In a grown up’s hands, it turns out, a beefy neck is a good thing, providing a rugged, substantial base on which to do your thing, and does not, as it might have seemed, handicap the player all the way back to pentatonic prisoner. My phobia was, I now remembered, fostered in the infancy of my playing, when I owned both a twelve-year-old’s hands and Joe Satriani’s Surfing With The Alien, and quite reasonably nurtured concern over how the two would possibly match up.
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The top horn, if it is even a horn, full and uncut for more wood, mass, sustain the bottom cutaway created plainly for unrestricted fret access, offering a near-straight open edge up past the very top fret.Īttached to this by a lovely, bass guitar-reminiscent recessed heel, is the fattest neck I’ve played, a feature I worried would hamper the TV Twenty, up until I got my own, grasped that maple club and rung it like a villain’s neck. And it hasn’t been shaped this way just for oddball looks. The scale length is indeed full size, 25.5″ from bridge to nut, just like a Strat and longer of course than a Les Paul. Its kooky appearance works for me, as does the deceptively small size - when you’re 5’6″, little bodies are welcome. Comments posted on my Christmas morning Facebook pictures include, “Is that the new guitar for Guitar Hero?” and, “Is that a real one? No offense, but it kinda looks like a 3/4 size one to me,” as well as, “That is a fucking ugly guitar. The short, stubby alder body, apparently three pieces if held to the light, gives us a guitar as unique as Saraceno’s touch and tone, based, you might imagine, on the top half of a Telecaster and the lower half of a Jazzmaster, yet looking, in whole, unlike either, with a cute MusicMan-like appeal.
Under the tree was a comically guitar-shaped present, containing, to my genuine surprise, the shiny red TV Twenty my wife had sneakily bought online from a pawn shop - where a great many of these tend to show up. The Samick TV Twenty and Radio Ten models designed by Blues Saraceno appear in at least nine colors, not including the now highly-saught plaid finishes that were Blues’ trademark with Floyd Rose tremolos with vintage style tremolos and with, most baffling to me, two types of fixed bridge: through-the-body style and tune-o-matic Gibson style with humbuckers front and back, or in hum-single-single configuration with one volume pot, or with volume and tone pots.īewitched by the guitar’s form when seeing a friend (Paul of Dragon Eye Morrison) play his custom made replica, I’d been searching for a good one, which for me meant fixed bridge, for months, when last Christmas came around.
They don’t explain how quite so many variations were produced of this unknown guitar for this niche artist’s signature line in such a short time.
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Today he’s a session man and soundtrack producer, absent from the spotlit stage of guitar-for-guitar’s-sake and present behind the curtain, operating the paddles and levers, engaged in the much more sensible, if less adoring business, of making money.Ĭombined, these facts explain why no one knows about Saraceno’s short-lived series of signature guitars - and don’t you go telling them - and why they can be had so cheaply.
Next to the Ibanez family of just-about household names like Steve Vai, Joe Satriani and Paul Gilbert, artists even non-musicians would play in their cars, he occupied an unmistakably distinct second tier of recognition cohabited by players such as Greg Howe, Tony MacAlpine, Richie Kotzen et al. Despite his vivid, self-assured style and wonderkid credentials, Blues Saraceno was never the most famous 90s guitar hero.
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