Wednesday, October 14, 2009
Sunday, May 3, 2009
May 2009 - NEW GUITARS
Here are 2 new guitars from the Chillen Guitar Factory. The first is custom built for John Eisenhart. A friend gave him an old cigar box, I have to say it is by far the best looking, and BEST SOUNDING guitar from the factory.
The box is a solid wood South Pacific cigar box. Perfect size for a guitar. it was a bit nicked up, and the corner joints needed to be repaired, but that only adds to the character of the guitar.
This baby has 4 strings (E-B-G-D), 24 3/4" scale, a humbucker pickup, and 2 drilled sound holes. It sounds great unplugged, the solid wood resonates well. Of course with all Chillen Guitars, the pickup is pretty hot, so it has that dirty, greasy, distorted electric honky-tonk blues sound we all love. Look for John and his new axe this summer playing gigs around the Lake George/Saratoga area!
The second guitar is another solid wood production- The Chillen Teamo Gold. The Teamo box is a sturdy compact, thick wood box. Well built and very strong. What's really cool about this offering, the neck has 24 frets! This will allow the player to hit some seriously high notes without body getting in the way. This beast was built to be plugged in. Like all Chillen guitars, the humbucker pickup smokes! 4 strings, 24 3/4" scale length, fully fretted, vintage volume control knob. This baby is NOW SOLD!!!! Call or email for more information on getting a Chillen Guitar.
Friday, February 13, 2009
Tuesday, October 7, 2008
What is a Chillen cigar box guitar?
Chillen Guitars
takes the traditional (if there is such a thing) cigar box guitar a step forward. We make and sell handmade 4-string cigar box guitars, fully fretted with a real electric humbucker pickup and volume control.If you dig the sounds of Southern Rock, and Electric Blues this could be your weapon of choice. The action is set for slide, but still low enough to be fretted at the top of the neck.
Construction:
Each guitar is built around a strong one piece neck (poplar or maple) and high quality wooden cigar box. The neck runs through the length of the box so the instrument retains rigidity and stays in tune. The strings are run through the underside of the neck (similar to to a through the body guitar).
The bridge and nut are (believe it or not) metal bolts. The metal helps increase the sustain when played. The "floating" bridge is held in place with string tension. Small adjustments forward or backwards set the intonation of the strings.
Tuning and Strings:
Tuning can be set to whatever you wish, this particular model is set to be played in open tunings with a slide (open E) similar to the style of Duane Allman and Derek Trucks (or your favorite slide guitar hero). They are strung with .11's electric guitar strings (strings 1-4). This configuration works for playing screaming leads. String choice and tuning options are almost endless. You could also change the tuning to Open G and play some Muddy Waters or some of Keef's all-time great riffs. The options are endless.
If you are interested in learning slide guitar but don't want to change up your favorite guitar this is a affordable way to get started.
Model features:
- All wooden cigar Box body -
- Shaped poplar neck 1 1/2" wide
- 24 3/4" scale
- standard size frets (number depends on the size of the box)
- high quality tuners
- Metal bolt bridge and nut
- Humbucker pickup and volume control.
(I use a standard humbucker pickup in the standard model guitar. Name brand pickups are available for an addItional cost. Call!)
I've been making these for a couple years and these guitars surprise everyone with their playability and sound. It's hard to believe such a big sound comes from a home made instrument. Best of all they are fun to play and show off to your friends.
Each guitar is hand-built and takes some time to build. Turn around time is 3-4 weeks after the order is placed. Local orders can arrange pick up or delivery at no extra charge. Nominal shipping charges otherwise.
OUR GUITARS ARE GUARANTEED. IF YOU ARE UNSATISFIED IN ANYWAY WE WILL FIX, REPLACE GUITAR OR RETURN YOUR MONEY.
Paypal accepted.
To order call (518) 792-4264 or email
Monday, October 6, 2008
Lake George Blues Blast 2008 Raffle Drawing
The Lake George Blues Blast was a success! A great weekend of the best blues music in the universe. Lots of people stopped by the booth to check out the cigars. Not many could believe the sound that came out of a cigar box.
One lucky person went home with one of our guitars, which was signed by every performer from the weekend. Special Thanks to Blues Blast organizers Bob and Marilyn for all of their hospitality. Watch...
One lucky person went home with one of our guitars, which was signed by every performer from the weekend. Special Thanks to Blues Blast organizers Bob and Marilyn for all of their hospitality. Watch...
Thursday, September 18, 2008
Slide Guitar secrets
Some websites for online slide guitar playing tips:www.learningguitarnow.com
(1) Use the heel of your right hand to help deaden strings now and then as you play -- it helps build up the percussive effect that sounds so good with slide. You'll be able to chop out chords and such with authority and power. Work this with dampening the strings with the fingers behind the slide.
(2) This next one may seem a bit odd, but it'll make sense when you've played a while. If you lean to play in G, let's say, and then switch over to D (or E) you'll discover that all the licks you learned in G can be played in D or E, only move everything one string lower. The relationship between strings is the same. Of course, when you're in D or E you'll have that extra high string to deal with and you'll soon find out it's value as a way to play melody.
(3) You will rarely (ok, almost never) get a "true" note if you just rigidly slide the slide up the neck into position over the fret wire and then STOP. As a matter of fact, even if you do hit the note it'll tend to sound terrible and lifeless. Instead, it is essential to keep a slight trill by moving the hand back and forth gently but quickly from the writst to gave the note a slightly wavering sound and to insure what we might call pleasing intonation. The great B.B. King, for example, developed his unique style and sound by trying to capture with his hand the trill that he had heard done by others with a slide. So, although at first you might think that in B. B. King's case the trill is gone, it's really there, but in another form.
(4) Walk into any musical instrument store and listen to the heavy metal wannabes. You'll make an observation -- the tendancy amongst most guitar players is to overplay. The idea is that you have to fill those silences with something. The answer with slide is that you fill it with emotion, use the silence and breaks to their fullest. Robert Johnson was a master at that technique, as are other fine slide artists. I've played both solo gigs and with a band, and I know that when you sit down, alone, and start to play an acoustic slide guitar it sounds suddenly very bare. The urge to really pound the guitar is strong, the sense that you have to do something to fill the space. Don't. Think about the dynamics. Slam it when you need to, be delicate when you feel it. Pick up a Son House recording and you'll find enough power to light a small town, and the drama and dynamics of the playing with and using silence will become more and more comfortable as you trust yourself and find your voice.
(5) It's been said before but I'll say it again – you have to LISTEN. I've put together a page of some of my favorite players as a starting point. Even if you're desire is to be the next Duane Allman and to play in a full blues band, you have to know the basics. The only way to learn those is to seek out the most stripped down versions of slide guitar you can find so you can hear EVERYthing that's being done. Again, Robert Johnson, Son House, Furry Lewis and others will give you a feel for what's supposed to be going on, what kind of starting point you need to attain world domination. Or, at the very least, to let out a decent sounding slide solo.
(6) When you do listen, don't copy. Think of the various licks and patterns that you'll hear as colors to choose from as you work to say what you want to say. There are plenty of technically perfect slide guitar players who can play the exact notes that Robert Johnson played, but, alas, there's nothing behind the technique.
(7) Nobody can really teach you slide, at least not beyond the basics. You have to go out and find players, listen and pick up their tools and use them in your own way.
(1) Use the heel of your right hand to help deaden strings now and then as you play -- it helps build up the percussive effect that sounds so good with slide. You'll be able to chop out chords and such with authority and power. Work this with dampening the strings with the fingers behind the slide.
(2) This next one may seem a bit odd, but it'll make sense when you've played a while. If you lean to play in G, let's say, and then switch over to D (or E) you'll discover that all the licks you learned in G can be played in D or E, only move everything one string lower. The relationship between strings is the same. Of course, when you're in D or E you'll have that extra high string to deal with and you'll soon find out it's value as a way to play melody.
(3) You will rarely (ok, almost never) get a "true" note if you just rigidly slide the slide up the neck into position over the fret wire and then STOP. As a matter of fact, even if you do hit the note it'll tend to sound terrible and lifeless. Instead, it is essential to keep a slight trill by moving the hand back and forth gently but quickly from the writst to gave the note a slightly wavering sound and to insure what we might call pleasing intonation. The great B.B. King, for example, developed his unique style and sound by trying to capture with his hand the trill that he had heard done by others with a slide. So, although at first you might think that in B. B. King's case the trill is gone, it's really there, but in another form.
(4) Walk into any musical instrument store and listen to the heavy metal wannabes. You'll make an observation -- the tendancy amongst most guitar players is to overplay. The idea is that you have to fill those silences with something. The answer with slide is that you fill it with emotion, use the silence and breaks to their fullest. Robert Johnson was a master at that technique, as are other fine slide artists. I've played both solo gigs and with a band, and I know that when you sit down, alone, and start to play an acoustic slide guitar it sounds suddenly very bare. The urge to really pound the guitar is strong, the sense that you have to do something to fill the space. Don't. Think about the dynamics. Slam it when you need to, be delicate when you feel it. Pick up a Son House recording and you'll find enough power to light a small town, and the drama and dynamics of the playing with and using silence will become more and more comfortable as you trust yourself and find your voice.
(5) It's been said before but I'll say it again – you have to LISTEN. I've put together a page of some of my favorite players as a starting point. Even if you're desire is to be the next Duane Allman and to play in a full blues band, you have to know the basics. The only way to learn those is to seek out the most stripped down versions of slide guitar you can find so you can hear EVERYthing that's being done. Again, Robert Johnson, Son House, Furry Lewis and others will give you a feel for what's supposed to be going on, what kind of starting point you need to attain world domination. Or, at the very least, to let out a decent sounding slide solo.
(6) When you do listen, don't copy. Think of the various licks and patterns that you'll hear as colors to choose from as you work to say what you want to say. There are plenty of technically perfect slide guitar players who can play the exact notes that Robert Johnson played, but, alas, there's nothing behind the technique.
(7) Nobody can really teach you slide, at least not beyond the basics. You have to go out and find players, listen and pick up their tools and use them in your own way.
Thursday, August 28, 2008
Another satisfied customer
Jim Corl shows off his brand new "Romeo and Juliet 3-string, electric/acoustic hybrid Chillen Cigar box guitar". The guitar was given to him as a retirement gift from his daughter Sara.Sara said he was playing songs in no time. Rock on!
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