2017 catalog

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12 THE SOLID BODY SERIES When Pepijn ‘t Hart and Pim Schilperoort collaborated on the design of our first solid body guitar, they set out to create something new, with Eastman’s signature written all over it. Antiqued and varnished in our orchestral strings shop, the SB59/v has the look, feel, and tone, of a 58-year-old guitar. We are also offering a gloss version of the SB59 finished in nitro cellulose. Both solid body models feature a hand-carved solid flamed maple top, on a solid mahogany body. The Gotoh hardware and Seymour Duncan Antiquity humbuckers on the SB59/v and Seymour Duncan ’59 humbuckers on the SB59 complete one of our hardest rocking instruments to date. SB59/v Top: Back/Sides: Neck: Fingerboard: Nut: Bridge/Saddle: Binding: Scale Length: Neck Pickup: Highly Figured Book Matched Maple Solid One Piece Mahogany One Piece Mahogany Rosewood Bone Gotoh Aged Relic Ivoroid 24.75” Seymour Duncan Antiquity Humbuckers (SD ‘59 on Lacquer) Bridge Pickup: Seymour Duncan Antiquity Humbuckers (SD ‘59 on Lacquer) Finish: Case: Available Finishes Antique Varnish Hardshell Case Antique Classic Varnish, Antique Amber Varnish, Sunburst Lacquer, Gold Burst Lacquer CL v AMB v SB GD
13 FEATURED MUSICIAN New Directions with Craig Bartock How did a guy who never even thought of himself as a guitarist end up getting invited to join a famous rock band — as the guitarist? To hear Craig Bartock tell it, he just did his thing. And he kept it simple. The story goes back to 2002, when Bartock was running his own busy music-production house, producing and developing new pop artists (such as a pre-Oscar Brie Larson) and collaborating with legacy acts like Blondie and Meat Loaf. “As far as my resume goes, playing guitar probably wouldn’t have even been on it,” Bartock says from his home in Northern California. “It would’ve been ‘music producer,’ ‘songwriter,’ ‘arranger,’ blah blah blah.” Then came Heart’s Nancy and Ann Wilson, looking not to organize a nostalgia tour but to find a fresh musical direction. Bartock and the Wilsons clicked both professionally and personally, co-writing a series of songs right out of the gate. When he then moved into his familiar role as go-to man on the album that emerged (Jupiter’s Darling), Bartock ended up handling many of the guitar parts himself, naturally finding his own way inside the band’s retooled sound — and fabric. “So one day I’m sitting in the studio,” Bartock remembers, “and Nancy kind of just sheepishly said to me, ‘You should really be our guitar player.’ And I’m sitting there thinking, ‘Did she just ask me to join the band?’” She did, and Bartock accepted, principally because he’d developed such respect for — and personal rapport with — the Wilsons, who, he says, continue to honor their desire to avoid merely milking past glories. “Ann and Nancy as artists just can’t do that,” he says. “I don’t think any of us would want to be a part of a band that’s an oldies act. It’s a fine line between a band that is duplicating their [past] music and a band that feels themselves to be vital.” Strong relationships and intentions aside, adapting to a job he neither sought nor expected still required a transition-period, particularly when it came to playing live. Bartock hadn’t actually taken to the stage since his young-man-in-a-band days in hometown San Diego, and was quickly thrown into the fire. His first show as an official Heart member was on the CMT’s “Crossroads,” which meant lots of TV cameras in a sizable Nashville venue. He had all of three days to rehearse. He got through it by staying in the moment and not trying to do too much. And now, more than a decade later, he abides by his less-is-more approach as the band plays everywhere from ships to “sheds” and he looks to ensure that his tools can withstand the rigors of touring. “The most important thing for a live set-up,” he says, “is you just want it to be working all the time. That’s why I’ve always gone for simplicity. Stick with simple guitars, don’t go through a whole bunch of effects.” Indeed, simplicity has served Bartock well. He thinks back to those early Heart days, when he was grappling with the fact that the band had transformed several times over the years, and had different sets of fans with different sets of expectations. “I realized: There’s no way as a guitar player I’m going to be able to cover all these sounds,” he says with a laugh. “So I better just do it as myself.”
Page 1 and 2: GUITARS & MANDOLINS 2017
Page 3 and 4: AN EXPANDING WORLD OF SOUND 2017 CA
Page 5 and 6: 3
Page 7 and 8: 5 THINLINE ARCHTOP ARCHTOP T59/v T5
Page 9 and 10: 7 MANDOLIN MANDOLIN MANDOLIN MD815/
Page 11 and 12: 9 T386 T486-RB Top: Maple Laminate
Page 13: 11 T486-SB T486B Top: Maple Laminat
Page 17 and 18: 15
Page 19 and 20: 17
Page 21 and 22: 19 an instrument that was fresh but
Page 23 and 24: 21 AR580CE-BLU Top: Back/Sides: Nec
Page 25 and 26: 23 “I don’t know how they do it
Page 27 and 28: 25 JOHN PISANO SIGNATURE SERIES Whe
Page 29 and 30: 27 E20D E20SS Top: Adirondack Top:
Page 31 and 32: 29 Trey Hensley Hensley plays the E
Page 33 and 34: 31 E10OO-M E6 OM E8D Top: Mahogany
Page 35 and 36: 33 Sapele Series Sapele Series Sape
Page 37 and 38: 35 The Common Linnets Ilse plays th
Page 39 and 40: 37 CL20C CL30S CL40S Top: AAA Tight
Page 41 and 42: Nels Cline of the band Wilco Cline
Page 43 and 44: 41 MD505 MD514-CS MD615 Top: Carved
Page 45 and 46: 43 FEATURED MUSICIAN Band from left
Page 47 and 48: 45 MDA815-SB Top: Back/Sides: Neck:
Page 49 and 50: 47 2017 PRODUCTION MODELS (US & CAN
Page 52: 2158 Pomona Blvd, Pomona, CA 91768

2017 catalog

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