cardboard box. I found it abandoned, bought it, and had it put back to playing condition for about four hundred bucks. It's looks a bit rough and it's a quiet parlor guitar not suited to concert playing, but perfect for those peaceful times alone on the couch. You can hear it's fresh, even tone on Goodbye Grey Sky.

TT

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Kevin White

5/31/2008 5:39:02 PM

I once owned a Gibson semi hollow body (ES335) ... to my memory, it was model year 1963.

I bought it for $250 from somebody looking to cover a drug debt ... sunburts originally but it was in really tough shape. Although I hated to do it, I sent it off to be refinished ... through a local artisan who did the work very cheaply ... about $150 for the whole job.

The result was beautiful solid black, lovingly crafted, the piece shined -- stunning really -- the man was an artist.

I ran into money problems myself, and sold it for about a grand ... doubling my money in the process and thinking myself quite satisfied.

What a fool I was.

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