The Flagship the Melancon Guitars line. A collector's piece and a true performer!
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Because of our special relationship with Melancon we can get this as fast, or faster than anyone in the industry. In some cases, we even have preferred build slots we can offer you.
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This is number 3 of a limited run of 20 from Gerard Melancon.
Straight from the cajun gentleman himself, Gerard Melancon has crafted a limited run of 20 Master Artist guitars with the demanding collector in mind. This fine example is not only the 3rd of 20 made, but happens to be the very last NEW Master Artist in the world. You will not find another new Master Artist anywhere.
Get lost in the highly figured maple top, the shine of the stainless steel frets, and the deep reds jumping out of the Brazilian Rosewood fingerboard. Only the highest quality materials and tones woods are used on the Master Artist Series.
As you can see, the photos tell an awful lot about its outer beauty. Now let's talk TONE. Melancon has taken the traditional tele formula to a new level of excellence. PAF-style humbuckers offer clear, bold, even tone throughout the spectrum, and the coil-tap push/pull tone knob allows a wide variety of classic tones to be customized to your liking. This finely crafted, rare specimen from one of the most respected luthiers in the boutique guitar world excels in all scenarios from the studio to the stage, although, I'm sure most will not want to let this investment leave the museum wall (a.k.a your home office)
SoundPure makes sure that the setup and strings are always fresh on one of the nicest solid-body electric guitars we have ever had the pleasure of carrying at our boutique shop in Durham, NC.
For more information, please call or email SoundPure today. Once this collectors item is sold, there will never be a new Master Artist to obtain. A professional guitarist is standing by. We're looking forward to discussing details.
-Ross
ross@soundpure.com
919-883-5868
The Master Artist Series by Gerard Melancon represents the pinnacle of his abilities as a luthier. These guitars are very limited in production because of the time and care taken in their construction. The woods used are from Gerard's private collection and have been hand picked and stored away over many years for use in this series. Each dealer will get 2 of these guitars, maximum. When you hold one in your hands you will understand why this instrument is so special.
My musical heritage goes back to my grandfather, through my father and onto myself. I can remember as a kid maybe 5 or 6 years old, sitting on my dad's knee listening to my grandfather, Naree (pronounced Na-ray) Melancon, play cajun fiddle. He learned at an early age how to play guitar and fiddle and I am told that as a young man he was one of the finest fiddle players "up and down the bayou". My dad and uncles have painted colorful images of my grandfather showing up at a Fais-do-do (Cajun French for an all-night dance) with his fiddle and being the life of the party. He'd play those old Cajun two-step fiddle tunes and everyone would dance til all hours. Unfortunately when I was old enough to really appreciate music, my grandfather would rarely pull out his fiddle and play. It's funny how sometimes you don't realize how much talent surrounds you. Growing up, it seemed as though everyone and their brother played some sort of musical instrument. Following in my grandfather's footsteps, my father, Richard Melancon, began his music career at an early age. He played guitar, mandolin and later pedal steel guitar in various country and western bands that played up and down the bayou. People still stop and tell me what a fine player he was in his day. I can remember when I was barely big enough to strap a guitar around my shoulder he'd take me to special gigs and let me get on stage with him. I was so fired up, strumming away with a smile from ear to ear, unplugged of course, but none the less digging every second. As I got older and could sort of play some tunes, my dad would let me plug-in and play with the band. Soon, I was playing "Johnny B. Goode" and other tunes along that same vein. Well, it wasn't long before I wanted to play rock and roll! I remember seeing Z.Z. Top at a local club before their first album was released. That was all it took, I was hooked. My dad bought me a Les Paul copy and some friends and I started a band. I must have been 12 or 13 at the time. I don't think we even had a name but we thought we were something. Our repetoire was limited, if you didn?t like Z. Z. Top you were out of luck. At about this time, I started working summers laying brick with my uncle. After about two summers, I saved enough money to buy a real guitar - a used Les Paul. I worked one more summer to save money for an amp and then my bricklaying days were over, I had to protect those fingers. Our band was really happening, or so we thought. We weren't old enough to play the local bars in town but whenever someone threw a party, we played it. I still get people, some twenty-five years later that remember some of those parties. That Les Paul did well for me until I had a bass playing buddy that loaned me his double cut-away, 3 single coil guitar. It took a little while to get used to the feel of a Strat, but once I did I was hooked - the sound and feel of that particular Strat has had a big influence on the guitars we build today. After graduating from high school in 1978, I decided to chase my dream of becoming a full-time musician and hit the road. I joined a band and we traveled through out the US opening for national acts and were on the verge of signing a record deal with Atlantic Records but the rigors of the road took its toll and the band split up before anything materialized. After becoming burnt out from the traveling I began doing some studio work in many surrounding studios. This is what eventually fueled my need for a guitar that would do more than what the bigger manufacturers were offering. While doing studio work I also began repairing guitars for the music stores in the area. This gave me a first-hand look at what other players were looking for in a guitar as well. I noticed what made a good guitar and what were some of the things that gave problems. At this time there were only a handful of custom guitar builders and I contacted one of them about building the ultimate guitar for me. The problem I ran into was that it would be at least a year before I would see the guitar. Well, I couldn't wait that long and had the bright idea that I would try and build the guitar myself. Starting off in this endeavor, I ordered a body and neck from an after-market guitar parts manufacturer along with the electronics and hardware I wanted. In about two months I had the guitar that suited my needs. At this time I was sitting-in with various local bands on the weekends and the second time I had taken this guitar to a gig, someone offered to buy it from me. Of course I told him I was not interested, but he persisted and called again about a week later. I told him to give me a week to think about it. After thinking about the fun and pleasure I had constructing the guitar, I decided to sell it and build another. As often happens, one thing led to another and before long I had all of the local guitar players calling me to build their dream guitars for them. As I built more and more guitars, it made sense to acquire more sophisticated tools that would allow me to efficiently build the bodies and necks from scratch.
Honeyburst Master Grade Flamed Maple w/ matching headstock veneer
White Limba Body (Korina, same thing)
White Limba Neck
Brazilian Rosewood Fingerboard (true investment! endangered)
1.6875" Nut width
Standard Neck carve +.060 (.875" 1st fret - .975" 12th fret)
Stainless Steel 6150 frets
Gold Hardware
Melancon PAF humbuckers w/push/pull coil tap
Tone pros wraparound bridge
Hand-carved Brazilian Rosewood tuning pegs
7.4 lbs
Melancon Master Artist electric guitar played into Mojave Plexi 45 2X12 ceramic combo(volume knob swell) & mic'd with Heil PR-40 into Vintech X73i preamp feeding Apogee Rosetta 800.
Melancon Master Artist electric guitar played into Mojave Plexi 45 2X12 ceramic combo(volume knob swell) & mic'd with Heil PR-40 into Vintech X73i preamp feeding Apogee Rosetta 800. (view less)
Melancon Master Artist electric guitar played into Mojave Ampworks Sidewinder Head(tone 10, bass volume 5, treble volume 8 mid off) to Mojave Ampworks 2x12 Cabinet Ceramic mic'd with Neumann U87ai into A Designs Red preamp feeding Apogee Rosetta 800.
Melancon Master Artist electric guitar played into Mojave Ampworks Sidewinder Head(tone 10, bass volume 5, treble volume 8 mid off) to Mojave Ampworks 2x12 Cabinet Ceramic mic'd with Neumann U87ai into A Designs Red preamp feeding Apogee Rosetta 800. (view less)
Melancon Master Artist electric guitar played into Mojave Plexi 45 2X12 ceramic combo(volume knob swell) & mic'd with Neumann U87 into Presonus ADL 600 preamp feeding Apogee Rosetta 800.
Melancon Master Artist electric guitar played into Mojave Plexi 45 2X12 ceramic combo(volume knob swell) & mic'd with Neumann U87 into Presonus ADL 600 preamp feeding Apogee Rosetta 800. (view less)
Melancon Master Artist electric guitar (volume knob swell) played into Mojave Plexi 45 2X12 ceramic combo mic'd with Heil PR-40 into Vintech X73i, AEA R92 into A Designs EM RED preamp & Neumann U87 into Presonus ADL 600 preamp feeding Apogee Rosetta 800.
Melancon Master Artist electric guitar (volume knob swell) played into Mojave Plexi 45 2X12 ceramic combo mic'd with Heil PR-40 into Vintech X73i, AEA R92 into A Designs EM RED preamp & Neumann U87 into Presonus ADL 600 preamp feeding Apogee Rosetta 800. (view less)
Melancon Master Artist electric guitar played into Mojave Plexi 45 2X12 ceramic combo(volume all the way up) mic'd with Heil PR-40 into Vintech X73i, AEA R92 into A Designs EM RED preamp & Neumann U87 into Presonus ADL 600 preamp feeding Apogee Rosetta 800.
Melancon Master Artist electric guitar played into Mojave Plexi 45 2X12 ceramic combo(volume all the way up) mic'd with Heil PR-40 into Vintech X73i, AEA R92 into A Designs EM RED preamp & Neumann U87 into Presonus ADL 600 preamp feeding Apogee Rosetta 800. (view less)
Melancon Master Artist electric guitar played into Mojave Ampworks Sidewinder Head(tone 10, bass volume 6, treble volume 10, high sense, mid on) to Mojave Ampworks 2x12 Cabinet Ceramic mic'd with AEA R92 into Vintech-Audio X73i preamp & mic'd with Heil PR 40 into A Designs Pacifica preamp & mic'd with Neumann U87ai into A Designs Red preamp feeding Apogee Rosetta 800.
Melancon Master Artist electric guitar played into Mojave Ampworks Sidewinder Head(tone 10, bass volume 6, treble volume 10, high sense, mid on) to Mojave Ampworks 2x12 Cabinet Ceramic mic'd with AEA R92 into Vintech-Audio X73i preamp & mic'd with Heil PR 40 into A Designs Pacifica preamp & mic'd with Neumann U87ai into A Designs Red preamp feeding Apogee Rosetta 800. (view less)
Melancon Master Artist electric guitar played into Mojave Plexi 45 2X12 ceramic combo(volume knob swell) & mic'd with AEA R92 into A Designs EM RED Mic preamp feeding Apogee Rosetta 800.
Melancon Master Artist electric guitar played into Mojave Plexi 45 2X12 ceramic combo(volume knob swell) & mic'd with AEA R92 into A Designs EM RED Mic preamp feeding Apogee Rosetta 800. (view less)
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front lo-res
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