Hi guys and welcome! Finally the Ferrari Red Special review! As you know I have this guitar from the 2019 Red Special Meeting, I received it the week before the event. You probably saw the vlog of that day, if not go a give a look. So many of you already know how she sounds, some of you already saw her in the flesh… And who partecipated to the Red Special Meeting 2019 already tried it! Also some audience already heard it, in fact I used her in some gigs of the Queen On Fire winter tour. And today we’re here for a proper review of the instrument I’ll show you the specs, the features and mainly the sound of this Ferrari Red Special. So, enjoy the vid! Ok, first of all let’s speak about my guitars… As you know I used the ’84 Guild as backup for many years… From this year I decided to retire her… In other words, the deserved rest after the crazy summer tour with Queen On Fire. So, as backup Red Special at the moment I have my Dansan prototype and I use this Ferrari as my main guitar. Ok, let’s have a look at this Ferrari Red Special… Starting from the headstock Here we have 6 locking Schaller machine heads with pearloid buttons Those are the ones Brian used back in the ’80s in fact they are more squared in look. Dark bakelite nut Side dots are like in Brian’s guitar…so they are different from each others. Pickups built by Marco Ferrari himself, with the same specs to the ones that are in Brian’s guitar. Same specs to the ’60s Tri-Sonic, with the same mods that Brian did. Bridge, composed by 6 aluminum saddles and steel rollers… As you can see this is the movement of the string on the roller when I use the tremolo bar. And here you can see how the tremolo block rocks on the knife edge which is here under the mahogany veneer. Here you can see how beauty is this top, the grain of the wood If you see some dings, bumps or scratch it’s all thanks to me. As I said the guitar already did some gigs so… Here we have the tremolo arm, all the plastics are in black Perspex Six switches, the on/off ones and the phase ones… Tone control, volume control…
I always preferred the black tape on the know instead of the red dot… I think it’s more visible on dark stages… Now on the back of the guitar where you can see better how stunning is this colour and grain. Also look how the colour changes with the light! For example, look at the sides of the body and on the surface…two different colours simply because the light hits those parts in a different way. Here is more red, while here is orange/light brown… Look how it changes! Here we have the famous bolt which fix the neck to the body Also the trussrod is wrapped around this big bolt inside the body of the guitar. The neck also is secured to the body via two big screws placed on top of the body near the middle pickup. Here we have the neck joint And the massive mahogany neck with his beautiful grain. This is one the best parts of the Red Special, the volute behind the headstock. This part fuse the neck with the headstock and it’s gorgeous. Let’s take a look at the bottom part of the body Near the strap pin we have those two holes… Those holes allows us to set the tremolo block springs placed here under this halfmoon We can set the tension based on the strings we use, just placing a screwdriver here and turning the spring’s screw inside the guitar. Here we find the output jack of the guitar and the switches This is how they protrudes from the pickguard on Brian’s guitar…not too much like on the BMGs In fact I usually flick them with my fingertip. Here you can see the nice radius if the fingerboard, which is 7.25″ like on Brian’s I want to make a side view to show you how massive is the neck on the original Red Special Maybe on the video is not so evident but I can assure you that in the flesh is shocking, really. Ok, let’s talk about the specs of this instrument. This is a 100% replica to Brian’s original guitar, the only changes are my custom choices Because I wanted to improve a bit the original design to make it even better for a life on the road. As I said I have locking Schaller M6 with pearloid buttons, but I use the ’80s ones…which are squared compared to the ones on Brian’s guitar now. You can see those buttons on the Wembley gig for example. Neck made from one piece of mahogany Black painted and lacquered fingerboard with pear dots. Body is exactly like Brian’s guitar, so hollowed with a complex construction made with blockboard, oak inserts and everything veneered with mahogany. Of course top and bottom are one piece of mahogany veneer.
Sides are made with perpendicular grain veneers. Pickups made by Ferrari Guitars, more about this later… Bridge like Brian’s, so six saddles with rollers to help the string to return in place after the use of the tremolo bar. One piece tremolo block with the two big springs under the halfmoon which rocks on a knife edge. Controls, three switches for on/off of each pickup and three switches for the phase of each one. Tone control, volume control. I choosed Switchcraft switches…because I wanted something standard if one day I’ll have to replace one of them. About the pots, I choosed the 250k DiMarzio EP1200, my favourite pots They are my favourite ones because they have a really nice curve when going from clean to distort sounds, very controllable. And they are also very light to turn, which is something nice in my opinion…good for quick changes. Colour is so close to Brian’s, so hard to show on a video… It goes from orange with copper reflections to a deep red…depending by the lights. Anyway, you should see it in the flesh as it’s something really strange. Let’s talk about my custom choice Since we’re talking about colout let’s talk about the finish, so the lacquer. I decided to not use the Rustin because I wanted something more stable. My Dansan is lacquered with Rustin and as you probably know is not very stable. So sometimes you can see a new crack, on top, bottom or sides of the body… Because the body has natural movements…as you know the Red Special has a complex body constructions with lots of parts and different materials So with temperature and humidity changes it moves a bit…so the lacquer suffer. Rustin is very sensitive to this movements and it tends to crack unfortunately Ferrari opted for a very similar lacquer in terms of nature, but a modern type more stable and reliable. The other custom thing is the aluminum control plate which sits under the pickguard As you know the original design have two plates, one for the switches and a small one placed on the bottom of the acoustic chamber with pots and the cap. For my guitar I opted for a single plate like Greg Fryer did on his replicas So I have a big plate which sits just under the pickguard with switches, pots and cap. This thing for two reasons: first one because when I do maintenance I can easily remove all the electronics at once. The other reason is to avoid pot extenders or pots with long shafts. As you can imagine a pot with a long shaft is subjected to greater stress as the shaft leverages when used. With this plate I can use standard good quality pots with short shafts. And this is something nice when you’re on Tour…you need a reliable instrument because you have to think only about playing and enjoying the moment. Ok, I want to talk a bit more about the pickups because their story is very interesting in my opinion. Pickups are built to zero by luthier Marco Ferrari, everything apart from the covers which are modified anyway to match Brian’s. What Marco Ferrari did is awesome: he managed to find a ’60s Tri-Sonic, one of the same era and type of Brian’s.
Not a similar one, but the same one! He sacrificed it by taking it apart! He took the magnets to a company who made magnets…so he cloned it. He analyzed the copper wire, how it’s wrapped, in which shape, tension and number of turns. He analyzed the gauze wrapped around the copper wire, he replicate the same shape and tension. So he firstly made a replica of ’60s Tri-Sonic and then he modified them like Brian did with his own Burns. Ok, no more words…I know you want to hear this Lady I’ll tell you which PU combination I use from time to time I’ll use my complete rig, so two Vox AC30 in stereo with Chorus I’ll use my wireless system because I already have it on my strap And as usual I’ll use the Fryer Super as Treble Booster Enjoy it! Starting with Bridge and Middle in phase combination… A bit more volume Neck and Middle in phase Only the Neck pickup All the pickups are on with the neck out of phase Neck and Bridge out of phase Neck and Middle out of phase Ok, let’s test the tuning stability of this guitar…I’ll do bendings and divebombs with the tremolo bar. Ok guys, this review is over I put Marco Ferrari’s contacts into the video description so you can write him if you have questions or doubts Thanks for the support you constantly give me I want also thanks the ferocious beast Francesco Caprara, which you probably saw at the beginning of the video…he performed We Will Rock You with me. He also gave me this beautiful place to record this review, you probably recognize it So thanks and see you on the next video!