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Brian May Red Special Guitar Manual | Full EBooks LINK 1 ENTER SITE >>> http://gg.gg/12giub <<< Download LINK 2 ENTER SITE >>> http://chilp.it/b558c73 <<< Download PDF File Name:Brian May Red Special Guitar Manual | Full EBooks.pdf Size: 2058 KB Type: PDF, ePub, eBook Uploaded: 17 May 2019, 19:13 Rating: 4.6/5 from 569 votes. Status: AVAILABLE Last checked: 4 Minutes ago! eBook includes PDF, ePub and Kindle version In order to read or download Brian May Red Special Guitar Manual | Full EBooks ebook, you need to create a FREE account. ✔ Register a free 1 month Trial Account. ✔ Download as many books as you like (Personal use) ✔ Cancel the membership at any time if not satisfied. ✔ Join Over 80000 Happy Readers Brian May Red Special Guitar Manual | Full EBooks England, and his father, an electtonics engineer, worked on a project to make an It is a unique The fingerboard is made out of high-grade ebony with low frets for fast easy This nut arrangement holds This saves breakage, but equally important, This vibrato will be Les Paul or a Fender Stratocaster. It gives you more in terms of getting your The new re-issue has specially designed. Seymour Duncan pick-ups which duplicate the original Burns Trisonic pick-ups. These pick-ups have a widened magnetic field, so that the unit picks up from a The end result is an Equally as important is the way the This is to product Phase switches can be set Be careful that the phase switch isn't half way If you back off the tone control to take off a little of Brian has used this sound more than any other. It For example if you hit a chord using The two pickups are Scratchy at low levels, but at high levels piercingly pure and still able to Makes a strange. Consequently, House Music has fielded a wealth of questions regarding the Brian May Guitars range - everything from set-up, maintenance and switch orientation to the various amplifiers and effects units that Brian employs to achieve his distinctive sound. Here is a guide to the principal features of the BMG Special that we trust will help you well on the way to gettting the very best from your instrument in any performance environment. The general information here on pickup configuration, switch settings and set-up also applies to the more faithfully accurate BMG SUPER model. Another great source of information is the RED SPECIAL FORUM, a lively, sometimes controversial, community group whose members share news, advice and opinion on a dizzying array of topics from sounds, set-ups, pickups and amps to repairs, replacement parts and conversions. http://canadianriversafety.com/userfiles/79161c-manual.xml brian may red special guitar manual, brian may red special guitar manual pdf, brian may red special guitar manual download, brian may red special guitar manual free, brian may red special guitar manual youtube. These are modern replicas of the Burns Tri-Sonics that Brian and his father installed on the Red Special and, whilst there are some technical differences (their impedance is noticeably higher) they produce a faithfully accurate reproduction of the original tone. In combination with the orientation of their isotropic ceramic magnets and the unique manner in which the coils are wound, such pickups produce a distinctive “big, round sound” with a richer harmonic content than any conventionally wound pickup. The three pickups are wired in series for increased output and a fuller signal. When more than one pickup is active the resultant tone is more akin to that of a humbucker, with considerably more warmth and gain than a traditional parallel wired single-coil arrangement. In addition, the middle pickup is reverse wound and reverse polarity (RWRP), emulating the configuration employed by Brian and his father. The pickup's magnetic pole is reversed and its coils physically wound in the opposite direction compared to the other pickups. Hence, when the middle pickup is selected in combination with either or both of the other pickups in phase, a hum-cancelling effect is created, reducing noise and hum in the output of the guitar. In combination with the phase switching system employed on The BMG Special, the sound of the selected pickups can be tailored to produce an incredible variety of tones. Use of the volume and tone controls also allows for subtle colouring of the response. Back To Top Switching System The BMG Special and Super models both feature two banks of three switches which control the pickups, with the orientation of the switches matching the pickup location as shown in the diagram right. DOWN is ON, UP is OFF. It also provides a true stand-by option, handy for both stage and studio performance. Phase Switches The bottom bank of switches controls the phase of the signal from each pickup. http://afzaliqbal.org/userfiles/791xv-manual.xml Engaging the switch reverses the phase of each pickup individually, allowing the pickups to be either IN PHASE or OUT OF PHASE relative to each other.Without taking a deep dive into the science of sound waves, it's probably easiest to adopt the convention that with its switch in the UP position, the output of the pickup has a POSITIVE phase, and in the DOWN position it has a NEGATIVE phase. Hence, when two pickups are selected and both phase switches are in the same position (either both UP or both DOWN), they will be In phase - if one switch is UP and the other is DOWN, the pickups will be out of phase When two pickups are selected and in phase, their signals work together and sonically reinforce each other with the resultant output louder than either pickup on their own. When they’re out of phase, they work against one another, cancelling many frequencies. The resulting tone is the “leftovers” from these cancellations, typically rich in mid to high frequencies with the low frequencies reduced, giving the sound a characteristic thin, sharp quality. Note that it is the reversal of the phase of two pickups RELATIVE to each other that yields the In phase or out of phase effect. Reversing the phase of a soloed, single pickup will have no significantly audible result - e.g. the bridge pickup by itself will sound the same regardless of the position of its phase switch. For example, with the bridge and middle pickups active: sliding BOTH phase switches to either the UP or DOWN position will put the pickups in phase and produce the same, full sound favoured by Brian for much of his rhythm guitar work. Sliding the bridge pickup phase switch DOWN and the middle pickup phase switch UP will produce a thinner, out of phase tone. However, please be aware that y our mileage may vary considerably, d epending on the signal path and set-up, with regard to the significance of the perceived tonal variation between ostensibly duplicate combinations. http://www.bouwdata.net/evenement/compustar-install-manuals Plugged in, with a clean amp tone, the bridge pickup alone is pleasantly thin and quite Strat-like. The middle pickup is louder and fatter with a good crisp attack, with the neck pickup comparable in volume to the middle, but with a fuller low end and a softer attack. As you combine pickups, in phase, the overall volume increases. Adding the middle to the bridge adds power and knocks off some top end, while neck plus bridge equals a warmer, more powerful Strat-type mix. Middle and neck create a thick, semi-solid jazz style voice. Activating the phase reverse switches typically lends a thinner, sharper tone to a dual pickup mix but, with three pickups on, you can experiment with different phase combinations to sometimes subtle and often rather dramatic effect. For example, all three pickups on produces that thick creamy tone that has been used for the cello sections of Brian May's guitar orchestrations. However, reverse the phase of the middle pickup and the bottom drops out, leaving you with an agressive, snarling Telecaster or Gretsch-like twang. Cranked up, the guitar is very resonant and the out of phase tones really begin to make sense in such an environment, adding a cutting harmonic edge, with Brian's most used tone - bridge and middle pickup in phase - certainly replicating a modern middle-heavy humbucker.With a sleek, low-profile surround restricting the sideways movement of the solid brass saddles, the WVP offers superior comfort, stability and performance. As with all steel blocks, it helps magnify the overall sustain, brightness and top end, resulting in a more expansive, sharper tone. The custom, BM-style push-in tremolo arm is secured by a clamping bush inside the block, which can be tightened to taste by a small bolt on the rear of the block. The thread-less design means that the arm can be positioned at any orientation without interference. http://fradiomas.com/images/calibre-36-tag-heuer-manual.pdf Fitting The Tremolo Arm With the tremolo bar placed in the tremolo unit, rotate the arm so that it runs parallel to the neck, with its end pointing at the headstock of the guitar. Depress the tremolo arm downwards, towards the guitar's body - this will raise up the back of the tremolo block, exposing the small grub screw which locks the tremolo arm in place. Use the smallest of the allen keys supplied with your BMG Special to tighten the screw to secure the tremolo arm with the desired freedom of movement. You'll need fewer string wraps, change strings faster, and your tremolo will have more accurate return-to-pitch. Fitting New Strings Turn the tip of the string post until it clicks into place. This will align the string post holes. Note that the string hole is off centre. Turn the tuner to rotate the post until the string hole is positioned away from the machine head, in line with the neck. Thread the entire length of the string up through the bottom of the hole and pull to tension by hand. Holding the end of the string, begin tuning. At first, only the inner Locking Cam in the string post will turn. Once the string is securely locked, the outer post will turn. Tune string to pitch. In under one string post revolution, you'll be in tune. And you'll stay in tune. Snip the end of the string. If you can develop a good feel for it, you can end up doing a very good quality job.As a DIY guide, this is what I would suggest: 1. Tune the strings to A440 concert pitch (Or whatever pitch and tuning you're using). 2. Make sure that the truss rod is adjusted properly if you don't know how, consult the internet for a start - or better still get an experienced guitar repairer to do it.To Top E String Height - Rel. To Bottom E String Bridge 2.5mm 2.75mm Middle 3.0mm 3.25mm Neck 3.25mm 3. http://www.cargeacrew.com.br/wp-content/plugins/formcraft/file-upload/server/content/files/1629ebff7314fa---crt-monitor-circuit-manual-pdf.pdf 5mm It can be handy as a reference to fret both the Top E and Bottom E strings at the 24th fret and to measure the gap down to the pickup - this works fine with the Neck and Middle pickups but is less meaningful at the Bridge pickup. Please bear in mind that these measurements are optimised to suit the original pickups on Brian May's Red Special, Adrian Turner's Adeson replica spec pickups (as featured on the BMG Super) and the BMG branded pickups on the BMG Special. They might not suit the pickups on your guitar or those Tri-Sonics that have more powerful an-isotropic, ferrite magnets like those on the Korean made Burns BM Signature guitar or Kent Armstrong models. As usual, depending on the instrument and your playing style, the rule of thumb is to fine tune to suit what you think sounds best. Other than ensuring that it not exposed to direct sunlight for prolonged periods, there should be no need to protect the signature if the guitar has been purchased for display purposes. However, being signed on the body's upper bout, the signature will almost certainly wear off during playing. Assuming you simply won't be able to resist rocking the heck out of this fantastic instrument, there are two options we suggest to prevent this: Get some good quality clear self adhesive film and apply this over the signed area, with all corners rounded so there are no sharp corners where the film can start to peel off with playing. Apply a clear lacquer encapsulating coat on the top of the guitar.Here, you will find EVERY aspect of Brian's current live set-up explained.Online Resources Official Websites BRIANMAY.COM Brian's official website includes all his latest news and opinions THE RED SPECIAL The official site for Brian May and Simon Bradley's superb Red Special bible, published by Carlton Books. QUEEN ONLINE News, tours, interviews, forums and official merchandise. QUEEN WORLD The Official International Queen Fan Club. 40 years and counting. www.feedmachinemill.com/d/files/brookstone-ambient-weather-manual.pdf Manufacturers VOX AMPLIFIERS The home of the AC30. GREG FRYER GUITARS Australian master luthier and Treble Booster guru. GUYTON GUITAR Co. Fine handcrafted electric guitars from Andrew Guyton. Kz GUITAR WORKS Website of Japanese master craftsman, Kazutaka Ijuin. KNIGHT AUDIO TECHNOLOGY Deacy Amps and the strap-mounted Treble Booster. DUNLOP MANUFACTURING California based creators of the famous Crybaby wah pedal. Fan Sites BRIAN MAY CENTRAL Comprehensive guide to Brian's guitars and gear as well as owner's lists, interviews, photos, reviews and an overview of commercially available replicas and equipment. THE RED SPECIAL WEBSITE Owner's gallery, forum and a thorough guide to Red Special maintenance. BRIAN MAY WORLD A vast repository of Interviews, photos and equipment reviews.QUEEN SONGS Features an in-depth analysis of Queen songs and album releases, a huge archive of guitar, bass vocal and drum tabs, chords and piano arrangements plus an interesting section on Queen studio recording sessions. Techniques ROCK LICKS GUITAR TUITION A popular YouTube channel dedicated to the music of Queen and Brian May presented by tutor James Rundle. Aimed at the beginner and intermediate player, his easy-to-follow video lessons are presented complete with guitar tab. LICKLIBRARY Superb series of online lessons and DVD tuition including several titles dedicated to Queen and Brian May. BMG Video Demos A selection of videos highlighting the amazing range of sounds available from the Brian May Guitars Range. Craig Farley From Fareham in Hampshire, UK, tribute guitarist CRAIG FARLEY - currently performing with FOREVER QUEEN - demos his LE Series BMG Special in Violet Dream finish. Rafal Tudruj Virtuoso Polish axeman, Rafal Tudruj is a passionate, long-term BMG fan, with a Super, twin Specials, a Rhapsody and a pair of Mini Mays in his arsenal. He currently performs with rock band POZYTYVNI.PL and the tribute act QUEEN BAND. http://pulsrmedia.com/wp-content/plugins/formcraft/file-upload/server/content/files/1629ebffab086a---Crt-806-user-manual.pdf Here he demonstrates how big and expressive the travel sized BMG MINI MAY can be through a VOX VT40X amplifier. Angus Clark A tutor, songwriter, producer and guitarist with TRANS SIBERIAN ORCHESTRA and DAREDEVIL SQUADRON, ANGUS CLARK now also plays with THE ULTIMATE QUEEN CELEBRATION - featuring the incredible vocal talents of MARC MARTEL. In these videos, Angus describes the process of preparing for his performance in the globe trotting Queen tribute show with the BMG Special and a evolving collection of BM specific presets developed for the AmpliFIRE 12 modelling pedal from ATOMIC AMPS. Lucas Vianna An amazing young guitarist, and a performer in Brazilian and Danish productions of WWRY, LUCAS VIANNA delivers the ultimate guide to the Special. This MUST-SEE video proves beyond any doubt exactly what a jaw-droppingly versatile instrument this is. See more of Lucas' skills in our guide to BMG SWITCH SETTINGS. Super City The video for the artful Baltimore indie rockers' sinuous 2017 single ARTIFICIAL SIN features guitarist Greg Wellham with his trusty Black 'N' Gold BMG Special as well as some of the band's trademark slick footwork. Marco G. Di Marco An exceptional guitarist with various Italian Queen tribute acts, Marco provides an in-depth appraisal of the evolution, features and performance of the BMG Special. Check out his Brian May Tribute YouTube channel for a wealth of well-informed videos dedicated to all things Red Special and Vox related. Andertons TV How to sound like Brian May.Rabea Massaad and Matt Hornby attempt to emulate the distinctive BM tone, demoing The BMG Special with a selection of the most accurate but affordable gear they can find from Andertons Music Co. Dan Cooper A great, down-to-earth appraisal of the BMG Special from PRO TOOLS EXPERT, an independent site dedicated to supporting the Pro Tools user base and community. Dan shows how the BMG Special performs through the hand wired VOX AC30 HW2X with a trio of classic BM solos. http://www.musicmaestrodiscos.co.uk/wp-content/plugins/formcraft/file-upload/server/content/files/1629ec00635c64---crt-51-manual.pdf Brett Kingman Based in Mt. Eliza on Australia's southern coast, BRETT KINGMAN is one of the country's most respected pro guitarists with stints with a host of Aussie rock icons to his credit and a superb YouTube channel that has racked up over 11 million views. Jason Smith From Mega Music. Perth WA. Jake Graham Young, super-talented, Nottingham born guitarist with alt.metal act FAHRAN. Simon Croft Another WWRY veteran, Simon has over 1,500 shows across Australia, Japan, UK, Ireland and Denmark to his credit. For more info, check out the ROBOT CHILD official website. Robby Bloodshed Queen meets the Ramones meets 80's style new wave electro-pop as the super-prolific young rock 'n' roller from Hasbrouck Heights, New Jersey takes the Special somewhere new, raw and exciting. If you want blood. head HERE to check out Robby's full discography on BandCamp. These modes let you send a mono signal to an 1. Power up the Red Special Pedal.Here is the procedure for calibration: 1. Begin with the power disconnected from the Red Special Pedal. PS0913B 2. They are trademarks of other manu- facturers and were used merely to identify products whose sounds were reviewed in the. Let’s explore this instrument to learn how it works and discover how you can mod a production or custom replica to make it even more versatile. Once you understand the electronics, you’ll even be able to rewire a Strat to Red Special specs. Guitar freaks know the story about May’s main axe and how as a kid he built it with his father in the early ’60s. From the moment May started playing with Queen—filling stadiums worldwide and recording monster hits—the Red Special’s distinctive tone has been essential to his music. What makes this guitar different? As a result, they become a kind of compound pickup with one ground and one hot for both. The body is made of oak and blockboard, and topped with a mahogany veneer. www.kappapma.com/userfiles/files/brookstone-ambient-weather-forecaster-manual.pdf Its center block and neck consists of an unknown wood taken from an old fireplace mantel, and the fretboard is oak. The result is a kind of semi-acoustic guitar that’s almost impossible to copy, but a standard Strat isn’t a bad foundation. The original Red Special has two 220k audio pots (a common value in the ’60s), but you can substitute two readily available 250k audio pots. The builder in question Scott Humphrey. Scott has been building treble boosters and amps of his own for some time, in his search for the ultimate Brian May tone. Scott has now put his 'Crispy Cream' treble boosters into production and is selling these commercially. He's had some excellent feedback from users - check out his website for more information. The photos and the write up about the build are for thosewho are interested in how the guitar is constructed, how the guitar came about being built by Scott, and for people who may appreciate a unique guitar. Once I had figured it out and made my own version of his guitar, though, I ended up feeling a bit disappointed. The sound was there, but I couldn't help but feeling like I was playing someone else's guitar. So, in terms of my guitar, I decided to borrow from the features and sounds of my favourite guitars, but combine them in such a way as to produce an instrument that has its own unique voice and look. Also, in terms of song writing, playing, singing, etc., I'm making more of a conscious effort to strive for my own musical identity. Use the arrows to navigate and click on a photo to bring up the instructions. I think that white binding looks great (as used, for example, on the Les Paul guitar), but the bound edges are somewhat sharp and tend to irritate my forearm when I'm playing. I like the feel of the rounded edge of the Stratocaster body. The Fender roller nut, a roller bridge, and the straight pull on the strings throughout their travel makes for very little friction. I don't use the whammy much, but maybe I'll do it more since this works so well. Incidently, I had thought that my headstock design shape, with all of the strings being pulled in a straight line, was original. However, after looking around at pictures of other guitars on the internet, I've found that there are one or two luthiers that have built similar headstocks. Oh well! I guess that everything really has been done before! I tried a bunch of different brands, including a set of the expensive reissue Gibson mini humbuckers. Those sounded pretty good, but the cheapo Retrotron Austin pickups that I ended up choosing had a more unique character. I sold a lot of pickups on eBay after this was all over and done. I had originally planned to use three pickups, but as I played with positioning the pickups in different locations on the wood, the two pickup format gave me the sounds that I wanted. Also, it's nice to not have that middle pickup in the way for the heavy bashing pick technique (ala Pete Townsend) These may not be reproduced without permission. It might be a specific brand of guitar, or a certain setup required to achieve the sound they’re looking for. No one has a closer bond with an instrument than Brian May to his Red Special. The guitar he toured with and played through his career with Queen and beyond had very humble beginnings. It was built from scratch by Brian and his father Harold May. Note the disk magnets of the original handmade pickups The problem was that the relatively new instruments were still quite expensive — into the hundreds of dollars. Well beyond the means of the modest family’s budget. All was not lost though. Brian’s father Harold was an electrical engineer and a hacker of sorts. He built the family’s radio, TV, and even furniture around the house. Harold proposed the two build a new electric guitar from scratch as a father-son project. This was the beginning of a two-year odyssey that resulted in the creation of one of the world’s most famous musical instruments. Brian’s first forays into electric guitars came from experimenting with that Egmond. If you look close, you can even see the influence it had on the final design of the Red Special. The building which housed the fireplace was long gone, and Harold happened to have the mantle in his workshop. Brian filled the wormholes with matchsticks as he carved out the neck. The sides of the guitar could be made of weaker material since they don’t have to support the string tension. These were made from blockboard — an engineered material made from blocks of softwood sandwiched between two pieces of veneer. All this wood was cut, carved, and shaped using only hand tools. Oak and mahogany are hardwoods, so one can imagine how long it took to carve a block of it into something resembling a guitar neck. Most guitar necks include a steel rod called a truss bar. This rod helps the wood pull against the tension of strings. The Red Special is no different. Brian and Harold heated one end of a steel rod, then bent it into a loop. The loop was bolted at the body side of the guitar, while the rest of the bar runs through the neck to the headstock end. He even planned to make an F-hole in the guitar body. Once the guitar was done though, he couldn’t bring himself to cut a hole in the mahogany veneer which makes the outer skin of the Red Special. This is the “whammy bar” which can add or remove tension on the strings, allowing the guitarist to bend all six notes at once. The problem with tremolo systems on guitars is that they don’t always come back to a clean neutral point when the musician is done bending the notes. One or more strings will be out of tune. The Fender synchronized tremolo had this issue, and the problems always came down to friction. They used the neck of the guitar-in-progress to create a tremolo testbed. The pair went through three revisions before settling on the final design. Friction is eliminated everywhere possible. The entire tremolo assembly rides on a knife edge, which Brian and Harold hardened using case hardening compound over the kitchen stove. The strings ride in roller saddles. Brian made each of the rollers using a hand drill as a sort of manual lathe. The rollers aren’t captive — so a broken string during a show means a roller is bouncing around on stage somewhere. Switching to a captive design would force Brian to change his playing style, so he just keeps a healthy supply of spare rollers on hand. Overall, this was a groundbreaking design.The Red Special uses a zero-fret, so the strings don’t rely on touching the nut to stay in tune. It simply is a guide between the zero fret. Even with friction eliminated, something still has to provide enough force to hold the strings in tune, yet remain light enough for the guitarist to use the tremolo bar. Most tremolo systems use tension springs in the back of the guitar for this. Brian and Harold went with compression springs mounted on the front of the guitar. Specifically, they used valve springs from a motorcycle. Depending on who is telling the tale, it’s either a Norton or a 1928 Panther motorcycle. Two holes in the bottom of the guitar near the strap button allow Brian to adjust the tension in the overall system. The arm itself was built from the arm of a bicycle luggage rack. The sharp metal end of the rod would make playing the Red Special a painful experience. Brian solved this by raiding his mother’s knitting supplies. A large knitting needle, cut and formed just right, serves as the tip of the tremolo arm. Most guitars have a two or three position switch to select one of the three pickups. The Red Special has six switches. When the Red Special was initially built, Brian tested out different configurations for pickup wiring. The pickups could be wired in parallel or series, and wired in phase or out of phase. Brian couldn’t decide on only one or two configurations, so he and Harold created a switch matrix which gave him more flexibility. The pickups are wired in series. The top row of switches (from the guitarists view) enables or shorts each of the three pickups.The short effectively acts as an on-off switch for that pickup. The bottom row of switches invert the polarity of each pickup, changing the phase. The different sounds Brian was able to achieve have been displayed on different songs. It’s not uncommon for Brian to change settings during a song — while recording Bohemian Rhapsody he used just about every switch combination. This is the true hacker spirit behind the guitar. Most trials didn’t work the first time, but Brian and Harold iterated until they reached their goals. An example of this is the pickups. Brian’s experimentation with pickups started with his Egmond guitar. He bought some Eclipse Magnetics button magnets from the local hardware store. These formed the core of the pickup. Harold then helped him build a coil winding machine, which allowed Brian to manually wind thousands of turns of fine copper wire around the pickups. It even had a wind counter built from a bicycle odometer. The pickups worked! They were very bright sounding, but had one flaw. When bending notes, Brian found there would be an odd sound as the string moved across the pickup. He attributed it to the North-South alignment of the disk magnet poles. Cutting the magnets was beyond the tools he had, and custom magnets were out of the budget. The pickups worked, and these were the original devices used in the Red Special. Eventually, though, Brian had to fix the string bending problem. He headed off to the store and bought three Burns Tri-Sonic guitar pickups. He coated these in epoxy to reduce the microphonics and then installed them in the Red Special. These same three pickups still reside in the guitar today. It’s worth noting that the pickups on the Red Special receive an incredible amount of abuse. This has a lot to do with Brian’s choice in plectrum. Most guitarists use a plastic pick. Brian has always used a sixpence coin. It’s an integral part of his style and sound, the serrated edge sure does a number on the pickup covers. It wasn’t until Queen in the 1970’s that he really hit it big. Since then the Red Special has been all over the world and played in countless shows. Brian has had backups made, but his primary instrument is still the same one he and his dad built all those years ago. It turns out that the Red Special was so well made that it never had a major problem. After nearly 40 years the Special was showing its age though, so in 1998, the Red Special was overhauled and refinished by the careful hands of luthier Greg Fryer. His website details the work done, and includes some amazing photos of the internals of the Red Special. The book shows the level of detail Brian and Harold went to — not only in building but in documenting the Red Special. These include full-scale dimensional drawings and handwritten reports on each process used to build the guitar. I found it amusing that a home made guitar requires a professional luthier to revive. Not sure if his father is still around but what a great either reminder or memorial of their time together making cool stuff. That’s a very inspiring story! It’s surprisingly useful! This is once again a very interesting read and John and Brian’s work are definitely hacks. They were so involved, I mean the four members of Queen, into doing and controlling all by themselves at the beginnings, it’s impressive to realize how true it is and not by just listening to their music in which you can hear how polished and thought everything is.
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