^that's not a radius, though...
No. Frank’s original FGM’s were based on the 540S-LPF though. Which is in similar territory.
It’s funny. For the sake of just 12 months, the GIT class of ‘86, and the rest of the world’s new shredders, might well have been playing radius guitars - rather than RG550 variants.
“Flying in a Blue Dream” was of course 1989, and that was most people’s first exposure to any kind of radius concept.
It would be a big discussion for elsewhere perhaps, but if it wasn’t for Dave Lee Roth luring Steve Vai into his band, Steve’s guitars wouldn’t have been stolen, and he might well have continued with the odd home built Performance guitar, until much later.
Basswood was always destined to arrive, and Grover’s eventual ‘76 Green Meanie prototype was probably going to be it for Steve, with the previously purchased Performance guitars handling spare duties. Guitars only last so long when you play them 9 hours a day though, and the Meanie was certainly not durable for Steve’s kind of stage use at the time.
But the rise in profile for Steve, meant that companies were falling over themselves to make him stuff.
I’m sure he’d put the feelers out long before DLR. Only - Now it was real - with Ibanez.
So, alongside the first 200 Jem’s, the RG550 was born, and sold in droves. All those shredders - playing maple fingerboards! Lol
After Joe Satriani’s radius fully emerged we now had two camps. Either the angular, hard-line Jem/550, or the more comfy-looking and rounded Radius - both being seen as the ultimate shred guitars, played by two artists at the top of their game. But by now it was all rosewood and ebony fingerboards, and Seymour Duncan was now in full production too.
A very interesting time between ‘84 and ‘88, that’s for sure.
An impossibly trying time for small, boutique makers, and a fucking nightmare for the big boys. Many firms went out of production, and all because Dave Lee Roth wanted.
I still think that Warren De Martini had the best tone out of any of them, with his Performance guitars and Marshall 50’s.
Ty Tabor single-handedly championed drop-C# in rock, and yet another generation was born, to go with the crowd that were already exploring 7-strings, and lower tunings. Then, suddenly it was the 90’s, and you couldn’t get arrested if you played above the 9th fret, for a while - and you couldn’t join a band unless you looked like a Sonny Barger impersonator. A purple guitar would have earned you a solid kicking! Now it’s all beards and goatees, tattoos and chains. Funny old game.