Frank Zappa – Make A Jazz Noise Here (Live)
The music gear and equipment used by the artists, producers, engineers, and more involved in the making of the 1991 album Make A Jazz Noise Here (Live).
Music from Make A Jazz Noise Here (Live)
Artists on Make A Jazz Noise Here (Live)
Gear Used On Make A Jazz Noise Here (Live)
Explore the instruments, equipment, software, and production tools used in the making of Frank Zappa – Make A Jazz Noise Here (Live) (1991). Click more on each item to see exactly how it was used.
Guitars used by Frank Zappa on Make A Jazz Noise Here (Live)
Performance Frank Zappa Custom-Made Stratocaster
When a company like Performance can not only make a guitar better than Fender but modify your guitars to exactly what suits your needs best I hardly call that a copy. Yeah the body may look like a Fender and even if that body had been manufactured by Fender the neck, hardware and craftsmanship was far superior to what Fender was putting out in the 80s. Performance did quite alot of work for Frank on many of his guitars so there is a possibility that that body is a Fender but I hardly doubt much else is.
http://www.performanceguitar.com/artists.html - Frank Zappa
http://www.premierguitar.com/articles/Hot_Rodder_to_the_Stars_Inside_Performance_Guitar
http://www.zappasgear.com/zgfacts.html - The serial number on the neck plate of Frank Zappa 's yellow Performance Guitar custom Stratocaster is '00001'
Guitar Player writes : "Used on Frank’s last tour, in 1988, this custom-made Performance solidbody sports concentric knobs along with tiny screwdriver-adjustable trimpots to accommodate the tone tweaking Zappa was so fond of.
“The trimpots are identical parametric filter circuits,” Zappa’s tech, Midget Sloatman, told GP in 1995. “One trimpot is dedicated to bass frequencies from about 50Hz to 2kHz, and the other one affects the top-end frequencies from about 500Hz up to 20kHz. The filters also featured a variable resonant frequency [or ‘Q’] knob that allowed Frank to control the feedback characteristics of his rig in any hall. He could basically tune his guitar to the room, determine how the room responded to the amplifier, and then use the Q control to elicit the feedback he wanted.
“Frank also used the active filters to emphasize the highs in the 4k-to-8k range in order to bring out the nuances of the strings. He wanted to really hear what his fingers were doing, even if he wasn’t picking every note.”"
