Premier Guitar April 2016

NEW NAMM GEAR DEFTONES WOLFMOTHER
LUCINDA WILLIAMS
APRIL 2016
License
License
to
Lust
30+ Gear Delights
to
Lust
from
NAMM
30+ Gear Delights
from NAMM
15
GUITAR & BASS REVIEWS
FENDER / WARWICK / ROLAND / ECHOPARK / BERGANTINO / & MORE!
Human Touch
Ovation USAs luthiers have been doing this a long time, a very long time.
Experience, craftsmanship and passion in every build.
If youve played an Ovation, you already get it.
If you havent, pick one up and play a few chords. Youll know exactly what were talking about.
The original acoustic-electric optimized for live performance.
Only at authorized Ovation dealers worldwide.
www.ovationguitars.com
ORIGINAL ROUNDBACK | ORIGINAL OPTIMIZED ELECTRONICS | ORIGINAL MULTI-SOUND HOLE

2016 Drum Workshop, Inc. All Rights Reserved.
NEW!
Sennheiser
e600 Drum Pack
TASCAM
DR-44WL
AKG
K92
Zoom
F8
SWEETWATER IS YOUR PREMIER ONE-STOP SHOP

FOR GUITARS, EFFECTS, AMPS, AND MORE.
line
Shop On
day!
or Call To
r.com
e
t
a
w
t
e
e
Sw
-4700
(800) 222
Antelope Audio
Zen Studio
Soundcraft
Ui16
dbx
goRack
PRO AUDIO, RECORDING, MIXERS, MONITORS, MICROPHONES, GUITARS, KEYBOARDS, DRUMS, LIVE SOUND
SWEETWATER HAS ALL THE GEAR YOU NEED... AND MORE!
0 INTEREST FOR 24 MONTHS

%
On purchases of select manufacturers products made with your Sweetwater

Musicians All Access Platinum Card between now and April 30, 2016
24 equal monthly payments required.
*Offer applies only to single-receipt qualifying purchases. No interest will be charged on promo purchase and equal monthly payments are required equal to initial promo purchase amount divided equally by the number of months in promo period
until promo is paid in full. The equal monthly payment will be rounded to the next highest whole dollar and may be higher than the minimum payment that would be required if the purchase was a non-promotional purchase. Regular account
terms apply to non-promotional purchases. For new accounts: Purchase APR is 29.99%; Minimum Interest Charge is $2. Existing cardholders should see their credit card agreement for their applicable terms. Subject to credit approval.
NEW!
Ernie Ball Music Man

StingRay
SWEETWATER WELCOMES
NEW!
Vox
AV60
DIG
Digital Delay
Brigadier
dBucket Delay
El Capistan
dTape Echo
Orbit
dBucket Flanger
blueSky
Reverberator
Deco Tape Saturation

and Doubletracker
Sweetwater always exceeds my expectations in sales, customer

service, and knowledge on the gear being sold to me.
Hector from Kissimmee, FL
Visit our exclusive
GUITAR GALLERY
(800) 222-4700
Sweetwater.com
for detailed hi-res images

of guitars and basses to buy at
Sweetwater.com/guitargallery
FREE PRO ADVICE
Were here to help! Call today!
FREE 2-YEAR WARRANTY**
Total Confidence Coverage Warranty
FAST, FREE SHIPPING
On most orders, with no minimum purchase!
**Please note: Apple products are excluded from this warranty, and other restrictions may apply. Please visit Sweetwater.com/warranty for complete details.
diSCoVer The legend
Photo by Ross Halfin
Tremo-Verb
STudio
Joeperry.com
instagram.com/Joeperryofficial
ThunderbolT +
STage
SuprouSa.Com
royal reVerb
rehearSal
facebook.com/JoeperryFanpage
twitter.com/Joeperry
TEAR UP THE BUCKET LIST.

THE NEW DANELECTRO 64.
danelectro.com
Danelectro 2016
Publisher Jon Levy

EDITORIAL
Chief Content Officer Shawn Hammond
Managing Editor Tessa Jeffers
Senior Editor Andy Ellis
Senior Editor Ted Drozdowski
Gear Editor Charles Saufley
Art Director Meghan Molumby
Associate Editor Chris Kies
Associate Editor Rich Osweiler
Associate Editor Jason Shadrick
Nashville Correspondent John Bohlinger
Nashville Video Editor Perry Bean
Digital Designer Ben Kuriscak
Photo Editor Kristen Berry
Contributing Editor Joe Gore
PRODUCTION & OPERATIONS
Operations Manager Shannon Burmeister
Circulation Manager Lois Stodola
Production Coordinator Luke Viertel
SALES/MARKETING
Advertising Director Brett Petrusek
Advertising Director Dave Westin
Marketing Manager Matt Roberts
Director of Marketing Colton Wedeking
GEARHEAD COMMUNICATIONS, LLC
President Patricia A. Sprague
Managing Director Gary Ciocci
WEBSITES
Our Portal: premierguitar.com
Our Online Magazine: digital.premierguitar.com
The information and advertising set forth herein has been obtained from sources
believed to be Gearhead Communications, L.L.C., however, does not warrant
complete accuracy of such information and assumes no responsibility for any
consequences arising from the use thereof or reliance thereon. Publisher reserves
the right to reject or cancel any advertisement or space reservation at any time
without notice. Publisher shall not be liable for any costs or damages if for any
reason it fails to publish an advertisement. This publication may not be reproduced,
in whole or in part, stored in a retrieval system, or transmitted, in any form or by any
means, electronic, mechanical, photocopied, recorded, or otherwise, without the prior
written permission of the publisher.
Premier Guitar [ISSN 1945-077X (print) ISSN 1945-0788 (online)] is published
monthly. SUBSCRIPTION RATES: $24.95 (12 issues), $39.95 (24 issues) Call for
Canada, Mexico and foreign subscription rates 877-704-4327; Copyright 2016.
All Rights Reserved. Reproduction in whole or in part without written permission
is prohibited. Premier Guitar is a publication of Gearhead Communications, L.L.C.
CUSTOMER SERVICE: lois@premierguitar.com.
PREMIER GUITAR (USPS 025-017)
Volume 21, Issue 4

Published monthly by:
Gearhead Communications, LLC
Three Research Center
Marion, IA 52302
Phone number: 877-704-4327 Fax: 319-447-5599
Periodical Postage Rate paid at Marion, IA 52302
and at Additional Mailing Offices
Dynamic Dirt Doubler
Wide Range Harmonic Tremolo
POSTMASTER: Please send address changes to:

Gearhead Communications, LLC,
Three Research Center, Marion, IA 52302
premierguitar.com
info@premierguitar.com
Distributed to the music trade by Hal Leonard Corporation.
6 PREMIERGUITAR APRIL 2016
premierguitar.com
TUNING UP
Burn Your Woodshed: Gambling & the Creativity Paradox

BY SHAWN HAMMOND
@PG_shawnh
ears ago I read an interview where a famous shred guitarist recalled fans complimenting him in a way
that implied he had virtuoso genes while theyd been gypped with lackluster DNA. In a nutshell, he
said, Look, Im not a genius. If you wanna be good, turn off the TV and hit the woodshed.
Today that lesson has been learned: Every hour were bombarded by GoPro videos chronicling
players winning gold, silver, and bronze in their own personal fretboard Olympics. Yay for humanity.
Still, no single person is to blame for the obsession with young, photogenic guitarists playing
fast, complex lines along to soulless backing tracks. But rather than dissect this depressing technocultural phenomenon, lets look at the instincts driving it: Even those of us who loathe fleet-fingered,
wannabe-viral feats must admit the primal ambitions and insecurities driving YouTube shred heads
lurk in our own hearts. We all want to make music thats unique and specialwe just have different
definitions, methods, and measuring approaches.
That said, the Zappa-esque route prescribed by that shredder seems to be corroborated by cognitive
scientist Scott Barry Kaufmans recent Scientific American article Why Creativity Is a Numbers
Game. He references research by UC-Davis Distinguished Professor of Psychology Dean Keith
Simonton, who points out that many of historys most revered geniusesThomas Edison and William
Shakespeare, for examplealso came up with a lot of not-so-genius stuff. But because they were
always cranking out new ideas, the likelihood of hitting a home run was higher. Edison, inventor of
the light bulb, had 1,093 patents, but only a handful were for truly remarkable things. Shakespeare,
widely regarded as the greatest English-language writer, wrote 38 plays, 154 sonnets, and reams of
poetrybut only a few plays written in his mid to late 30s are heralded today.
Beyond the apparent value of incessant woodshedding, a recent write-up in The Atlantic [The
Quantified Welp, February 25, 2016] cites a new study from Journal of Consumer Research, as well
as experiments at Duke University, that suggest the act of measuring an activity that were engaged in
with a specific goal in mind can increase how much we enjoy doing it.
Clearly we should all set quotas for hours spent playing, numbers of scales played, and BPMs clocked
on metronomes, right? After all, itll increase the fun factor and optimize our chances for success!
Lets get real. Its a no-brainer that you should adequately prepare for a gigbut that should be
more about listening and observing than numerical goals. Approaching music as a contest of statistical
probabilities isnt just ridiculous, its the root evil of a lot of crap music being doled out to us today.
Paradoxically, many of us have this mindset without realizing it. We dont think, Im going to
practice more because science and statistics prove Ill have a better chance of striking melodic gold.
Its more innocuousIf I just keep woodshedding, Ill be better. And better is good, right?
But Simontons conclusion was not that greatness comes by dint of mind-numbing repetition. As
Kaufman puts it, the secret to creative greatness appears to be doing things differentlyeven when
that means failing creative geniuses simultaneously immerse themselves in many diverse ideas and
projects. We should approach music differently from both other people and from project to project.
Further, while the Duke study found that tracking data can bolster enjoyment of activities such
as exercise (where surpassing past performance instills a sense of accomplishment), professor Jordan
Etkins main takeaway was that measuring any activity typically undertaken for pleasure tends to
undermine the inherent fun or enjoyment.
So the question becomes, is it your goal to create great music or show off? Is it important that your
music come from a place of joy? And if so, what brings you joymoving a human being, or flaunting
chops? Further, what will bring your audience joyfretboard gymnastics or exposing a place in your/
their heart that no one has seen before?
Every hour were

bombarded by
GoPro videos
chronicling players
winning gold,
silver, and bronze
in their own
personal fretboard
Olympics. Yay for
humanity.
Shawn Hammond
Chief Content Officer
shawn@premierguitar.com
premierguitar.com
The perfect addition to the family.
Dreadnought Junior
D-45
LXM
A Musical Icon Turns 100

martinguitar.com | #DreadNot
FEEDBACK LOOP
Remembering
Bowie
That a musician I loved all my

life chose so many of my current
favorite musicians [David
Bowie: 1947-2016, January
2016]Monder, Lefebvre, and
Mark Guilianais so amazing
and perfectly Bowie. A one-of-akind artist, if there ever was one.
Alan David
Add Pat Metheny to that list of

guitarists, fromThe Falcon and
the Snowmansoundtrack.
John Gilbert,
viapremierguitar.com
Dinosaur March
Hi Shawn,
Just wanted to thank you for your
editorial [Tuning Up: Death
to Asinine Clickbait! February
2016]. Usually most editorials
I read from guitar mags are
pandering pieces of marketing shit.
I just buy them to gawk at guitars
and gear I could never afford.
But your editorial has restored (a
little bit, lets not get carried away
now!) my nearly extinct hope in
journalism. There are still some
sane editors out there telling it like
it is. Looking forward to reading
more of them in the future.
Best Regards,
Pierre E. Heroux
I read your February editorial with

much agreement, and much relief,
that Im not alone in abhorring

the evolving universe of evershrinking human achievement
and lack of pride in workmanship.
The decline of human endeavor is
evident in just about every room,
hall, and corner of the social
paradigm. It has a decades-long
history going back to the modern
art movement in which anyone
could throw blobs of paint at a
canvas in random fashion and,
as long as they could convince a
benefactor to pay for it, then it
became cultural and artistic. It
seems to me that as a society weve
traded beauty and aesthetics away
for new and different. It doesnt
seem to matter what it looks or
sounds like.
Unfortunately, it seems that
the realm of music is not immune
to this unapologetic assault
on our senses and sensibilities,
but I recently heard a rumor,
one I have yet to confirm, (the
question of truth being another
problem we face with modern
journalism) that the 2015 calendar
year was the first such period
that old music out-sold new
music since such statistics have
been available.Could this be a
harbinger of renaissance; are our
progeny finally waking up? I surely
hope so because in this modern
age of technology, we musicians,
artists, and designers have at our
disposal the most amazing and
prolific tools with which to ply our
craft. It would be such a waste and

shame for this opportunity to end
up regressive instead of progressive.
Im holding to the belief that the
social decline we are experiencing
is merely a hiccup in the march of
man through time and recovery is
upon us. Yes, I am an optimist but
thats what will see us through.
Keep up the high standards,
there are still many of us out here
who can read (even the big words)
and do appreciate your efforts.
Dennis Coyle
Hi Dennis. Thanks so much for

taking the time to write in. Ive
heard the same rumors about older
music selling well this year, and
while Im of the opinion that theres
always great music being made and
you just have to put in the time
and effort to find it, I do find it
comforting that some classic works
continue to be appreciated decades
after the fact. That said, the rabblerouser in me increasingly finds it
heartening when new artists boldly
try to find new sounds that startle
and titillate us while still tapping
into the spirit of what made great
music of the past so great. I guess
Im just saying I appreciatemusical
daring andadventurousness more
than efforts to replicate legendary
work that will never be replicated.
Not being different to shock, but
being different to try to keep music
and self evolving.
Anyway, thanks again for
writing in, Dennis. All my best
to you!
Shawn Hammond,
Socialize
with Us!
Is it more
frustrating to read
@premierguitar too
slow to make it last
or too fast and have
nothing to read?
#magazinebudgeting
@WhiteRabbitObj
@premierguitar
@LutherDickinson
The world needs
more Luther.
@nomas4447
I would love to see

a hair-band rocker
get his lovely locks
caught in this
mechanism during an
arena performance.
(Nothing against hair
metal. I personally
grew up with it,
rocked it myself,
hair down to my
ass, and even have
Cinderella, Ratt, etc.
in constant rotation
in my playlists.) But,
cmon... Wouldnt
that be awesome?
Hahahaha!In the vein
of Spinal Tap, that is.
Patrick Martin Huerta
Keep those
comments coming!
Please send your suggestions,
gripes, comments, and good words
directly to info@premierguitar.com.
CONTENTS April 2016

ARTISTS
58
Deftones
Stephen Carpenter and

Chino Moreno discuss
filling different guitar
frequencies.
65
Wolfmother
Photo by Debi Del Grande
Andrew Stockdale
builds the riffs and
calls the shots on new
album, Victorious.
73
Lucinda
Williams
Williams unites with

Bill Frisell and Greg
Leisz to create a haunting guitar masteripiece.
85
Parliament
Funkadelic
George Clinton and

company discuss the
storied history of
6-string within P-Funk.
92
Ben Harper
The roots ambassador and slide master

reunites his band for an
exciting new record.
99
John Jorgenson
The virtuoso experiments with genres on
his new triple album.
35
115
NAMM
Recap 2016
Mobile
Recording Tips
We bring you the most

fascinating guitars,
basses, amps,
and effects.
Todays technology lets

you track virtually anywhere. Heres what you
need to know.
REVIEWS
132 Roland JC-40
132 Vick Audio V-2 Distortion
133 MXR Carbon Copy Bright
133 Chellee Odie Classic
134 Korg Pitchblack Custom
134 Big Tone Music Brewery
Gray Box
136 Fender Jimi Hendrix Strat

138 Warwick Rockbass
Adam Clayton Artist Line
141 Echopark F-1 Fuzz
We went so far out there with

the guitar on purpose on
Free Your Mind that it became
our signaturethat loud,
nasty guitar.
George Clinton, p. 85
144
147
150
153
Tyyster Pelti 12-String

Ventura Valve Amps VVA50
Allen Eden 1987
Bergantino B|Amp
& HD Cabinets
157 Radial Headload Load Box

161 Magnetic Effects White Atom
9 NEW FANO STANDARDS

all priced at $1,895
FANOGUITARS.COM
(front to back) WMD Devices

Geiger Counter Pro, Walrus
Audio Julia, Wild Custom Guitars
Wildmaster Gold Foil Relic, and
Stone Deaf SD50 and 2x12 cab.
APRIL 2016
RIG
RUNDOWNS
PETER
FRAMPTON
&
AUGUST
BURNS RED
License
License
to
Lust
30+ Gear Delights
to
Lust
from
NAMM
30+ Gear Delights
from NAMM
13
John Bohlinger,
Last Call, p. 176
19
24
130
164
176
178
GUITAR & BASS REVIEWS
FENDER / WARWICK / ROLAND / ECHOPARK / BERGANTINO / & MORE!
Opening Notes
Obituary: Glenn Frey
Tools for the Task
Staff Picks
Esoterica Electrica
Last Call
GEAR
26 Rig Rundowns
30 Vintage Vault
32 Trash or Treasure
56 Tone Tips
HOW-TO
80 Acoustic Soundboard
82 The Recording Guitarist
106 Guitar Shop 101
108 On Bass
110 Bass Bench
112 State of the Stomp
124 Mod Garage
126 Ask Amp Man
Above left: Photo by Eleanor Reiche / Frank White Photo Agency Left: Photo by Tim Mullally
On guitar,
youre never
more than one
fret away from
something that
will work.
LUCINDA WILLIAMS
premierguitar.com
CONTENTS April 2016
NEW NAMM GEAR DEFTONES WOLFMOTHER
APRIL 2016
On the Cover:
premierguitar.com
GO ONLINE
ONLY ON PremierGuitar.com
Your guide to the latest stories, reviews, videos, and lessons.
FEATURED
LESSONS
Access all of our lessons
online, for free, with
streaming audio and
downloadable, printable
notation PDFs.
After learning Norwegian Wood on a nylon-string acoustic at his first guitar lesson, Josh Landau
quit playing for a while. At that point I was interested in learning punk songs, Black Flag songs,
says Landau, who went on to pick up the tools of the trade from his guitar-playing father and form
the Shrine, where he doubles as singer and guitarist.
Premier Guitar caught up with Landau to discuss how he came up with some of Rare Breeds eartwisting tones, the origin of the Shrine Fuzz (the magic ingredient behind Landaus sound), the trios
addiction to analog, and how Lemmys sonic DNA will be imprinted in future music from the Shrine.
In other artist news, we hear from jazz guitar innovator Liberty Ellman, who discusses his latest
album, Radiate, his impressive guitar collection, and his small role in a Jimi Hendrix documentary.
Weve got much more content exclusively online this month, including chats with Intronaut, Lake
Street Dive, All Them Witches, and Vince Gill.
Click here to read these interviews and more.
CRAM SESSION
Modern Legato Techniques
By Jamie Humphries
THE RUMBLE SEAT
A Bass Groove Toolbox
By Tim Lefebvre
BEYOND BLUES
Billy Gibbons
By Levi Clay
FUTURE ROCK
Hybrid-Picked Shred Licks
and the 2-1-2 Method
By Sam Bell
NEW FOOTAGE!
A Lesson from Luther
Theres no shortage of video action at PG.com right now. If you havent started
watching our dozens of new gear demos from NAMM 2016, you have a lot to
catch up on! In addition to our weekly Rig Rundowns and gear reviews, weve
got a few new video lessons up our sleeves, too. John Bohlinger gives his best
pointers on how to play Scotty Moore-inspired banjo rolls in the latest What
Bohlinger Plays series, and youre in for a special treat with an exclusive
video lesson from North Mississippi Allstars guitarist Luther Dickinson.
Dickinson not only gives the story behind Hurry Up Sunrise, a track from
his ambitious new double album,Blues & Ballads (Folksingers Songbook: Volumes
1 & 2), but he also gives pointers on how to approach the hill country blues
fingerpicking style he learned how to play from studying guitar heroes like
Mississippi Fred McDowell.
Above left: Photo by Debi Del Grande Bottom left: Photo by Don Van Cleave
Sacrilege!
premierguitar.com
JULIA CHORUS/VIBRATO
GUITARDOMS
TOP TWEETS
Alice Cooper called Vampire Weekend
wimpy in 2008. Fuk u, Alice. I am
stronger (& more vampire) than you.
Shame on Johnny depp.
@arzE
Every time a blues musician dies, if you

dont call Gary Clark Jr. to pay tribute,
youve already gone wrong.
@RobSlater10
walrusaudio.com
JULIA
Analog Chorus/Vibrato
The pleasure is to play

-- @myMotorhead #LemmyForever
@wildaboutmusic
I dont think I can handle the loss

of any more of my rock n roll heroes.
I am still not over the loss of
Keith Moon and Terry Kath.
@JuddApatow
Here is one of a few 1964

Vibroverbs I have that have been
fine tuned by the master.
@KWShepherd
premierguitar.com
PREMIERGUITAR APRIL 2016 17
READER GUITAR
OF THE MONTH
Name: Peter Ellman
Location: Pinehurst,
North Carolina
Guitar: Nagel Kramer Baretta
This is a Baretta with a reverse pointy

headstock (as opposed to banana). The
Kramer Barettas evolved through a
number of iterations through the
early 1980s into the early 90s. The
first Baretta came out in 1983
and was inspired by Eddie Van
Halens Frankenstrat.
The graphic is inspired
by artist Patrick Nagel,
who did illustrations for
Playboy, the cover art for
Duran Durans Rio, and
inspired the aesthetic behind
one of the greatest videos of all time:
Robert Palmers Simply Irresistible. Nagel
died tragically from a heart attack in 1984
at age 38 after, no joke, an Aerobathon
fundraiser for, you guessed it, the American
Heart Association.
Guitars with his artwork on them were
illegally produced in the following years
until the Nagel Foundation worked to
stop it.And thus this rare bird. I got the
guitar from a dealer in Las Vegas after
a web search. Ive looked hard for these
Nagel graphic guitars and havent really
found any others.B.C. Rich had one for a
bit, I think.
My understanding is late 80s Kramers
used necks and headstocks made in Japan
by ESP and they assembled these guitars
in Neptune, New Jersey. These serial
numbers were EXXXXX-GXXXXX. This
guitar is FXXXXX.
When I got the guitar, it had an EMG
pickup in it. It didnt work very well so
I put a black Seymour Duncan JB in it,
which I later learned was probably what
was in it originally. I put a new 500k pot
in and a treble bleed circuit as well.
The neck is a slim profile and is
super comfortable. The guitar is light,
and playing it is like putting on an old,
comfortable pair of jeans. For my 80s
band Falkyn Velvet, it really does the trick
with the look and the sound.
Send your guitar story to
submissions@premierguitar.com.
premierguitar.com
OPENING NOTES
James Bay
February 7, 2016
Brisbane Convention &
Exhibition Centre
Brisbane, Australia
Photo by Kylie Keene
James Bay grooves on his No.

1 electric, the 1966 Epiphone
Century he received as a signing
gift from his label, Republic
Records. The vintage axe retains
most of its original charm,
although the stock P-90 failed
last year and was replaced with a
custom replica. Its a very basic
electric guitar, says Bay. I love
how I have to fight with it.
premierguitar.com
OPENING NOTES
Robert Trujillo
February 6, 2016
AT&T Park
San Francisco, CA
Photo by Kaytee rae
Metallicas bassist gets the Super

Bowl party started during the bands
game-eve set. Trujillos bass is his
go-to 2009 Bill Nash J-style loaded
with an EMG J Set and custom
preamp circuitry. The instrument
was dubbed the Flamethrower
after being resurrected from a fire in
Nashs workshop.
premierguitar.com
OPENING NOTES
Kat Bjelland
January 30, 2016
First Avenue
Minneapolis, MN
Photo by Billy Briggs
The alterna-punk pioneer thrashes

out at a recent Babes in Toyland
homecoming show at First Avenue.
While best known for wielding a
Rickenbacker 425 throughout her
career, Bjellands current top dog
(and replacement for her beloved
broken axe) is a Bigsby-loaded,
72 Gibson SG Deluxe with the
original T-Top humbuckers.
premierguitar.com
OPENING NOTES
Mike Watt
January 30, 2016

Alexs Bar
Long Beach, CA
Legendary punk bassist/frontman

Mike Watt digs in onstage with
the Missingmen and one of his
favorite live axesa 1965 Gibson
EB-0 that has been modified with
a Rio Grande Pitbull pickup, a
Schaller Bass Bridge 2000, and a
custom pickguard.
premierguitar.com
WORLDS FIRST
UNIVERSAL-FIT AMBIENT
IN-EAR MUSICIANS MONITORS
120dB
NEW!
Frequency Response
90dB
60dB
30dB
120dB
Frequency Response
0dB
90dB
60dB
30dB
20HZ
100HZ
1000HZ
Westone Ambient PRO 10

Freqency response gained with Westone SLED technology
Other in-ear monitors with open venting
series
10000HZ
0dB
1000HZ
10000HZ
Hear20HZ
and feel the energy and100HZ
input from the audience,
fellow performers, and
the stagetogether with the incredible audio clarity
and frequency
response
thatSLED
only
a Westone in-ear monitor can provide. Westones TRU high fidelity passive filter and exclusive
Freqency response
gained with Westone
technology
SLED technology maintain the low end and full-range response that traditional open vent ambient monitors compromise,
Frequency
Response
allowing
you to experience
your performance like never before.
120dB
90dB
120dB
AM PRO FREQUENCY RESPONSE VS. COMPETITION
Frequency Response
90dB
60dB
60dB
30dB
30dB
0dB
0dB
20HZ
20HZ
100HZ
100HZ

Freqency response gained with Westone SLED technology
Freqency
response
gained
with Westone SLED technology
Other
in-ear monitors
with open
venting
1000HZ
1000HZ10000HZ
10000HZ
westoneaudio.com
| 1948-2016 |
OBITUARY
THE EAGLES GLENN FREY

BY TED DROZDOWSKI
sound, they initially purveyed a mixture

of 60s-style vocal pop, rock, country,
and bluegrass. Their sound grew tougher
as the band developed under Frey and
Henleys leadership, reaching an apex
with the addition of Joe Walsh on guitar
and the release of Hotel California.
Freys own tonal palette evolved along
the way. He incorporated a variety of
Gibson, Epiphone, and Rickenbacker
electrics into his arsenal, with the Les
Paul Junior he appears with on the cover
of his debut solo album, 1982s No Fun
Aloud, that he nicknamed Old Black
foremost among them. Takamine also
manufactured a Glenn Frey signature
acoustic-electric dreadnought.
As a member of the Eagles, Frey won
six Grammy Awards and was inducted
into the Rock and Roll Hall of Fame
in 1998. Reflecting on his classic-rock
outfit, Frey once said, The band was
like a fake democracy. Henley and I
were making the decisions while at the
same time trying to pacify, include, and
cajole the others. There was always so

much turbulence around our band that
it made us serious all the time. There was
never a day when all five guys felt good.
Id think, Who is gonna blow it today?
Whos gonna want to fire everybody?
Despite that dynamic, the Eagles
reunited in 2007 for a new album, The
Long Road Out of Eden, and the resulting
tour was among the highest grossing in
history, scoring more than $250 million.
A final tour followed the release of
the career-spanning documentary, The
History of the Eagles, in 2013.
In a statement issued after Freys
death, Henley said, The bond we forged
45 years ago was never broken, even
during the 14 years that the Eagles were
dissolved. Glenn was the one who started
it all. He was the spark plug, the man
with the plan. He had an encyclopedic
knowledge of popular music and a work
ethic that wouldnt quit. He was funny,
bullheaded, mercurial, generous, deeply
talented, and driven.
Photo by Eleanor Reiche / Frank White Photo Agency
lenn Frey, whose ringing

acoustic guitar and songwriting
helped define the laid-back
country-rock sound of the Eagles at the
inception of their career, died on Monday,
January 18, due to complications from
rheumatoid arthritis, acute ulcerative
colitis, and pneumonia. He was 67.
Freys voice and strumming propelled
the hits that established the band in the
early 1970s, including Take It Easy,
Already Gone, and Lyin Eyes. Later,
he was the lead singer on New Kid in
Town from the bands classic album Hotel
California (1976), as well as Heartache
Tonight from The Long Run (1979)both
No. 1 hits. Following the Eagles initial
breakup in 1980, after Frey and guitarist
Don Felder nearly came to blows onstage
while playing a benefit for California
Senator Alan Cranston, Frey launched
a successful solo career that generated a
string of Top 40 smashesSmugglers
Blues, The Heat Is On, and You Belong
to the City among them. He also made
occasional forays into acting, including an
episode of the 80s TV series Miami Vice
that was based on Smugglers Blues.
Frey was born in Detroit, where he
kicked around in local rock bands until he
got his first big break playing acoustic guitar
and singing backup on Bob Segers No. 17
hit Ramblin Gamblin Man in 1968. He
and Seger remained lifelong friends and
occasional cowriters. Emboldened, Frey
moved to Los Angeles the next year and
formed a duo, Longbranch Pennywhistle,
with songwriter JD Souther.
Frey and Don Henley founded the
Eagles in 1971 after they were hired
for Linda Ronstadts band. Their first
gig with the singer also included bassist
and vocalist Randy Meisner and multiinstrumentalist Bernie Leadon, who they
recruited for the Eagles. Their eponymous
debut album was released in 1972 and
immediately climbed the charts on the
strength of Take It Easy, which Frey
wrote with his neighbor, Jackson Browne.
Although the Eagles are often cited as
one of the architects of the California
premierguitar.com
RIG RUNDOWNS
FACTOID
PETER FRAMPTON
Mark Mariana gave

Frampton his 1954
Black Beauty when
Humble Pie played
San Francisco
in 1970.
Guitar icon Peter

Frampton invites
Premier Guitars
John Bohlinger
to his Nashville
rehearsal studio
to talk and
demonstrate his
sprawling live setup.
GUITARS
The Phenix is
Framptons famous,
modified 1954 Les Paul
Custom from the cover
of Frampton Comes Alive.
The name refers to the
mythical bird that was
raised from the ashes.
This guitar, thought to
be destroyed and lost
for over 30 yearseven
surviving a plane crash
in Venezuelarecently
found its way back
home to Frampton.
To commemorate this
historic guitar, Gibson
has recreated a very
small, exclusive run of
reproductions with every
burn, scratch, ding,
and crack faithfully
copied to match
Framptons original.
premierguitar.com
GUITARS CONTD
Top left: This 1960 Gibson Les Paul

Standard previously belonged to
famed songwriter JJ Cale and is
affectionately named Paulina.
With the exception of the bridge and
tuning keys, its completely original.
The original bridge was so badly
worn that accurately intonating the
instrument was impossible. It was
replaced by a relicd TonePros
bridge to keep the guitar
aesthetically correct.
Top right: Frampton lost a Murphy
Burst Gibson Les Paul in the
Nashville flood, and this guitar, which
was commissioned by Rick Gembar
and Mike McGuire of Gibsons
Custom Shop, now replaces it. It was
handcrafted by luthier Tom Murphy
and is one of Framptons favorites.
AMPS
At the heart of Framptons live rig

lives a trio of 100-watt heads. The
main amp (top) is the Marshall 100watt Super Lead that was modded by
Jose Arredondo to include a master
volume and effects loop. The other
two Marshall heads are exact clones
of the main amp that were built by
John Suhr. The middle amp is used
exclusively for the Framptone talkbox
and the bottom amp is a spare.
premierguitar.com
RIG RUNDOWNS
JB Brubaker, Brent Rambler & Dustin Davidson
AUGUST BURNS RED

Premier Guitars
Perry Bean hung
with JB Brubaker,
Brent Rambler and
Dustin Davidson
of the Grammynominated metal
band August Burns
Red before their
year-end show
in Nashville, on
December 14, 2015.
GUITARS & BASSES
Top left: Sure, JBs main

guitar looks badass
(and fast) with its
paint stripes, but the
white flare is actually
just gaffer tape placed
on the guitar so the
guitarist can support
his favorite NFL
teamhis hometown
Philadelphia Eagles.
This Ibanez RGA121 is
loaded with EMG 85
and 81 active pickups,
and is strung with
DAddario .010.052
Nickel Wound XLs.
Top right: Just like JB,
Brent relies solely on
Ibanez axes, and in his
case, he prefers Ibanez
FR Prestige models also
equipped with EMG 85/
EMG 81 pickups and
DAddario .010.052
Nickel Wound XL strings.
Bottom: Bassist Dustin
Davidson rocks nothing
but custom Kiesel basses.
The particular model hes
been touring with lately
is the Vanquish 4 and
his No. 1 features a burl
maple top and a walnut
back, single-coil pickups,
and he plays with
DAddario .045.105 on
all his basses.
premierguitar.com
FACTOID
Though the band

uses digital amps
live, they used
all-tube amps while
recording.
AMPS
Rambler tours with

two Kemper Profiling
Amplifiers that live in
a rack he shares with
bassist Dustin Davidson.
Like his bandmate JB,
Ramblers signal goes
from the Profiler to a
Carvin DCM200L that
powers a Mesa/Boogie
Rectifier 4x12 cab.
EFFECTS
JB carries two Fractal

Audio Axe-Fx II units
that send the signal to
a Carvin DCM200L to
power a Mesa/Boogie
Rectifier 4x12 cab. A
Monster Power Pro
2500 Rack PowerCenter
provides the juice for
everything in the rack.
premierguitar.com
premierguitar.com
VINTAGE VAULT
1958 Fender Electric Mandolin

BY DAVE ROGERS, LAUN BRAITHWAITE, AND TIM MULLALLY
n 1956, following the success of

the Telecaster, Precision bass, and
Stratocaster, Fender introduced the
Electric Mandolin. The tiny solidbody
had the same bolt-on neck construction
as Fenders previous offerings, along with
tuners mounted on one side of the headstock. It was tuned to the same pitch as
a standard mandolin, but used only four
single strings, rather than four pairs. Its
solitary single-coil pickup was housed in a
plastic shell, and the Telecaster-style volume
and tone control knobs were mounted on
a gold anodized aluminum pickguard. The
strings were top-loaded on the bridge plate,
going over two adjustable bridge saddles.
Fenders 1958 catalog enthusiastically
proclaimed: The new Fender Electric
Mandolin is the most outstanding
instrument of its type on todays musical
market. Its true mandolin tone and modern
design features are the result of much
effort on the part of Fender engineers to

provide in this instrument all those features
recommended by leading players.
While the electric mandolin was
endorsed by Jethro Burns of Homer
and Jethro, and Neil LeVang and Buddy
Merrill from the Lawrence Welk Orchestra,
it never achieved the popularity of
traditional Gibson acoustic mandolins. It
was eventually discontinued in the 1970s.
The 1958 Fender Electric Mandolin
pictured here has the same 3-color sunburst
used by Stratocasters that year, but has an
ash body (sunburst Strats had changed to
alder by 1956). The body is contoured
like a Stratocaster, and its one-piece 24-fret
maple neck (rosewood fretboard by 1959)
has a headstock also resembling a Strat.
The list price when new was $169.50. The
current value for this one is $2,000.
Behind the mandolin is a 1960 Fender
Champ. One 6V6 power tube pushes
5 watts through an 8" CTS speaker.

Although the Champ was originally
considered an entry-level student amp,
high-profile rock stars like Keith Richards
and Eric Clapton have found it to be a
great recording tool. The amps list price
when new was $59.50. The current value
for the amp is $1,250.
Sources for this article include: Fender:
The Sound Heard Round the World by
Richard R. Smith, Fender: The Golden
Age 1946-1970 by Martin Kelly, Terry
Foster, and Paul Kelly, and Fender Amps:
The First Fifty Years by John Teagle and
John Sprung.
DAVES GUITAR SHOP
Dave Rogers collection is tended by Laun Braithwaite

and Tim Mullally and is on display at:
Daves Guitar Shop
1227 Third Street South
La Crosse, WI 54601
davesguitar.com
Photos by Mullally and text by Braithwaite.
Opposite page:
This electric
mandolin,
made two years
after Fender
introduced the
instrument in
1956, sports the
same 3-color
sunburst used
on Strats. It
leans against
a 1960 Fender
Champ.
Left: Typically
Fender, the
electric
mandolin has
a bolt-on neck
along with
tuners mounted
on one side of
the headstock.
premierguitar.com
TRASH OR TREASURE
A Pre-Fender Fender
BY ZACHARY FJESTAD
Q:
A:
Howdy Zach,
I acquired this amp at a yard sale for $50. I played a little guitar when
I was younger and I love vintage gear, but have never seen an amp
like this before. I havent plugged it in to see if it works because of the
age and all the dust, but it appears to be mostly intact. I would love to
know the approximate year it was built and how desirable it is today.
Any information you could provide is appreciated!
Thanks,
Lance in Tuscon, Arizona
Hey Lance,
I dont think whoever held
this yard sale knew what
they had! Amplifiers under the K&F
Manufacturing Corporation brand name
represent some of Leo Fenders first
commercially available amplifiers, prior
to his starting the company we are all
familiar with. Very few of these amps are
known to exist, so they are quite hard to
come by. First, let me provide you with a
little background.
As most amplifier enthusiasts know,
Leo Fender was interested in electronics
at an early age. He opened a radio repair
shop in 1939, about the same time that
guitar amplifiers were appearing on the
scene in appreciable quantities. One of
Fenders customers in the early 1940s was
Clayton Kauffman, who designed electric
guitars for Rickenbacker in the 1930s
and invented one of the first vibrato
units, called the Vibrola. In 1943, Fender
and Kauffman collaborated on a guitar
pickup/test guitar, and, in 1945, they
began producing guitar amplifiers and
lap steel guitars that were typically sold in
sets under the K&F name.
In 1946, Don Randall (who would
become a large part of the Fender Musical
Instruments Corporation and went on to
found Randall Amplifiers) approached
Kauffman and Fender about becoming a
distributor for K&F. Kauffman, however,
soon left the company and Leo went on
to start FMIC, moved to a larger facility,
and began building Fender-branded
amplifiers that were very well received
for their clean, bright sound. The rest, as

they say, is history.
The amp you purchased is indeed a
K&F amp from either 1945 or 1946, and
was part of a set that included a lap steel
guitar that is apparently long gone. These
K&F amps came in a few slight variations
with either an 8" or 10" speaker and a tone
and volume knob setup or no controls at
all, like yours. Insofar as electronics go,
these amps were constructed with a simple
3-tube chassis consisting of a 6N7 preamp
tube, a single 6V6 power tube, and a 5Y3
rectifier producing an estimated 3 watts of
power. The chassis is housed in a simple
wooden box thats covered with a thin, gray
crackle material, and the removable front
panel allows access to the Jensen speaker.
Your amp is designed to work with a
lap steel guitar, which is why there arent
any volume or tone controls. (They
were mounted and controlled on the
guitar itself.) Before the era of multiple
channels, effects, etcetera, it made perfect
sense to control the output on the guitar.
However, with the lap steel missing, the
abilities of this amp are somewhat limited
since it is always run wide open.
The original, leather handle on your
amp likely deteriorated over time and
necessitated the woven replacement. The
power cord is wrapped with quite a bit of
electrical tape and could use replacement as
well (even though it appears it was replaced
once before). Other than that, your amp
appears to be original with minimal wear,
which is noteworthy considering it is
70-plus years old. Id also recommend
bringing it to an amp repair shop to have

it looked over. Its a fairly simple circuit
so there shouldnt be too much involved,
but you always want to have a professional
take a chassis apart, mainly due to the high
voltage associated with it.
Since these were sold as lap steel
and amplifier sets, you typically see
instruments and amps paired up. Values
range widely for these sets: anywhere
from $1,500 to $2,500. Its also a
situation where the sum is worth more
than the value of the parts, kind of like
vintage amp and cabinet pairings. Since
the lap steel is missing, I estimate the
amp itself is worth between $750 and
$1,000 in excellent condition. Because
your amp has some replaced parts and
a little wear and tear, $500 to $750 is
probably more realistic. Of course, this all
hinges on whether the amp is operational.
There are some great amp restoration
companies out there that could probably
shape your amp up with little effort, but,
regardless, this is definitely a treasure
when you consider what you picked it
up for.
ZACHARY R. FJESTAD is author
of Blue Book of Acoustic Guitars,
Blue Book of Electric Guitars, and
Blue Book of Guitar Amplifiers.
For more information, visit
bluebookinc.com or email Zach at
guitars@bluebookinc.com.
premierguitar.com
1966 FENDER
STRATOCASTER
ITEM: 110025693
THE GREATEST SELECTION OF THE FINEST INSTRUMENTS EVER MADE

GUITARCENTER.COM/VINTAGE
855-484-6824
License
toLicense
Lust
to Lust
PG editors choose the 30+ most fascinating new guitars,

basses, amps, effects, and accessories from the Winter NAMM
Show held January 2124 in Anaheim, California.
| BY THE PREMIER GUITAR STAFF |
Look for this icon to click and watch a video demo.
Electric Guitars
WILD CUSTOM GUITARS
Wildmaster Gold Foil Relic
One of the most intriguing new lines of electrics

at NAMM this year was from French outfit Wild
Custom Guitars. Their booth featured a wall full
of about two-dozen head-turners, with the newest
being this 25.5"-scale Wildmaster Gold Foil
Relic. It features an alder body, 12"-radius neck,
and Mojo pickups from the U.K., and it goes for
$4,350 street. wildcustomguitars.com
ACLAM 20:14
DUESENBERG Gran Royale
The suave and sophisticated Gran Royale hollowbody has 2.4" sides, internal
soundposts for feedback control, and classic-looking new Phonico pickups
controlled by the 4-position dial selector on the treble bout. It goes for
approximately $3,150 street. duesenbergusa.com
Probably the most insanely customizable guitar

we saw at NAMM was the 20:14 from Aclam
Guitars out of Barcelona, Spain. It features full
MIDI functionality, a chambered body and piezo
bridge saddles for acoustic-like tones, throughbody or tailpiece stringing, removable modules for
quickly swapping out pickups from the rear, boost
functions, concentric tone/volume knobs, and a
unique V-shaped neck joint with an adjustable bolt
for changing neck angle to accommodate different
bridges. It aint cheap at around $8,500, but its a
tweakers dreamand it sounded remarkably nice
in our video demo. aclamguitars.cat
premierguitar.com
Electric Guitars Contd
KIESEL AM7 Aries Multiscale
Like its siblings, the latest member of Kiesels Aries series features a
beveled top and a multiscale bolt-on neck with fanned frets. It might look
intimidating, but because the neck feels so sleek and fast its rather easy
to acclimate to. Its available with a wealth of options, and with a starting
price of $1,299 street, the AM7 is an impressively priced, head-turning
multiscale for the prog set. kieselguitars.com
HAGSTROM Condor (shown) and Impala
For retro-minded players driven to frenzy trying to score the 6-string that
Tame Impala frontman Kevin Parker is shown with on the back cover of
Lonerism, freak out no more. The Impala and its three pickup cousin the
Condor (pictured here) are back, resplendent with a gaggle of switches
and sporting a reengineered Hagstrom trem. Other cool updates abound,
most notably the deep carve in the treble bout, which puts just about
every fret within reach. But for all the updates, it still feels and looks
authentically vintage. The Condor will be $649 and the Impala $599 street.
hagstromguitars.eu
premierguitar.com
Acoustic Guitars
SANTA CRUZ Ghost Oak
Veteran luthier Richard Hooverwhos celebrating

his 40th year in the businessblew our minds
with the beauty and the amazing story behind
this incredible Ghost Oak flattop. The top wood
came from a fallen spruce that was exposed in the
Alaskan tundra after climate change caused the area
to thaw. The tree was carbon-dated to 1,000 B.C.,
and its bluish color comes from being frozen
theres no tint in the clear-coat finish. Meanwhile
the oak back and sides were reclaimed from a Czech
Republic sand mine and were carbon-dated as
being 8,000 years old. Whoa! santacruzguitar.com
BREEDLOVE Oregon Rogue
This limited-edition Oregon Rogue features a

response thats every bit as lovely as the stunning
sapphire finish over its solid Sitka spruce top
and solid myrtlewood back and sides. Other
classy features include herringbone accents and
offset fretboard markers. Street price is $1,799.
breedlovemusic.com
TAYLOR 858e and 562ce
Taylor brought two lovely new 12-strings to

NAMM, including the 858e grand orchestra
(top right), which has solid spruce and rosewood
construction for around $3,999, while the allmahogany 562ce grand concert features a 24 7/8"
scale, a 12th-fret neck joint, and a street price in
the low $3k range. taylorguitars.com
premierguitar.com
LTD2016 DECOY Body size: FXC. Top and back: Flame Maple (arched). Sides: Flame Maple.
Neck: Maple. Fingerboard: Ebony. Inlay: Watermelon Fish. Binding: Ivoroid. Purfling: Abalone.
Finish: Gloss Green-Blue Burst. Hardware: Gold. Nut width: 42.5 mm. Nut and Saddle: Bone.
Electronics: Palathetic Pickup with CTP-3 CoolTube Preamp.
for more information, contact The ESP Guitar Company, 10913 Vanowen St., North Hollywood, CA 91605
800-423-8838
www.esptakamine.com
Acoustic Guitars Contd
COLE CLARK Australian Eco CCFL2EC-RDBL-AE
A gorgeous new addition to the Fat Lady series, this dread is built from
100 percent sustainable timber: Queensland maple for the neck, Australian
blackwood for the back and sides, and Australian redwood for the top. Cole
Clarks 3-way pickup system comes standard, and street price is approximately
$1,600. coleclarkguitars.com
BOURGEOIS L-DBO
The boutique flattop outfit from Maine is going big into the classic L-OO
shape this year, but none will be bigger or bling-ier than this L-DBO
Presentation. With miles of pearl on the fretboard, an Adirondack spruce top,
and Brazilian rosewood back and sides, this heirloom piece will be expensive at
north of 17 grand. Theres just 10 of these, but Bourgeois will be offering many
more affordable L-OOs as the year goes on. bourgeoisguitars.net
premierguitar.com
Amps
STONE DEAF SD50
This Manchester, U.K., pedal peddler

has been impressing us for years with its
stompboxes, and now its got a superintriguing new line of all-tube ampsthe
EL84-powered SD08 lunchbox head and
SD30 head or combo, and the 6L6-powered
SD50 head (shown). The digitally controlled
amps enable programming of between 16
(SD08) and 32 MIDI-accessible channel
presets, with the ability to program aspects
such as solid-state or tube rectifier, fixed or
cathode bias, class-A or class-AB operation,
and more. Look for them in May, with street
prices around $1,750. stonedeaffx.com
BOGNER Goldfinger 54 Phi
Amp maven Reinhold Bogners latest is a singlechannel rock machine that uses both 6L6 and
6V6 tubes to cop sweet tweed-style tones that
are harmonically rich and full of warmth. The
combo will be around $3k street and should be
available soon. bogneramplification.com
OTIS Starla
NAMM newcomer Otis Amps from Chico,

California, impressed us with their simple, elegant,
and screaming little amps. The Starla pictured here is
driven by a 6CZ5 power tube and has a 6SL7 in the
preamp, while a Tone Tubby 8" speaker lurks behind
the wicker. Street price as of NAMM time was $650.
otisamp.com
premierguitar.com
This Band Wont

Steal Your Beer
Get your groove on with TRIO+ Band Creator. TRIO+ listens and learns the
chords and rhythm you play and automatically creates drum and bass accompaniment.
TRIO+ now also allows you to loop your guitar parts and arrange custom looped
sequences to create full songs on the fly. Additional features like: Expanded Styles, FX
send/return, SD card memory expansion, and simplified bass make TRIO+ irresistible.
DigiTech is distributed by KMC Music, a division of Jam Industries, LTD. | (855) 417-8677
Amps Contd
MARSHALL CODE Series
CODE amps are Bluetooth and USB enabled, and feature 100
editable presets, 14 preamp models, four power-amp models, eight
speaker-cab models, 24 effects, audio and headphone inputs, and
compatibility with the online Marshall Gateway community, where
players are encouraged to creatively interact and share sounds.
Prices range from $199 street for the 25-watt 1x10 combo on up
to $349 for the 100-watt head, and $399 for the 100-watt 2x12
combo. marshallamps.com
SUPRO Black Magick
This all-tube, high-gain 1x12 combo hearkens back to the

dimensions, cosmetics, and circuitry of Supro amps from 1959,
just like the one Jimmy Page loaned to the Rock and Roll Hall of
Fame museum. The preamp features two channels wired in parallel
with independent volumes and a single, shared tone control,
and the front-end topology of the original 59 Supro has been
streamlined in the 25-watt Black Magick with automatic linking of
channel 1 and 2 when using only the first input jack. $1,499 street.
suprousa.com
premierguitar.com
Effects
EMPRESS Reverb
There probably arent many reverb sounds

this new stereo, MIDI-compatible stomp
wont make when it hits in early summer.
The crazily tweakable unit starts with very
nice hall, plate, spring, and room emulations,
but it also offers modulation, octave effects,
programmable expression-pedal parameters,
and more. Street price is expected to be
around $449. empresseffects.com
BOSS VB-2W Waza Craft Vibrato
The VB-2W marks the return of one of the most

delightfully wiggly, wobbly vibratos that ever was.
Like other recent Waza Craft pedals, theres an
authentic standard mode and a custom mode,
which in this case features a deeper, darker vibrato
texture. $199 street. bossus.com
IBANEZ
Analog Delay Mini

If the new Analog Delay is
as good at replicating vintage
AD-9 tones as the Tube
Screamer Mini is at nailing
old TS tones, it might be the
best 99 bucks you spend in
2016! The delay also has new
mini cousins in the shape of
the Chorus Mini and Super
Metal mini. ibanez.com
WALRUS AUDIO
Julia
The Julia chorus/vibrato

is fat, lush, and warblingly
richbetter still, its got a
chorus/vibe blend control
that helps you dial in very
specific modulation shades.
Itll be about 200 bucks street.
walrusaudio.com
WMD DEVICES
Geiger Counter Pro
NEUNABER
Immerse Reverberator
If you have a hard time deciding between plate,
hall, and spring verbs, then Neunabers Immerse
might be for you. It houses eight wonderfully
spatial reverbs, including an angelic shimmer
setting and a fun, quirky wet-plus-detune
settingall for $225 street. neunaber.net
The latest version of WMDs

demolition machine features
16 footswitchable presets,
assignable CV inputs, MIDI
control, and a randomizer.
Were also told that, despite
appearances, its actually
simpler to operate than
previous Geigers. $TBD.
wmdevices.com
premierguitar.com
Bass Gear
GALLIEN-KRUEGER PLEX
G-Ks new preamp features a 4-band, variable-Q

equalizer and contour circuit, selectable voicing
filters, and footswitchable compression, boost, and
chromatic tuning. $TBD. gallien-krueger.com
EBS Magni 500
ESP LTD B-1004SE
This multiscale 36.25"34"-scale bass features a swamp-ash body with a

rosewood top, a 5-piece wenge-and-bubinga neck, a rosewood fretboard with
fanned frets, a Hipshot Solo bridge, and Gotoh tuners. For electronics, its
packed with a pair of Nordstrand Big Splits driven by ESPs ABQ-3MS 3-band
EQ. $TBD. espguitars.com
Available in two cab configurations (2x10 or 1x15),

the Magni 500 pairs the analog preamp from the
companys Reidmar amps with a lighter-weight
power section. Features include a balanced XLR
out with ground lift, a 4-band EQ with sweepable
mids, a built-in compressor/limiter, and a character
switch for adjusting the amps overall tonal profile.
$TBD. ebssweden.com
premierguitar.com
CLICK ABOVE TO VIEW A DEMO OF THE SINGLE V
NO AMP IS BETTER MADE

OR PLAYED.
This tone machine sounds as good as it looks. Hand made and hand wired in
America, the Single V is available as a 2x12 stereo combo or head, featuring
30-watt push-pull class AB, powered by 2 6L6 power tubes. With our patented
pitch-shifting varistor vibrato, plus reverb and tremolo, you can dial in your tone
with ease and simplicity. Like Buddy Holly 50 years ago, and many legends you
know today, Magnatone is heard in the rich, lush music of the masters. Find
out who at Magnatoneusa.com/artists.
SINGLE V
The Magnatone Single V. Inspired by 1958. Made even better in the 21st century.
MAGNATONEUSA.COM
Magnatone LLC 2015
Bass Gear Contd

L.R. BAGGS Stadium
Baggs jumped feet first into the bass game with the
Stadium electric bass DI, which features a fat switch
for beefing up tone, adjustable compression, an
attack dial for adding clarity or reducing brightness,
and a growl control for adding harmonic distortion.
$TBD. lrbaggs.com
SPECTOR Euro4LX
TECH 21 Bass Fly Rig
This svelte multi-effector features SansAmp technology as its centerpiece but

also serves up an onboard octafilter, compression, switchable pre/post boost,
chorus, and, yes, a chromatic tuner. $299 street. tech21nyc.com
The Euro4LX features a carved European alder

body topped with figured maple, a 3-piece maple
neck with a rosewood fretboard, and new custom
Bartolini pickups driven by an active TonePump
circuit. $2,299 street. spectorbass.com
premierguitar.com
Accessories
MONO Vertigo
The Vertigo gigbag offers a light but burly and

ultra-protective way to pack your instrument.
Available in bass, electric, or acoustic versions, it
features a top-loading design that means youll
never have to lay it down case flat. It also has a
water-resistant shell, an internal neck suspension
system, and robust rubber tread on the bottom
section. $249 street. monocreators.com
VOODOO LAB PX-8 and Pedalboards
The PX-8 loop-switcher features eight loops, multiple preset banks, preset
and live operating modes, and MIDI capability, all for around $350 street. It
also attaches to the front edge of the medium-sized version of Voodoo Labs
three new pedalboardsa bonus that prevents you from losing any precious
board space. Board prices are TBD but will include a padded carrying case.
voodoolab.com
FISHMAN Fluence Stephen Carpenter and

Devin Townsend Pickups
The Fluence line got two new signature sets this year. Devin Townsend calls
voice 1 of his set the heavy metal voice, while voice 2 has a low-gain, passive
single-coil sound. Meanwhile, voice 1 for Carpenters set has a tone similar
to the original Fluence Modern Humbucker but with a different midrange
response. Voice 2 delivers Carpenters custom voicing with tone and gain
tweaks for more heat and edge. fishman.com
premierguitar.com
Astoria AST2H Custom Model 30 W

Hand-Wired Tube Head
J25695
Astoria AST2 Custom Model 1x12

Speaker Cabinet
J25693
very guitar is as unique as its owner.

A carefully chosen combination of wood
grain, weight, feel and tone, it tells a story
unlike any other. With an in-depth report on
the guitars that suit your tastes, our Guitar
Advisors will help you nd more than just the
best of the best. Theyll help you discover the
one guitar that truly tells your story.
Gretsch G6115T-LTD15 Limited Edition Red Betty

Serial No. JT15092599
7.58 lb.
1 of 45 available in North America
Call a Guitar Advisor: 866-926-1923 MondayFriday, 8 a.m.5 p.m. CST

www.musiciansfriend.com/privatereserve
TONE TIPS
Ask Doctor Pete

BY PETER THORN
These two
red pedals
from Mission
Engineering
might look
the same, but
volume and
expression
pedals arent
necessarily
interchangeable.
Shown on the
far left is a
buffered volume
pedal with a
logarithmic
pot, and next
to it is a lowimpedance
expression pedal
with a linear pot.
reetings, guitar nerds! Ive recently started a new Q&A playlist on my

YouTube channel (youtube.com/petethorn). Viewers ask me questions by
sending an email to my Facebook music page, and each week I answer the
questions in a video. So, in the spirit of Q&A, Ive decided to answer three great
questions in this months column.
Hey Pete!
Greetings from a fellow Canadian. Just a
question about miking different speaker
types. How do you go about getting
the setup so that neither speaker is
overpowering the other, but the different
dynamics are allowed to play off of each
other? Ive got a Celestion G12H in the
cab of my amp and a Scumback M75 in a
1x12 extension cab.
Sebastian Aviles
Hi Sebastian,
Different speakers, of course, have
different tonal qualities, but they also
have different sensitivity ratings. A
typical G12H speakerwith a 50-ounce
magnethas a sensitivity rating of
100 dB, whereas the Scumback M75
and its lighter 35-ounce magnet have a
sensitivity rating of 97 dB. In laymans
terms, this means the G12H will be 15
to 20 percent louder than the M75. So
if youre recording the two speakers by
placing an identical mic on each, and you
want to achieve an even blend, be aware
of the volume discrepancy and adjust
your microphone preamps accordingly.
This isnt an exact science, so you should
experiment with mic placement and
balance until you achieve an acceptable
result. Tone Tip: When blending two
speaker types with different sensitivity
ratings in a 4x12 cabinet, try putting the
less-efficient speakers on top. Theyll be
more audible this way.
Hi Pete,
I recently bought an old Ernie Ball volume
pedal for a bargain off eBay. My intention
is to use it as an expression pedal for
my TC Electronic Flashback X4, but Im
currently using it as a volume pedal until
I sort out a cable. Do you run your volume
pedal at the front of your pedalboard or

before your delays/reverbs, or is it piped
through your switcher somewhere along
the way? I might have to invest in another
because I think Ill miss having one when
I finally hook it up to my Flashback.
Thanks and all the best,
Ben Riddell
Hi Ben,
Its important to notegenerally
speakingthat volume and expression
pedals are not interchangeable.
Impedance is a primary concern, as is
the taper of the potentiometer in the
pedal. High-impedance (pot rating of
250k to 500k) passive volume pedals
with logarithmic (audio) taper pots
will work well with guitars with passive
pickups. A volume pedal like this tends
to work best early in your signal chain,
before buffers and as close to your passive
pickups as possible. Low-impedance (pot
rating of 25k to 50k) passive volume
pedals with log-taper pots work well with
active-pickup guitars, or placed after
any buffered (non-true bypass) pedals.
They will work well after any overdrive
or distortion pedals to set your overall
volume without affecting the amount
of distortion. They will also work in the
effects loop of an amplifier to control
the overall amp volume post-distortion.
Expression pedals, in most cases, should
be low impedance (5k to 50k) with a
linear taper pot. Id recommend checking
the specs on your Ernie Ball pedal, and
only using it for its intended purpose.
corporate gigs than anything. Id like

to know how you go about setting up
sounds and what reference you use
to ensure they will translate to a PA
system in a live situation. In the limited
experience Ive had using modelers, Ill
dial in tones that are okay at home, but
dont translate live.
John Herritt
Hi John,
When I toured with Melissa Etheridge
in 2011, I used the Fractal Axe-Fx in
place of my full rig for many of the fly
dates and TV shows we did, as well as
a European tour. Beforehand, I set up
my main rig and the Axe-Fx rig in my
studio on an A/B switcher. I spent two
days duplicating every preset from my
main rig by simply switching back and
forth and matching each tone as best I
couldlistening closely to things like
volume, gain level, overall tonal balance,
and effects settings. Since I only used one
speaker cabinet type with my main rig,
I kept things simple by using only one
speaker-cab model in the Axe-Fx for all
the tones. To closely mimic the various
amp tones my Suhr PT-100 amp was
capable of producing, I used just a few
amp models on the Axe-Fx. Ultimately,
my presets were nicely balanced and
required very little tweaking when used
with the band.
Thanks to my Facebook followers for
all the great questions. I hope my answers
will help provide some insight for my
fellow guitarists on the journey towards
tonal nirvana. Until next month, I look
forward to more questions and I wish you
good tone!
PETER THORN
Hi Pete,
My question is about modelers. Ive
always been a simple amp and pedals
guy, but volume has been a real obstacle
since Im playing more weddings and
is an L.A.-based guitarist who has

toured with Chris Cornell, Melissa
Etheridge, Tsuyoshi Nagabuchi, and
many others. He released a solo
album, Guitar Nerd, in 2011. Read
more at peterthorn.com.
premierguitar.com
Deftones new release, Gore, has been called a departure from

the groups recent albumssomber and a little less optimistic.
Stephen Carpenter and Chino Moreno discuss filling different guitar
frequencies with different numbers of strings, tone modeling, and
keeping the inspiration alive for more than two decades.
rammy-winning rock group Deftones is a

guitar-centric, riff-driven band. Since their
1995 debut, Adrenaline, the alt legends have
been revered as extremely passionate masters
of sonic layering. And Gore, their eighth
studio release, is a guitar tour de force, featuring low-tuned
8-strings, swirly delays, sonic soundscapes, and bone-crushing
chunk. Stephen Carpenter is the bands primary guitarist,
while lead singer Chino Moreno started adding additional guitars with their third release, 2000s White Pony. Together, they
create a dense, colorful, musical wall. Its like the bulldozer
effect, Carpenter says. You just get in where you fit in.
Carpenter is the consummate gearhead. He runs his signature
ESP guitars through a wall of Fractal processing, Engl preamps,
and Orange cabinets. He likes to tinker, experiment, and modify
gearsomething hes been doing since his days as a tech. I did
everything: guitars, drums, and bass, he says about his time
working for a local Sacramento band before Deftones took off.
I took a guitar apart and put it back together the best I knew
based on all the knowledge I had read up on, was told about, and
absorbed from others. Deftones new albumtwo years in the
makingbuilds on Carpenters experience, experimentation, and
vast tonal awareness. Moreno

adds a different perspective to
the mix. If it sounds good in
a little room with all of us in a
circle then theres a good chance
it should sound good on tape or
recorded, he says.
Gore, produced by the band
in tandem with Matt Hyde, is
a guitarists feast and is replete
with swagger, low-end rumble,
and ambient textures. It also
features Alice in Chains guitarist Jerry Cantrell on the song
Phantom Bride.
It was one of those things that was meant to be,
Moreno says. It doesnt sound contrived, like we tried to do
something outside of the box. It just sounds like something
that was very casual and really nice.
PG spoke with Carpenter and Moreno (see sidebar) about
7- and 8-string guitars, low tunings, click tracks, Carpenters
battle with his digital rig, and Morenos need for simplicity.
(And no, we didnt ask about the flamingos.)
Photo by Frank Maddocks
BY TZVI GLUCKIN
premierguitar.com
Deftones
frontman
Chino Moreno
prefers simple
gear (usually a
Gibson SG, but
hes shown here
with his Knaggs
Keya T2 tobacco
burst). He
started playing
guitar live
during the White
Pony tour. I had
to figure it out,
Moreno says
about balancing
his singing and
guitar duties.
Slowly but
surely, I did.
When was the last time you played a

6-string guitar?
Stephen Carpenter: It was about 15
years ago.
What drew you to the 7- and 8-strings?
The lower registers. Having that option
to drop down to the lower stuffits
just fun, really heavy to play, a little
darkness. Darkness!
How do you tune them?
Nothing fancy, by any stretch. On my
7-string tunings I used A% or G#whichever
you desireand that was for the self-titled
[2003] record. On the Saturday Night Wrist
record I just drop-tuned the bottom string
down to F#. I started playing the 8-string on
[2010s] Diamond Eyes, and thats just the
standard tuning that came on the guitar: F#
on the bottom and then your standard BE
ADGBE. All I did for the next record,
Koi No Yukon, was drop-tune the bottom
string down to E. That was about the time
I met the guys from Animals as Leaders and
Periphery. Tosin [Abasi] told me they were
into dropped-E tunings. He said, Hey you
should check that out. So I did.
Photo by Ken Settle
Thats basically the bass register.

Yeah, of course, and its actually been
quite tough for me. Not actually playing
it on the guitar, but the coupling in the
bandbecause I wish I had an equal on
the bass. Its just not possible with the
actual bass. To match it, you really need
to have a synthesizer or something where
you can actually go down to that octave.
My biggest difficulty is really trying to
mess with the bass without sounding like
me and the bass are playing a dual part. I
havent given a great deal of thought to it,
but whenever Im jamming out, thats the
wall I run into. But thats largely in part
because I dont play in a metal bandI am
the metal ingredient of my band [laughs].
I think if the other guys were more
interested in the metal side theyd probably
do what it takes to get that register for me.
And you have both standard- and
baritone-scale guitars.
Yes. I have both a standard-scale 7-string and
a baritone. Throughout White Pony I used
premierguitar.com
a standard scale 7-string. I had it set up like

my 6-strings, but I was using an extra high
E string on the top, just like a drone.
How do you come up with riffs?
Im not trained in any type of theory.
Im just noodling around until I find
something I like.
And you like to play to a click track?
I play to a click track all the time. I
love it. The band doesnt play to a click
track, but personally, Ill write to a click
track anytime.
Do you keep the click on the
downbeat, or do you put the click on
the backbeat and play games with it?
I really just put it on either eighths or 16th
beats. I dont have any skills in it, but its
on my very soon to-do listto improve
my abilities in making a tempo map. That
way I can really start going with whatever
crazy ideas I want and just change it all the
time, because thats what I love.
Do the clicks get in the way when you
start playing things in odd meters?
No, because I think all odd meters still
float around the exact same time. Its just
where youre starting atwhere youre
starting and stopping, right?
And whats the guitar? The guitar is
like the ribbon around the present. You
get the drums doing this time, the bass is

going, everybody can be rotating around
each other and can come together, play
the exact same thing, and create this one
effect. Its up to the creative individuals
at that moment and how they want to
manipulate the sound and time. Thats
what is so awesome about music and
whats so amazing about modern music.
I love so many of the new bands that are
coming out. I think everybody is just
killing it. Just amazing players out there.
Everybody is just shredding it.
Anybody in particular?
Man, the list is long.
How have things evolved musically since
Chino started playing guitar as well?
Well, its been a mix. On one hand theres
a part of me that loves it, because I love
the sound of two guitars. On the other
hand, Ive been marginalized because
of itbecause everything we do is just
based around what he does all the time.
If he dont like it, we dont do it.
Do you write together or do you each
show up with different parts and learn
the other guys part?
We all jam it out together. If somebodys
got an ideaif everybody is interested
in itwe work on it. This has been the
toughest process Ive gone through in
STEPHEN CARPENTERS GEAR
CHINO MORENOS GEAR
GUITARS
GUITARS
ESP Signature Guitars: Stef B-8 Fluence,

Stef-T7B Fluence, Stef B-7 Fluence
Gibson SG
Knaggs Keya T2
AMPS
AMPS
Fractal Axe-Fx II (he uses 8)

Engl Tube Poweramp E850/100
(he uses 4)
Rivera Knucklehead Tre Reverb

Rivera 4x12 cab with
Celestion Vintage 30s
Orange 4x12 cabinets
EFFECTS
EFFECTS
Fulltone True-Path ABY Splitter
Eventide H9 Harmonizer
Effects Processor
TC Electronic Ditto Looper
Radial JDX 48 Reactor Amplifier DI Box
MXR Carbon Copy Analog Delay

Boss DC-2 Dimension C chorus
Eventide H9 Harmonizer
Effects Processor
TC Electronic Ditto Looper
STRINGS & PICKS

STRINGS & PICKS
Jim Dunlop Heavy Core
(.011.069) 8-string
Jim Dunlop Heavy Core
making a record because I was coming out

of the backend of fixing my rig while we
were in writing sessions. Im just getting
myself dialed-in to where Im excited
to play on my rig again and the stuff
everybody was coming up with at the
timeI wasnt very interested in. I pretty
much battled everybody the whole time.
There are some killer riffs on there
though.
Oh no, its great. Its blood, sweat, and
tearsthats what it was for me. I wasnt
living the dream on this process [laughs].
What problems did you have with your
rig and are they solved?
When I first switched over to the AxeFx from my old rig, I actually had no
problems whatsoever. When I made that
transition I was using the Axe-Fx Ultra
the II hadnt come out yet. I went into
it just like it was a preamp: I set it up,
got on with the business of making my
presets, built my tone in it, and made it
sound great. That was, like, September
or October of 2010. Later that year, we
got our IIs. I spent about three months
playing around with all the factory
presetswe were just starting to write
for the Koi No Yukon recordso I wasnt
too worried about tone because we were
going to make it up from scratch anyway.
(.011.050) 7-string
Jim Dunlop Tortex 1 mm picks
We wrote the songs, had a great time,

went in the studio, and went through the
whole process of tracking. When it was
my turn to do guitars we micd up the
cabs with the sounds we were usingI
was barely using cabs at the timeand
we came to the conclusion that the tone
we were running with, the whole time
we were writing, pretty much sucked.
We were like, Oh great, now what? Im
about to start guitar tracks and Ive got
no tone [laughs].
[Fractal] shot us over the quick beta
of [their new Tone Match] before it came
out. We loaded it in, matched my tone
from the Diamond Eyes record, and we
were like, Damn, there it is. We had all
these amps in the studio and we started
tone matching every amp. We did the
whole session through tone matching of
all the amps we had there.
I was fucking stoked on that. I was
like, Alright man, Im going to go
back through the whole catalog and
get my sounds and this is going to be
awesome. I got all my presets built with

all these tone matches and my mentality
at that time was that I didnt want to
use cabinetsI wanted to go purely DI
off the units. We go into rehearsals, get
ready to go on tour, and immediately
it was like my guitars vanished. They
didnt even exist. It was missing all of
the frequencies of being a guitar amp
[laughs]. I had it set up for all of the
recordingswhen recording you are
losing everything below 80 Hz. So all
of the feelingall the body of a guitar
tonewas nonexistent.
What had complicated that situation
more for me was that my tone-matched
block was set up as a stereo cab sim. My
rig had forever been left and right, but
its always been mono-mono until Ive
thrown any type of stereo effects onto it.
But when we were building the presets,
we didnt want to consider that it was
always going to be mono-mono and I
only set up the stereo cab sim. We didnt
even audition it that way to find out, you
know what I mean? I went that whole
period of timea little over a yearjust
being completely frustrated. The absolute
obvious was just completely oblivious to
Photo by Ken Settle
Carpenter says
new metal bands
like Animals
as Leaders
and Periphery
are inspiring
to him as a
player. Tosin
[Abasi] told
me they were
into dropped-E
tunings. He said,
Hey you should
check that out.
So I did.
Currently experimenting with strings

Jim Dunlop White Tortex Triangle
premierguitar.com
Left Brain, Right Brain
Deftones frontman Chino Moreno discusses his double duties as vocalist and rhythm guitarist.
You first started playing guitar on
White Pony?
Yes sir, around 2000 is when I officially
started playing onstage in front of people.
What inspired you to start playing guitar
with the band?
I think the catalyst was that Stephen had
moved from Sacramento to Los Angeles.
We had a studio in Sacramento for a few
years at that point. We always rehearsed
and wrote our records thereand he wasnt
there. We started writing songs after the
Around the Fur record cycle and Stephen
wasnt really around so I started picking
up the guitar and jamming. Hed come
down and wed do little sessions and we
wrote some of the record therealthough
a lot of the White Pony record was written
in the studio. I forgot the guitar I usedI
think I had an SG. I might have had one of
Stephens old Jacksons that he gave me.
How has your playing changed and
developed since that time?
I hope its gotten a little bit better. Honestly,
I just really like to play. You can put out
emotions through the guitar without having to
speak words or having to talk about something
specific. Being a singer and the lyricist of a
band, sometimes the difficult part is trying to
communicate what it is Im trying to saybut
a lot of times I dont know what Im trying
to say. The guitar has always been a way to
express emotion without really understanding
what youre doing or trying to do.
Nowadaysespecially with this new
record, where I play guitar pretty much
on every songIve switched to the
opposite of that. I love writing the songs
and love playing them, but now Im
almost restrained a little bit because I
have to pay attention to what Im doing
on guitar [laughs]. I really have to use two
sides of my brain, coming from a singers
standpoint and a guitar standpoint.
So youll be playing a lot more guitar
onstage this tour?
I believe so. Honestly, when we write
setlists, the most important thing for me is
spacing out the songs that I play on guitar
and the songs that I dont play on guitar,
because live I really like to just sing. I do
like to play guitar, but I know that Im a
way better singer than guitar player. I kind
of put myself in this corner and Stephen
is pretty adamant: You play this on the
record. Youre playing it live. And hes
always been that way. When I first started

playing on the White Pony tour, I was
sort of scared. I was like, Should we hire
somebody to play this stuff? And he said,
No. You played on the record, youre going
to play it live. He was like a coach in a way.
Youre going to do it. You can do it. And I
had to figure it out. Slowly but surely, I did.
You arent what I consider a classic
two-guitar bandyoure not like Iron
Maiden, for example. How do you divide
up the duties?
We dont, really. We dont really
communicate that well as far as what were
going to do or should do. And I honestly
think thats a good thing. What ends up
happening is that we fill up the space. If its
a song Stephens starting out, I fill up the
space that hes not. And I feel like he does
the same thing, vice versaand with Sergio
[Vega, the current bassist], too. Whats crazy
is that on this new record, Sergio played a
Bass VI on maybe 70 percent of the record.
So frequency-wise there was more of a
feeling like, What area do we take up?
For instance, with Stephen, our sounds in
general are really different because of what
guitars we play. We both play distortion and
clean, but what makes our sound so different
is Stephen plays the 8-string guitar, with
way heavier-gauged low strings that, to be
completely honest, arent my favorite
thats not really what I listen to in my off
time. He loves that kind of stuff.
Do you mean extreme metal bands?
Yeah, I mean guitars with that low tuning
and that tone. To me, my problem with
that is the bottom stringswhatever they
are, I dont even know what its tuned
toyou can play that same top string like
seven frets apart and it all kind of sounds
the same. So when I hear him play on that
low string, I try to juxtapose that with
something higher. I think Vega does the
same thing. We all play around each other
and it fits together, but were not canceling
each other outbecause honestly that
could happen so easily.
For one example, if Vega played on a
5-string bass, which is something weve
never done when a lot of those bands
of the 90s were coming out and people
were starting with 7-string guitars, as soon
as you put a 5-string bass on that thing it
sounded like every other band that was out
at the time. I begged Chi [Cheng, Deftones
original bassist], Please never play a
5-string bass. Even though

it sounds good with the
7-string guitar, having that
frequency going all the
time takes away from the
dynamics. I think the main
thing we try to do is keep it
dynamic. The way to do that, if
Stephen is going to play those
8-string guitars, is for Sergio and myself to
fill up those other frequencies.
Stephen has that Fractal digital rig. Have
you experimented with that?
No. Its over my head. Its awesome. You
can do so much with that thing. But for me
everything makes so much more sense
if I know how to work my own gear. I can
easily look down at my delay pedal and
turn the little knob and know where I want
it. And the same thing with my chorus
pedal and the front of my amp. Its just way
more comfortable for me to know what Im
doing. I think its neat that he can do all
that stuff, but Im sort of a minimalist when
it comes to gear.
What do you use in the studio?
I pretty much just use the live rig. I bring
my little pedalboard, my Rivera head and
cabinet, and put a mic in front of it.
How much is tracked live and how much is
overdubbed?
We pretty much overdub everything. We go
in there and play together as a bandbut
were doing that for the drum track, which
is pretty typical I guess. After that we redo
all the bass first, then I do my guitars, and
then Stephen does his guitars. I then put
the vocals over that and there you go.
Any standout guitar moments on the album?
I dont know, to me its one of those things
where there are a lot of happy accidents
its those little things, nuances, which are
pretty rad. We havent gone into rehearsals
for the new record yet, so I still have a little
nerves going in, hoping I can pull it off. I
didnt write my vocals until after the full
songs were written and recorded, so now
I have to go through the two sides of my
brain type of thing. Usually it works out.
Like now, if I just had to play the songs,
I know I can just play them. And if I had
to just sing them, I know I can sing them.
Its getting in that head space where Im
doing both at the same time. It will be a
challenge, but it should be good though.
me. I was over saturating my gain and my

bass to try to fill in the hole that didnt
exist because of the signal Ive got spread
real wide because of the stereo sim. One
day I was just sitting there in frustration,
just staring at my rack like, This is not
rocket science. Why the hell am I so damn
destroyed by what seems to be apparently
so simple? I thought, Its got to be
something easy. Let me throw it down
to mono and see what happens. Bam.
Instantly, I had my guitar signal. Problem
solved. What had plagued me for nearly a
year-and-a-half had been banished in the
turn of a simple knob [laughs].
How is it set up now?
I said, Look. I live in the real world, still,
as a musician. I need a cabinet. We need
to dial that cabinet in and have my DIs as
close as possible. I decided that my DIs
would become secondary to the actual tone
that was coming out of the cabinet. I went
back to setting it up like an actual amp.
I also run through my Engl power amps
premierguitar.com
YOUTUBE IT
Watch the Deftones full set at Rock in Rio 2015 in Rio de Janeiro,
Brazil. Skip to around the 14-minute mark to see Chino break out his
white SG on the track Tempest from 2012s Koi No Yokan, while
Stephen holds down the melodic lead guitar swells and drones on
one of his signature ESPs.
YouTube search term: Deftones live at Rock in Rio 2015 [FULL SHOW] [HD]
and Im running those out into my Orange

cabsbut Im also going through a Radial
JDX 48 for the DIs off of them. My signal
is the left and right out of the Axe-Fx, its
left and right off of my two cabinets, and
its also each cabinet micd up. Every cab
Ive ever heard plugged into these Radial
boxes has sounded like youve micd your
cabinets up perfectly. We matched the DIs
and the mics until we had what we had
coming out of the Radials.
The older version of your signature
ESPs used to have a single-coil in
the neck position. You dont use
that anymore?
No. I just have the bridge and the
middle pickup.
What do you get out of the middle

pickup?
The middle pickup is pretty much a toy.
I dont have it for anything other than
when I want to take the edge off, less
attack, a more rounded tone.
You dont solo much. Is sitting on a
groove more your thing?
Im about the groove. But like I said,
Ive been really inspired by all these new
bands maneveryones just killing it. I
would personally like to just manage for
a bit and go work on my skills and try
to get my game up. I dont need to do
it to fit in; I just want to do it because
personally, man, its just so inspiring.
Everybody makes it seem so easy.
INNOVATION IS OUR HERITAGE THE NEXUS SL
DIGITAL SOUNDSCAPE BASS PLAYERS STILL WANT REAL TUBE TONE NOTHING ELSE SOUNDS AS GOOD
LANEYS T-USB EQUIPPED PRODUCTS ARE THE SOLUTION - TUBE TONE WITH DIGITAL CONNECTIVITY
THE NEXUS STUDIO LIVE DELIVERS SLEEK DYNAMIC AND POWERFUL BASS TONES WITH EFFECTS STRAIGHT INTO YOUR DAW
LANEY AMPLIFYING MUSICIANS DESIRES SINCE 1967 INNOVATION IS OUR HERITAGE
IN TODAYS
T-USB
T-USB I/O SUPPLIES 2 DISCRETE CHANNELS OF AUDIO TO YOU DAW. CHANNEL 1 DRY AND CHANNEL 2 AMPED. COMPATIBLE WITH WINDOWS OR MAC
WWW.MUSICALDISTRIBUTORS.COM
WWW.LANEY.CO.UK
Photo by Piper Ferguson
Andrew
Stockdale talks
about building riffs,
calling the shots,
and borrowing megarock-producer Brendan
OBriens guitars for his
bands new album, Victorious.
BY JOE BOSSO
ne might need a flow chart (or perhaps

an abacus) to keep score of the various
incarnations of the Australian stonerpsychedelic rock band Wolfmother. In its still
relatively brief existence, since forming in 2004, the group
has seen only guitarist and frontman Andrew Stockdale
remain a constant presence, with bassist/keyboardist Chris
Ross, rhythm guitarist Aidan Nemeth, and drummers
Dave Atkins, Will Rockwell-Scott, Elliott Hammond, and
Hamish Rosser passing through its revolving doors.
After releasing two blistering, fuzz-riff fueled albums
2005s eponymously titled debut and 2009s Cosmic Egg
under the Wolfmother moniker, Stockdale briefly ditched
the band concept altogether, issuing 2013s Keep Moving as a
solo album, despite the studio contributions of current group
members Ian Peres (bass, keyboards) and Vin Steele (drums).
Stockdale admits that Wolfmother might appear to be
an unstable entity to those on the outside, but he insists
the lineup changes arent as dramatic or interesting as they
seem. The new lineup has been together for quite a few
years, he says. Ians been with me six or so years. Vin
has been in the band a while. Other lineups were a good
amount of time. And, yeah, I did the solo album a few
years ago. I wish it were an exciting story. I wish I had
some juice to give you. Theres really nothing to it. Its just
scheduling and whatever else: geography, right time, right
place, availability, or whatever.
Reclaiming the Wolfmother name, Stockdale corralled
Peres and Steele back into the studio for 2014s big and
bouncy New Crown. But on the bands new album,
Victorious, he went the almost-one-man-band approach,
performing all guitar and bass duties with Josh Freese (Devo,
A Perfect Circle, Nine Inch Nails) and Joey Waronker (Beck,
R.E.M., Elliott Smith) splitting drum responsibilities.
Immaculately produced by Brendan OBrien (Pearl
Jam, Soundgarden, Bruce Springsteen), the new set sounds
nothing like a solo project. On the gnashing, walloping
title cut or the wickedly turgid Gypsy Caravan or
even the shiny, handclap-peppered rocker Best of a Bad
Situation, Stockdales exuberantly thrashy, minimalist,
and profoundly hooky guitar work achieves a right-in-thepocket rhythm/lead balance. If you didnt know any better,
youd swear you were hearing two deeply intuitive axemen
going at each other, giving as good as they get.
If I had any kind of mission statement with this
album, it was simply to play everything myself, says
Stockdale. I just wanted to do it all and kind of cross it
over to the Wolfmother sound. Thats whats important.
Thats what I wanted to honorthe Wolfmother sound.
We spoke with Stockdale about his methodology
for writing riffs, why he left his guitars home and used
Brendan OBriens axes on the new album, and how band
democracy isnt all its cracked up to be.
Whether
releasing
albums under
the Wolfmother
name or his
own, its clear
that everything
Andrew
Stockdale
writes, records,
and plays is the
result of his
own vision.
For most of its history, Wolfmother

has been a trio, but the band was
briefly a four-piece. Did you not enjoy
playing with a second guitarist?
Not really. I had another guitarist on the
second record, and I dont know I
think it was kind of a pointless exercise.
The bottom line is, this is a three-piece
band. Thats the design of the sound.
Wolfmother is based around that setup.
I like to hear one guitarists style come
through. Thats what Ive always been
about.
I started off being the only guitarist,
but after a while I thought Id get
someone else in, just to kind of change
things a bit, mainly for a personal
dynamic. I thought if we had four
people it might be more fun. But then
it became more of ... Im trying to think
of a nice way of putting it. Put it this
way: It wasnt essential.
On this record you worked with

drummers Josh Freese and Joey
Waronker. How did that come about?
Well, I asked Alex Carapetis if he could
do it, but he was on tour with Julian
YOUTUBE IT
Riffs galore power Andrew Stockdales performance of Joker & the

Thief with Wolfmother on Chicagos live-in-the-studio JBTV. Just
past the 3-minute mark, he stomps on an overdrive box and plays a
stagger-stepped solo that also draws upon his faded brown Gibson
SGs whammy bar and some 60s psychedelic-era tone.
YouTube search term: Wolfmother Joker & The Thief | Live @ JBTV
So you tried it, and you didnt like it.

What we need is just guitar, bass, and
drums. Thats when this band sounds
most exciting and most dynamic. If you
have too many people in the band, you
cant jam; everybodys in the way. If you
have a three piece, however, then you
can jam. When I got another guitarist
in there and Id start making up stuff on
the spot, I realized that I had to stop the
jam and show every other dude what I
was doing. The joy of playing was kind
of lost. It was more like a big, organized
machine, and I had to demonstrate
everything every step of the way.
It all got a bit laborious and exhausting.
Im talking about two or three years of
effort, with me trying to persevere being
that kind of bandleader. I didnt enjoy it.
Now, I want to have a great time with the
band and the music. I want to have an
out-of-body experience. I want to bond,
musically speaking. Its better having a
threesome because I dont have to explain
myself. Its much more spontaneous.
premierguitar.com
Casablancas and the Strokes. It was

more based around the availability of the
producer, and when we could schedule
everything. See, again, this isnt really
a band. Creatively speaking, I wrote
everything on Cosmic Egg, the majority
of the stuff on Keep Moving and New
Crown. Im the primary creative force.
Im the writer who gets everything going.
I pull together whatever lineup is suitable
to do a tour.
Take a bit of advice from me: It works.
You want to stand in a room with a bunch
of dudes and try and write together all the
time? Do everything together? You can do
that at the start, but it has an expiration
date, I think. At some point, someone
is going to step forward and really start
contributing more than the rest. Then
youve just got to think, Are these people
really adding to the sound? Maybe not.
Maybe theyre just having a couple beers
and going on tour and getting paid and
seeing the world. Thats fine. You dont
have to sell this age-old idea of the band
that does everything together and chips in

and everything.
I get it. You like calling the shots.
Im a 39-year-old man. I have a wife and
daughter. I wake up and I write a songit
takes me five hours. Maybe not even that,
maybe three hours. I wrote this record in
two-and-a-half weeks.
What was it about Brendan OBrien
that appealed to you?
He was recommended by management.
He was working on Chris Cornells
record, and my manager was like, Youve
got to meet this dude, Brendan OBrien.
Hes great. Hes just what you need.
They wanted someone who could get
their teeth into a Wolfmother record.
What did Brendan bring to the
recording process, as far as your guitar
playing goes?
It was all very quick, the recording
process. We would go into the studio and
be like, Lets do Gypsy Caravan, and

wed just start playing it. Id play electric,
hed play electric, and wed just play it
from start to finish. Then he might say,
How about we stretch that chorus out
a bit? I thought, Yeah, thats a good
idea. He was good at talking through
arrangements very quickly as another
guitarist. I respected his opinion, because
hes got a track record for making good
records.
Did you use any of his guitars or gear?
Only his guitars. I didnt take anything
with me to make this record. This is the
first time I went in and didnt take a band
or guitar or anything. I emailed my demos,
like, three months in advance, I went in,
and, a month later or something, it was
done. I played guitar and bass. Ian came
in for two or three days and played keys.
Joey Waronker did half the record and Josh
Freese did the other half.
What guitars of Brendans did you use?
Introducing
A New Fresh Sound by Swart.
The
Powered by 2 x EL84 @15 watts

Reverb/tremolo/tone
Swart
AMPLIFIER COMPANY
swartamps.com
premierguitar.com
ANDREW STOCKDALES GEAR

GUITARS (live)
Gibson SG brown faded w/Bigsby
(circa 7273)
Early-'60s Gibson SG with P-90s
Gibson SG Supra custom white
2013 Gretsch White Falcon
AMPS (live)
I love playing all the Wolfmother songs

without any pedals. When you do that,
your playing really improves. You can rely
on the pedals to the point where you
get boxed in a corner.
Vox AC30 HW2C
Marshall JMP 50-watt head (in the U.S)

Klemt Echolette BS40 (1960s)
EFFECTS
Xotic AC Booster
Electro-Harmonix Micro POG
Dunlop Cry Baby Wah Wah
Foxx Tone Machine octave
Roland AF-100 Bee Baa
fuzz/treble/reverb
Fulltone Supa-Trem ST-1
MXR Phase 90
Radial BigShot A/BY
True Bypass Switcher
Electro-Harmonix Big Muff (studio)
STRINGS & PICKS

DAddario EXL125s (.009.046)
Dunlop Tortex .73 mm signature
He had a cool SG with a whammy,

more like a Bigsby. I thought it was
damn good, so I used it. And I played a
Rickenbacker, too. Those were the only
guitars I used on the record. Hes got a
lot of vintage gear, stuff from the 50s
and 60s. Lots of analog gear.
What kind of amps did you use?
Im pretty sure I used a Marshall
50 watt.
Youve been known to play a Gibson
EDS-1275 doubleneck onstage. Have
you ever found a reason to record
with that guitar?
[Laughs.] No, no. I dont know what
youd use that for in the studio, unless
you wanted to switch right away to
the 12-string, which could be handy.
Gibson gave me that guitar. I didnt
even know they were going to give
it to me. I just turned up to a gig, I
think it was in Nottingham in the
U.K., and there were 16 guitars at
soundcheck. That was one of them.
But you know, maybe I should write

something for that, to use it in the
studio. Thats itIm going to do it
before the end of the week.
In the press release for Victorious you
said you played a weird-looking 90s
metal guitar. What was that?
Ah, that was on my demo. Thats an
Ibanez. I forgot what it was called. But
I didnt use that on the record. I just
used Brendans stuff. He had a Big Muff
distortionI used that.
When you write, do you practice riffs
and sing at the same time to make
sure you can do both easily onstage?
No, I just play the guitar. I walk in and
just press record and start playing.
Then I listen back to it, lay down some
drums, then do bass, and then I sing
over it after that. Sometimes I might
be at home playing something and I
start singing at the same time. Sure, I
try it both ways. Theres no set way of
doing things.
w/Celestion Alnico Blue speakers

Fender Bassman 59 reissue
Fender Bandmaster
Marshall 1960AX 100-watt 4x12 cabinet
w/Celestion G12M-25 Greenbacks
premierguitar.com
What do you do to get live-energy

performances in the studio?
I like to have everything set up as soon
as I walk in, and then I just pick up
the guitar and start playing straight
away. Sitting around waiting can kill
your mood. I find the first thing I do is
usually the most exciting. You want to
be excited to be in there, and then you
just go for it and something happens.
Something magical happens.
solo somewhere else harmonically or

structurally from the song?
Yeah. I think theres one song I do that on:
Remove Your Mask [from the Zoolander 2
soundtrack]. On the outro, thats definitely
a different chord progression where I was
really trying to emulate, in some ways, the
guy from Mountain, Leslie West. I really
like his stuffhow he does a little move
and then he leaves it and comes back later. I
really like that style.
Your solos are nice little bursts of

melody. Who are your influences as
a soloist?
Jimmy Page, Keith Richards, George
Harrison. I like Robby Krieger from
the Doors. I like guitarists who dont
necessarily just shred. Im into people
who try to bring some kind of melodic
structure to the solo, so its almost like
a hook.
Do you play around with different

pedals and go into the unknown just to
see what will happen?
The last gig I did I just took a Vox AC30
with me. I didnt even take a pedal, and
I really enjoyed it. I love playing all the
Wolfmother songs without any pedals.
I turn the amp up to 10 so I have this
natural distortion, and then I play with
the volume knobs on the guitar turned
up, and then I just switch between the
two pickups. Its simple. When you do
that, your playing really improves. You
Do you ever feel like you want to

go outside it a little bit? Take the
premierguitar.com
can rely on the pedals to the point where

you get boxed in a corner. Take yourself
out of that and it makes things exciting.
On the album, how many guitars would
you usually layer for rhythm tracks?
Probably two. Thats as far as we went.
We didnt get too crazy.
Halfway through the title track, it
switches to a riff and a rhythm thats
not unlike Black Sabbaths Paranoid.

Intentional?
Really? You think? No, its different. Thats
way different timing from Paranoid.
[Picks up a guitar and starts playing the
riff.] Its a bit more upbeat. [Plays the main
Paranoid riff.] Okay, okay, maybe once
the verse starts on Paranoid, I can see
that. But how many songs could you say
have similar chords like that? Its consistent
with an E blues song.
I listened to the demo of The Love
That You Give, which is on YouTube.
Its very similar to the studio version.
Yeah, thats right.
The riff is very simple but dramatic. How
many iterations do you go through before
ending up with the perfect riff like that?
That one was straight off the bat, as
soon as I walked into the studio. I think
it was, like, New Years Day or the day
after Christmas. I went into the studio,
and there it was. That was interesting.
Thats one of those days where you just

get lucky.
Do you have a methodology for coming
up with riffs?
My main thing is just to dig deep from my
gut. Play it from my soul. Get out of my
head and play it like I mean it.
Pretty Peggy is an acoustic-based
song. What guitar did you use on
that one?
Oh, that was a 1960s Gibson. I cant
remember what its called, but it looks
like a Martin.
Do you have a different approach to
playing acoustic than you do electric?
I guess acoustic is more rhythmically
drivenfor me, anyway. When you
play acoustic, the rhythm is more
pronounced. Also when youre on an
acoustic, fingerpicking goes a long way
in making it a little more interesting for
the listener.
Do you ever fingerpick on an electric?

Sometimes. On Vagabond [from
2005s Wolfmother] theres some
fingerpicking. Whatever the song needs.
You get a great fuzz tone all over the
record, but its particularly massive on
Gypsy Caravan. Whats the secret for
that sound?
Its all in the way I play it. A lot of my
riffs are power chords. For that one, I
thought I would just do it in a singlestring style. Then I guess maybe the last
note kind of captures the tail end of the
beat. Its like goosing it a little bit. When
you do stuff like that, it seems to give it
more of a groove. I think people love a
good groove.
Thats my thinking to a lot of this
stuff. Get in there and make it matter,
make it groove. I see people try to riff,
and its far too exact. Its like a big ritual.
That doesnt really make people feel
anything unless youre very good at that
and youre a very technical metal guy.
premierguitar.com
The Return of a Classic
The CE 24
2016 PRS Guitars / Photo by Marc Quigley
Returning after nearly a decade,

the CE 24 is back and better than ever.
With a satin nitro maple neck and our
85/15 treble and bass pickups, the CE
24 offers our traditional bolt-on feel
with a sound all its own: resonance and
punch with great clarity.
The CE 24 bolt-on returns to the PRS

lineup. Get full specications and hear
the CE 24 in action at:
www.prsguitars.com/CE24
BEST of ThE
CLASSICS
Tung-Sol 6L6GC STR
Genalex Gold Lion KT88
Mullard EL34
Built to the same Special Tube Request

specs of leading amplier manufacturers
of the 1960s, the 6L6GC STR is a rugged
and reliable power tube for use in the
most demanding guitar amplier circuits.
After extensive research and engineering

the famed Genalex Gold Lion KT88 is
available once again. Recreated down to
the nest detail, featuring gold plated
grid wire, carbonized screen grids, and
a tri-alloy clad plate structure for exceptional performance and sound quality.
One of the most renowned tubes in

guitar amp history. Easily handles the
signicant plate voltages of todays modern amps while faithfully recreating the
classic British sound. Discover why tone
connoisseurs regard Mullard as The
Master Valve.
also available:
also available:
12AT7 12AU7 12AX7

6V6GT 6922 KT66 KT77
N709/EL84 PX300B U77/GZ34
12AT7 12AU7 12AX7/ECC83

6L6GC 6V6GT CV4004/12AX7
EL84 GZ34 KT88
also available:
12AT7/ECC81 12AU7/ECC82
12AX7/ECC83 12AX7/ECC803s Gold Pins
5AR4 5751 5881 6EU7 6L6G
6SL7 6SL7 G Gold Pins 6SN7GTB
6V6GT 6550 7027A 7581 7591A
EL34B EF806s Gold Pins EL84/6BQ5
KT66 KT120 KT150
NOW AVAILABLE AT LEADING MUSIC STORES, HI-FI DEALERS AND SERVICE SHOPS
www.newsensor.com
GHOST
WHISPERER
Lucinda Williams drafts Bill Frisell and
Greg Leisz to create a cosmic folk-rock guitar
masterpiece built on haunting songs and her
acoustic 6-string launching pad.
BY TED DROZDOWSKI
premierguitar.com
Click here to
read Bill Frisell's
and Greg Leisz's
accounts of the
Ghosts of Highway
20 sessions.
FACTOID
Lucinda Williams
new album was mostly
recorded at the same
time as her previous
disc, Down Where
the Spirit Meets
the Bone.
ost artists pan for gold when they record,

but only a few consistently find it. Lucinda
Williams has been a remarkably successful
prospector since she made her landmark
1998 album, Car Wheels on a Gravel Road.
The daughter of poet Miller Williams had displayed her own
gift for telling sharp-eyed stories since releasing her second
album and first collection of all-original songs, 1980s Happy
Woman Blues, but with Car Wheels, she arrived at the crossroads
of country, blues, rock, and folk that shed been driving
towardin Cadillac style.
Since then, Williams has polished her articulate gemstones of
song even more, cutting six albums through 2014 that cracked
the Top 30 and established her as the queen of the song-driven,
roots-based genre dubbed Americana. Shes also perfected a
rhythm guitar style thats ideal for the tension and release at the
core of her powerful, buttermilk vocal performances. Syllables
melt in her mouth, thanks in part to her Louisiana drawl, but
they can also sting like the notes of a Stratocaster or a trumpet.
And her guitar, which she beats like a thief, propels and lays back
with similar flexibility and force. Its not always metronomic, but
exactly where it needs to be.
Over the years, Ive mastered something with my right
hand, just from playing so long, Williams explains. When
I first started making records, my guitar wasnt seen as the
launching pad for my songs. In the studio, theyd just play
around me. But now, its where everything comes from.
Sometimes I put the guitar down when were recording a song
at the point where it feels like the band is getting the right vibe,
so I can concentrate on my singing, but without my guitar
playing leading the way in, it just wouldnt be right.
Now Williams has taken a new turn with The Ghosts of
Highway 20. It is a cosmic folk-rock masterpiece, with a sound
built on the guitars of Williams and accomplices Bill Frisell
and Greg LeiszMVPs of the jazz and singer/songwriter
realms, respectively. The two-disc set is a fusion of visionary
artistry. Leisz is a subtle craftsman who has spent his life
accumulating the skill to build perfect frameworks for songs.
Did you have this albums

sound planned when
recording began?
Everything is approached in a
fairly organic fashion. Its just
bringing the right musicians
together. Bill Frisell, right off
the bat, is going to lend that
kind of atmospheric thing.
Its just the way he plays.
And having Bill and Greg
Leisz together we dont
think about it. Everybody
Frisell has mastered sound, tone, and phrasing in a way that

can transform a songwriters labors into something almost
incorporeal. And Williams voice and lyrics conjure places,
people, attitudes, and events that straddle the past and present
in a way similar to the authors Gabriel Garcia Mrquez and
Barry Hannah.
Maybe the term to describe The Ghosts of Highway 20 is
magical surrealism. The album brushstrokes its way through 14
songs that illustrate death, struggle, heartache, abandonment,
and the people and places bound by them, here and in
the spirit world. But its too beautiful and mesmeric to be
depressing. Thanks to the warmth of Williams voice and the
burnished intelligence of Frisells and Leiszs guitarswhich
create a transcendent refuge for these lost souls and placesthe
light of joy glints everywhere.
I think it reflects a vision thats not negative, but older and
wiser mature, says Williams.
In addition to her own ghostly evocations of the past, like
the title number, and Dust and Bitter Memory, which
weave the loss of Williams and her producer/manager/husband
Tom Overbys parents with the faded beauty and ugliness of
the South into their emotional fabric, Williams recorded songs
by two other distinguished writers: Bruce Springsteens blue
collar requiem Factory and Woody Guthries previously uncut
House of Earth. And the albums capper is the majestic,
near-14-minute Faith and Grace. The number, featuring only
Frisell on guitar, is an exploratory gambol based on a spiritual
by blues legend Fred McDowell that Williams compares to
John Coltranes rapturous A Love Supreme.
Bill is really why the album sounds like this, Williams
explains. The majority of the tracks were cut at the same time
as those for her previous release, 2014s more conventionalif
its fair to label the work of a songwriter/performer as superior
as Williams that wayDown Where the Spirit Meets the Bone.
It became obvious all the songs that Bill played on fit together
beautifully, she continues, speaking by phone from her home
in Los Angeles. We knew we had something special and
organic. Thats how it is working with a genius.
just plays. And then we listen

to what we have.
Since this album and your
previous release were mostly
recorded at the same time,
what determined the songs
that went on each?
Everybody asks, Whats the
theme of the album? And they
mean the themes of the songs,
like theyre all part of the same
story. And I guess sometimes
that can happen, but we dont

sit down and say, Well, this
song is about Louisiana and
this one is about Highway 20,
so they go together. It doesnt
work like that. Its what fits
sonically. And its just a happy
coincidence this time that the
themes of the songs also work
well together.
So you didnt write them as
a suite?
RELIABLE. DURABLE. CONSISTENTLY GREAT.
FUNNY HOW MUCH
DEL
McCOURY
AND HIS STRINGS HAVE IN COMMON.
martinstrings.com/LifespanSP
#staytuned
LUCINDA WILLIAMS GEAR

GUITARS
1954 Fender Esquire
Mid-70s Fender Deluxe
Thinline Telecaster
Gretsch Penguin
Gibson J-45
Martin D-28
Baby Taylor
Bedell parlor guitar
AMP
Victoria 20112 Tweed 1x12 combo
STRINGS & PICKS

DAddario EJ17 Phosphor Bronze
(.013.056)
DAddario EXL115W (.011.049)
Dunlop Medium
Shell Plastic Thumbpicks
Lucinda Williams
prefers to
carry just a few
guitars on the
road, including
her mid-70s
Fender Deluxe
Telecaster
Thinline and
several Gibson
J-45s.
No. I had some of them already. Some I

wrote later and added on, like Ghosts
of Highway 20, If Theres a Heaven,
and If My Love Could Kill. And one is
among the oldest songs Ive ever written,
that Tom discovered on an old cassette
tape: I Know All About It. It used to be
called Jazz Side of Life, but we changed
the title. I probably wrote that in 1980
and put it on the shelf. Ive saved all these
acoustic cassette tapes in a big trunk, and
Tom was going through archiving them
and ran across this song. I thought Id
outgrown it, but he said, No its great.
So I brought it up to my standard now
as a writer and then we cut it, and it was
just amazing. Sometimes there are happy
surprises like that.
Why the Springsteen and Guthrie songs?
The Woody Guthrie has an interesting
story. We were playing a festival in
Germany, and Nora Guthrie, who is
Woodys daughter, and her husband came
to the festival and we ended up hitting it
off and hanging out afterwards, drinking
and talking about socialist politics. Shes

an old leftie. Some time later she sent me
the lyrics to that song and said, These
are really kind of out there for Woody,
but of all the people I thought might be
able to tackle this, it would be you if you
want to put these lyrics to music.
What I learned was, this was written
when Woody was traveling west and
ended up in Arizona. For the first time,
he saw adobe structures and he was really
impressed. And he called them houses of
earth. Tom thinks thats metaphorical
the house of earth is the woman. But
Im not sure. Its pretty racy for that
day and time. For example, one of the
lines is, I can teach you things that you
could show your wife. Its an empathetic
look at a prostitute. I first performed it
at the Kennedy Center in Washington
D.C., and somebody with me said, Im
pretty sure this is the first time anybodys
performed a song about a prostitute at
the Kennedy Center.
Tom is a huge Bruce Springsteen
fan. Factory, he turned me on to. He
grew up in a factory town, in Austin,

Minnesota. His dad worked at the
Hormel meat packing plant for 30-plus
years, so that song really resonates with
him, and me, too. We worked it up for
playing the Fillmore in San Francisco
one night, during the Occupy Wall
Street movement, so we dedicated it to
the movement, since its a song about
working people. Toms dad passed away a
few months before mine did, year before
last. So its a combination thingkind of
a tribute to his dad. That line, Men walk
through these gates with death in their
eyes. Tom says, Ive seen those men
walk through those gates. I could have
been one of those guys.
What do Bill and Greg bring to the
game individually?
Greg and I go way back to the 80s,
when I first got to L.A. Hes such a great
multi-instrumentalist, with pedal steel,
lap steel, and guitar. At the end of each
night, when the session ended, it would
be Greg, Tom, and me listening to what
Photo by Eleanor Reiche / Frank White Photo Agency
Dunlop Nickel Silver Fingerpicks (.020)
premierguitar.com
we had. And Greg has great suggestions. One

night I said, Tom, we need to make Greg
co-producer, because thats what hes doing.
It helped to have him and David Bianco, the
engineer, contributing. We ended up making a
great team.
The way I like to work is very democratic.
When we do a track, we have three or four live
takes and we all listen at once. It has to do with
the bass and drums, and getting the vibe locked
in there. If were lucky we get the one with the
bass and drums vibe locked down and the best
vocal, because somebody can always go back in
and redo some guitar.
With Bill, nobody ever said a thing to
him. Hed just play. Id show the songs to the
guys, wed go over a song until we had the
arrangement, and then, its Lets go!
Not everybody gets to hear him do this, but
Bill can play any styleeven a Jimi Hendrix
vibe. He doesnt always get a chance to do that.
He does his floaty, ambient thing, but he can
also just tear it up.
guy never missed a beat. I could

see him playing through the vocal
booth, and it was perfect.
But I was just terrified. I said,
What are we gonna do? Were not
doing a reggae song. We settled on
Faith and Grace, which I learned
from an old Mississippi Fred
McDowell recording he did with
his wife and some gospel singers. I
got the lyrics from the album and
adapted them, and took some of the

Jesus stuff out so it could be nondenominational. I started singing
the song, to show it to everyone,
and after a couple go-rounds they
all fell in and we kept going. It was
an experience. Not like jamming. It
was a mantra. Im just going off and
improvising, and the voice you hear
in the background going ah-hoo
is Ras Michael. Every so often he
Smokey darkness
Not everybody gets to hear

him do this, but Bill can play
any styleeven a Jimi Hendrix
vibe. He does his floaty,
ambient thing, but he can also
just tear it up.
What was it like to record Faith and Grace,
which was clearly improvised?
That was the high point. Heres how that
started. Theres a DJ in L.A., his name is Native
Wayne [Jobson], and hes been telling Tom,
You need to get Lucinda down to Jamaica
to record with the great musicians there. At
one point when we were in the studio, we ran
into Wayne and he said, Ive got these guys in
from Jamaica. Let me bring them down to the
studio. So they came in and set up.
Ras Michael, who plays hand drums, is the
head of the Rastafarian church in L.A. Hes
the real thing. He had on all these colors and
medallions and a long beard and dreads, and he
just kind of sits there and smiles. Talk about a
vibe. And the drummer, Carlton Davis, played
with Peter Tosh and was in the room when Peter
Tosh was shot and killed. He was shot, too. That
premierguitar.com
Escape the expected. Experience graphite.
1.800.788.5828
www.rainsong.com
Above right:
Greg Leisz, here
onstage at Red
Rocks, brought
a 64 Fender
Jazzmaster and
as many guitars
as I could fit
in my car to
the sessions
for Lucinda
Williams new
album, which
he also coproduced.
would just wail. Nobody told anybody

what to do. Bill is the only guitar
player on the track. The entire version
is about 18 minutes long, and when
we were done, I went, Oh my god! It
reminds me of John Coltranes A Love
Supreme or something. We edited it
down a little for the album, but the
only reason its two CDs is that song
is so long.
What guitar do you prefer writing on?
I keep an old Martin D-28 not a
really valuable one, a 72. Thats the
one I usually write on and keep at
home. I took the pickup out a long
time ago. I started using Gibson J-45s
on stage. They seem to be a little
meatier. But this Martin has got that
vibe. Its kind of my magic guitar.
Ive really been enjoying smaller
guitars. I got a Baby Taylor to take on
the road. Thats a sweet little thing to
take around instead of trying to fit a
regular-size guitar on the bus.
A few years ago a guy came out
to the house and dropped two Bedell
guitars off. One was regular sized and
one was smaller. They sat in a closet,
but they look really nice. After the last
tour my Gibsons all ended up at Third
Encore, where we store our stuff. So I
picked up the little Bedell and used it
a few times to work on songs. I never
change the strings on my Martin, and
it clearly needs to be taken in. So I
used this bright shiny little guitar.
BILL FRISELLS GEAR
GREG LEISZS GEAR
GUITARS
GUITARS
J.W. Black T-style with Mastery Bridge
55 Fender Telecaster
and Callahan pickups

J.W. Black T-style with Bigsby,
Mastery Bridge, and Callahan pickups
Nash T-style with TV Jones FilterTron
64 Fender Jazzmaster
61 Gibson Les Paul Junior
(pre-SG designation)
Guild Starfire V
neck pickup and Lollar Tele bridge pickup
AMPS
56 Gretsch Firejet with

DeArmond pickups
1941 Martin 0-18
1958 Fender tweed Deluxe

Fender blackface Princeton Reverb
Princeton Reverb modded by
1958 Fender tweed Deluxe
Howard Dumble
EFFECTS
Ibanez TS9 Tube Screamer
Electro-Harmonix
Nano Pocket Metal Muff
Line 6 DL4 Delay Modeler
Electro-Harmonix Freeze Sound Retainer
TC Electronic Hall of Fame Reverb
Strymon Flint Tremolo & Reverb
Catalinbread Katzenknig
overdrive/distortion
Voodoo Lab Pedal Power
TC Electronic PolyTune
STRINGS & PICKS

DAddario XL115s (.011.049)
Dunlop Tortex Jazz mediums
AMPS
Fender blackface Princeton Reverb
Princeton Reverb
modded by Howard Dumble
EFFECTS
Strymon El Capistan dTape Echo
Strymon Lex Rotary
Arion Stereo Chorus
STRINGS & PICKS

DAddario EXL140 (.010.052) Tele
DAddario EXL116 (.011.052)
DAddario NB1253 (.012.053) acoustic
Dunlop Zookies thumbpicks
ProPik Finger-Tone fingerpicks
Coricidin bottle-style slides
Above left: Photo by Daniel Sheehan Above right: Photo by Anjali Ramnandanlall
Above left:
Whether hes
flying to a
session or
tour dates, Bill
Frisell travels
lightwith
one Telecaster
and a modest
pedalboard. But
he confesses to
having a roomful
of gear at home.
premierguitar.com
Do you still play your 54 Esquire?

Tom wont let me take it on the road
anymore. Its worth about 35 grand. I
just play it in the studio now. Onstage I
either play a J-45 or a Deluxe Thinline
Tele. Its an older one. I was playing a
Trussart. Theyre beautiful, but theyre
just so heavy. And I recently picked up a
Gretsch Penguin in Nashville. I dont like
to have too many guitars onstage. I get
overwhelmed by choices. Stuart Mathis,
who plays guitar with me, has six or eight
onstage. I dont need to have more than
three. I dont need too many knobs. And
I dont need a whammy bar.
How did you first fall for the guitar?
I started playing in 1965 when I was 12,
at the height of the folk music thing.
The guy who taught me had a rock band
and he would come over once a week.
Rather than bog me down with theory, I
would pick a song for that weeks lesson
and he would show me the chords and
fingerpicking for that song. So I learned
premierguitar.com
about guitar by learning about songs.

Puff the Magic Dragon was one. You
have to remember, I was 12. One of the
first songs I learned was Freight Train
by Elizabeth Cotten, cause you could
pick the melody out.
I played the 12-string for a while.
I was playing out a lot by myself and
figured it would have more sound. I had
a Martin 12-string. I feel very blessed
and thankful, now, that I learned that
fingerpicking style.
And what was your first guitar?
A Sears Silvertone my dad bought for
me. I was always interested in music,
but I wanted to learn quickly and didnt
have the patience for piano. My mother
was a piano player, so there was always a
piano in the house and sheet music, but I
couldnt read the sheet music and I wanted
to play something so badly I was really
frustrated. I wanted to play and sing.
A friend of my dads, another poet,
had left his guitar over at the house. It
was broken and beat up. I remember

picking it up and messing with it a little
bit, so it was obvious I wanted to play,
so my dad went and got me a Silvertone.
And then I moved to listening to bands
like the Lovin Spoonful, the Byrds, and
Bob Dylan.

Besides Bill, Greg, and Stuart, youve
had a long line of distinguished guitar
players in your bandGurf Morlix,
Doug Pettibone, Duane Jarvis, Kenny
Vaughan, Buddy Miller, and Bo
Ramsey among them. What do you
look for in a lead player?
Its hard to find a good folk, rock,
country, and blues player who is also a
lead player. Thats what I need. More
and more I put down the guitar so I can
concentrate on singing. And the rhythm
playing is as important as good lead lines.
But at the same time, my playing and my
voice are welded together for a lot of my
songs. Somehow all of those parts need to
fit together naturally.
ACOUSTIC SOUNDBOARD
The Originality Quandary

BY RICHARD JOHNSTON
Above right:
By elongating
the screw holes
(right) on this
modern Waverly
tuner, drilling new
holes into the
headstock of an
old Martin is an
unnecessary evil.
Bottom right:
This vintage
Martin 00018 now has
a modernfunctioning
6th-string tuner,
without having
to modify the
instrument.
ut is it original?
This question is raised
about everything in, on, and
around a vintage guitar, from tuners to
tailpieces to all parts in between.For those
who play their vintage guitar only casually,
acquiring the exact match for a missing
tuner can be a fun treasure hunt. For
guitarists who want their older instrument
to play as well as a new one, the quest is
often more problematic. How can you
improve the function of your vintage guitar
without compromising its originality, and
thus its value? Just because those lightweight
WWII-era tuners are original doesnt mean
they allow you to tune effectively, and
you cant plead originality when your jam
mates are always waiting on you.There are
some solutions that involve only a small
compromise, but sometimes the very best
solutions for the serious player require some
real play or preserve decisions.
Its unfortunate that some of the
most desirable guitars come from
periods when the metal parts on those
instrumentstuners and tailpieces, for
examplewere not of the same quality
as the woodworking.During the 1930s,
this was often due to an attempt to keep
prices down on lower models during the
Great Depression. A few years after that,
war-time restrictions meant higher-model
Gibsons and Martins were often equipped
with flimsy parts that wouldnt be found
on even the cheapest imports today.
The conflict between originality
and function often goes beyond the
instruments themselves. Demand for
original cases (and the importance of
keeping one, no matter how flimsy)
brings up an interesting dilemma for
those whose living accommodations
do not include lots of unused square
footage.Sure, you were delighted the
original chipboard case came with your
vintage J-45, but youre probably not
going to carry your $5,000 guitar around
in it. And when you buy a real hardshell
case, you then have to store the old one.
In many climates, storage in a basement
or garage wont do that cute and old

cardboard case any favors. If you have
two or three (or more) vintage guitars
with original cases, even a modest guitar
collection can take up a lot of space. So
what do you do? Only collect guitars that
are all the same size so you just need one
modern case that actually gets used?
The tuners on old acoustics are the
component that is most likely to prompt
vintage-guitar enthusiastsat least those
who are also playersto go modern. That
said, adding extra screw holes to the back
of a headstock can be a major turn-off to
future buyers, so its a wise move to save the
original gears and add better ones without
leaving a trace. Thankfully, you can do
just that with a little extra effort. Waverly,
Gotoh, and other tuner manufacturers
produce excellent 12:1 ratio open-back
tuners that are essentially contemporary
knockoffs of the iconic Grover G-98sthe
tuners gracing the headstocks of some of
Martins and Gibsons best models during
the golden age of American steel-string
guitar production.
Alas, not all Grover tuners that look like
G-98s are of the same high quality. Early
Grover versions used on 16" Gibson L-5
models and on Martins 1932/33 OMs
have only a 6:1 ratio, and often have cogs
that are soldered in place and cant be
adjusted. Such tuners can frustrate anyone
whos grown accustomed to smooth-turning
sealed tuners with a 12:1 ratio, such as
Schallers and similar modern-guitar gears.
Many of the single-unit tuners Martin
used on its lower models do not have the
same spacing for the mounting screws
as newer tuners, but as you can see in
Photo 1, there is a modification to the
new tuner plates that will allow you to
use the new gears without adding more
holes to the back of your vintage guitars
headstock. While the elongated holes
on the new tuner plates are visible when
the gears are installed, the screwhead
still tightly grips the modified gear
and you have modern functionality
for your vintage guitar (Photo 2). On
top of that, you still have the option to

remove the new tuners and re-install the
originals should you wind up selling the
instrument to a gotta be original buyer.
By slightly relieving the edges of the
backing plates of the new gears as well
(where they come in contact with the
headstock), theres little chance there
will be any telltale scars. Similar slotted
mounting holes can be used for tailpieces
on archtops. Especially during WWII,
some archtops were shipped with cheesy
lightweight-steel tailpieces that have often
succumbed to rust, or pot-metal castings
that werent up to the job. While you
may be able to eventually find the right
tailpiece in good condition, you might as
well enjoy your guitar during the search
by using a new, modified version.
Whether an old guitar in need of
improvement is an acoustic or an electric,
this is now the formula that the vintageguitar markets obsession with originality
requires: Improve if you must, but be sure
the instrument can be returned to stock
specifications with no sign of previous
upgrades. As for the question of whether
that original, moldy cardboard case is worth
keeping, however, youre on your own.
RICHARD JOHNSTON
co-founded Gryphon Stringed
Instruments with Frank Ford
in 1969. He later shifted from
repairing vintage guitars
to writing about them, and
has contributed to dozens of
magazines and several books,
the most recent being Inventing
the American Guitar. He
appraises musical instruments
for Antiques Road Show on PBS.
premierguitar.com
The new 2016 Vintage Line. Built with

custom Thermally Aged top wood, allowing
us to replicate the aging process on the
cellular level for that legendary Gibson
Acoustic vintage sound and appearance.
THE RECORDING GUITARIST

Click here to
hear examples.
A Music Memo Demo

BY JOE GORE
hats your favorite way to

capture musical ideas when
youre far from home and
studio with minimal gear?
Back when I had to walk 10 miles
to school each day barefoot in the
snow, wed use a paper notebook, or
maybe a handheld cassette recorder.
Later, tiny digital memo recorders let
us carry recorders in our pockets with
fewer embarrassing bulges. Meanwhile,
songwriters have phoned home to
leave musical reminders for as long as
answering machines have existeda
practice that still flourishes via voicemail.
And now theres a compelling new option.
Musician, memo thyself. At Januarys
Winter NAMM show, Apple announced
Music Memos, a new free iOS app
that offers various ways for guitarists to
capture, develop, and organize musical
ideas when traveling with only a guitar
and an iPhone or iPad.
In Apples cushy suite at the Anaheim
Hilton, Apple Music Creation Marketing
maven Jeff Cross told me how a huge
percentage of the musicians his team
speaks with have been using Apples
free iOS app Voice Memos to capture
musical ideas on the fly. So, Apple
figured, why not create a specialized
version for musicians?
Voice Memos is basically a software
version of a digital memo recorder,
while Music Memos offers more ways to
archive, edit, and share your recordings.
And when you record material with an
identifiable beat and chord structure,
Music Memos automatically analyzes
your audio, identifying the tempo and
groove as well as the harmonies.
This isnt a new ideanumerous
DAWs can attach appropriate symbols
to your chords and interpret your
tempo and meter based on performance
accents. Several desktop and mobile apps
have also adopted this idea in creative
and useful ways. A notable example is
Supermegaultragroovys Capo, which
can perform such impressive feats as
identifying the chord progressions in

songs by other artists and suggesting
chord fingerings. But Apples app
offers a different gee-whiz feature: auto
accompaniment.
A bare-bones band. After analyzing
your recordings, Music Memos can
add fairly realistic drum and bass
accompaniment. The app doesnt quantize
your performance, but attempts to follow
it, tempo changes and all. You have some
control over the auto-generated tones and
playing styles, which you can revise at
any point. After youre finished, you can
email your guitar/bass/drums clips, post
them to social media, or transfer them
to GarageBand or Logic Pro, where the
results appear as three discrete tracks,
ready for additional editing, overdubbing,
processing, and mixing.
So lets take Music Memos for a spin.
A trial run. For my first crack at
Music Memos, I tuned up using the apps
built-in tuner and then recorded a fast
verse/chorus sketch with a steady eighthnote rock groove. The verse progression
is E/D/A/C, and the chorus is C7/D7/E7
(with a few little variations).
You trigger recording by pressing the big
button on Music Memos main screen. As
you track, a waveform of your performance
appears in real time (Image 1).
Ex. 1 is the initial performance.

Hi-fi, it aint. This is pretty typical for
an acoustic guitar recording made with
iPhones built-in mic. (To hear exactly
how much external hardware can enhance
iOS recordings, see the March 2015
Recording Guitarist column, A Mobile
Recording Reality Check. Spoiler: Even
inexpensive external mics can provide
major sonic upgrades.) But for this
experiment, I kept things quick and dirty.
I deliberately threw in a few curves. I
started playing the verse with dry open
fifths, but gradually added sevenths, open
strings, and a few non-chord drone notes.
The clangorous chorus chords freely mix
stopped notes and open strings. And I
slowed way down for the final chords.
2
Image 2 shows how Music Memos

depicted my performance. Here, Im
about to define the recordings start point
using the apps trim tool to remove the
blank bar at the top. Meanwhile, notice
how the given chord progression differs
from the one cited above.
Yes, Music Memos sometimes gets
chords wrong, though inevitably in logical
ways. If, say, you play something smeary
and percussive as you leap from chord
to chord, the app attempts to interpret
it harmonically. It can also fail to detect
premierguitar.com
all the pitches in four-, five-, and sixnote chords, often omitting the lowest
ones. For example, it would sometimes
interpret my five-note D9 chord as Am,
correctly perceiving the A, C, and E
pitches, but missing the D and F#.
Fix it in the mix. Fortunately,
Music Memos has an excellent tool for
correcting interpretation errors: You
bracket the problem section using a tool
much like the iOS text selector. The
app proposes a list of likely chords, or
you can enter your own chord names
manually (Image 3).
the puck from left to right makes virtual

performances more complex, while moving
it from low to high makes them louder.
The bass editing field also lets you choose
between electric and upright tones (Image
5), while the drum editor offers a choice of
vintage or modern drum sounds (Image
6). Three additional icons let you specify
whether the accompaniment emphasizes
closed hi-hat, ride cymbal, or toms. In Ex.
4, I specified a quieter drum part, and Music
Memos automatically replaced the loud
snare sound with a softer side-stick tone.
7
Image 4 shows my recording after

corrections. These edits changed nothing
in my performance. They simply define
how the virtual bass track interprets my
harmonies. Ex. 2 is what I heard when I
pressed the bass icon at the screens bottom,
and Ex. 3 is the result after adding drums.
Pretty impressive, Id say. The virtual
rhythm section doesnt quite follow the
final slow down, though it does sound
remarkably like real musicians messing
up an ending.
At this point, you can still modify the
virtual performance styles. Music Memo
incorporates a clever tool from the virtual
drummer instrument in Logic Pro: a square
field with a moveable puck inside. Moving
premierguitar.com
Back to the garage. After tweaking, I

sent my parts to GarageBand on my phone
using the export option. (I might have
also mailed them to myself to open in my
studios Logic Pro rig.) The parts appeared
as three independent tracks, ready for
additional refinements and overdubs
(Image 7). Once inside the DAW, you
have deeper control over the virtual
performances and you can even choose
between various drummer personalities.
(Insert drummer joke here.) Image 8

shows the drum editor in GarageBand for
iPhone. I dialed in a more tom-intensive
part and wound up with Ex. 5.
8
Memo to self: use Music Memos. It does

several useful tasks extremely well (if not
flawlessly) and, most important, it increases
the odds that a flash of inspiration far from
home will eventually find its way into a
studio production. Plus its freeassuming
youve got a fairly recent iPhone or iPad.
Im curious to hear from you guys.
How do you capture fleeting ideas
before they vanish into the ether? Any
tips to share about apps and techniques,
especially ones for non-Apple devices?
JOE GORE has recorded and
performed with Tom Waits, PJ
Harvey, Tracy Chapman, Courtney
Love, Marianne Faithfull, Les
Claypool, Flea, DJ Shadow, John
Cale, and many other artists. Joe
has written thousands of articles
about music and helps develop
music tools for Apple and other
clients. He blogs at tonefiend.com.
PORTRAITS
IN TONE
dUg Pinnick. Unmistakable in every way --that voice,
the songwriting, his style, and, of course, the dUg tone.
Since the formation of Kings X in the 80s, dUg has
been one of the most influential players to garner
attention for the then hardly used, 12-string bass.
dUg also devised his own method of using guitar and
bass amps together to merge high-end distortion with
low-end bass. The combination resulted in a sound
as subtle as a freight train, yet ironically musical and sensitive. Just like dUg.
And just like dUg, there is an unconventional structure
to the design of his Signature Ultra Bass 1000 bass amp
head. The intent is to use both channels mixed or the Bottom channel by itself. The Top channel handles distorted
guitar amp tones and the Bottom provides a clean (yes,
clean!) pre-amp and compressor for more conventional
bass amp sounds. Mixed together, you get dUg.
We are honored dUg chose Tech 21 to collaborate with in
the creation of his own signature amp, the dUg Ultra Bass
1000. For uncontrollable smiles and endless groove, get
one of your own today.
dUg Pinnick
Kings X, KXM, Pinnick-Gales-Pridgen, Grinder Blues
dUg Ultra Bass 1000

2 channels 1000 Watts 12 lbs.
DESIGNED AND MANUFACTURED BY TECH 21 USA, INC.

WWW.TECH21NYC.COM
Parliaments
PUNKS OF FUNK
George Clintons legacy is long and storied, from early
doo-wop beginnings in the 1950s to going way out in
the 70s during the birth of psychedelic rock, funk, and
beyond. We assembled a roundtable of players past and
present to discuss how the 6-string was central to
Parliament Funkadelica pioneering music collective
that made history, influenced generations of hip-hop
and R&B artists, and continues to make music today.
BY TZVI GLUCKIN
Photo by Tim Bugbee / Tinnitus Photography
ts difficult to overstate the influence of Parliament Funkadelic. They

influenced the sound of the 70s, and along with James Brown, pioneered
funk and became a foundation of hip-hop. Literally. Their grooves have
been sampled, looped, and rapped over ad infinitum. The band is still
touring, releasing new albums, and George ClintonP-Funks ringleader
and mastermindwas recently nominated for a Grammy for his role on
Kendrick Lamars 2015 release, To Pimp a Butterfly.
Of importance to 6-stringers, the guitar is central to P-Funks sound. On the heels of their
first hit, 1967s (I Wanna) Testify, the doo-wop group the Parliaments morphed into the
psychedelic Funkadelic. Built around Eddie Hazels fuzz-drenched leads and Tawl Ross steady
rhythmic chunkand inspired by artists like the MC5, Vanilla Fudge, and Jimi Hendrix
Funkadelic redefined R&B. They were loud, audacious, outrageous, and infinitely groovy.
In the 1970sand with the reintroduction of the name Parliamentthe band grew into a
collective of about 50 musicians and perfected their infectious brand of funk. By decades end,
they were selling out stadiums, selling millions of albums, and charting hit after hit.
Its no surprise P-Funk attracted top guitar talent. In addition to Hazel and Ross, their roster
included Garry Shider, Cordell Boogie Mosson, Michael Hampton (aka Kidd Funkadelic),
Ron Bykowski, Glenn Goins, Bootsy Collins, Catfish Collins, DeWayne Blackbyrd
McKnight, Ricky Rouse, and many others. All of them played guitars except for me, Clinton
says. I was good for humming lines for guitars. But I dont have dexterity for shit.
We wanted to find out about the history, tones, tricks, gear, and great guitaristsboth
past and presentof Parliament Funkadelic, so we went straight to the sources. We spoke
with Clinton, Hampton, McKnight, and Rouse and crafted this roundtable of sorts. Sit back,
prepare yourself, and get ready to learn some of funks deepest guitar history.
premierguitar.com
The way you used guitar really distinguished

P-Funk from other funk groups, especially
on the early Funkadelic stuff. What was
your initial inspiration for that?
George Clinton: Well, for that, of course,
it was going to be Jimi Hendrix. Right
when we did (I Wanna) Testify, it was
changing from the Motown era to rock
n rollEuropean style. Rock n roll was
coming back into the States all amped up.
A friend of mine, her name was Nancy

Lewis, was friends with Pete Townshend and
Jimi Hendrix. We did a compilation record
[Backtrack, Vol. 6] with themTestify
was on the recordon a thing called Track
Records over in Europe, which became the
Northern Soul Company. I saw those amps
up at the girls house and we also played on
Vanilla Fudges equipment one time. We saw
that big soundhow it was createdand
A group shot
of the early
Funkadelic
ensemble circa
1970. Standing,
left to right:
Clarence Fuzzy
Haskins, Lucius
Tawl Ross,
Bernie Worrell,
Ramon Tiki
Fulwood, Grady
Thomas, George
Clinton, Calvin
Simon, Ray
Davis. Seated:
Eddie Hazel
and Billy Bass
Nelson (supine).
we just started buying up amps. I got

Eddie Hazel two Marshallsthe onepiece Marshall [8x12 cabinet], not the
half-stacks like they got today. It was
one tall piece. That was the beginning of
our psychedelic erahim and Billy Bass
[Nelson]. When I got them started, they
were just starting to play an instrument.
Guitar became part of our changeover
from the doo-wop timefrom singing
with vocals only, to a real loud guitar.
Eddie Hazel learned very well. He had a
Gretsch, a big-body guitar, at first.
A big-body Gretsch? I didnt expect that.
Clinton: Then we got him a Strat. It
didnt matter to him. It could be a Kay
or anythinghe could make it sound
the same. He learned so goodthe Jimi
sound and techniques. We were able to
jump out ahead of most people from
the R&B side. When we did I Bet You
from the first Funkadelic album [1970s
Funkadelic], and then Free Your Mind
and Your Ass Will Follow, we deliberately
went off to be really psychedelic. We
knew we wanted to set a foundation
so that wed never have to worry about
making a commercial record again. We
went so far out there with the guitar
on purpose on Free Your Mindand
Your Ass Will Follow that it became our
signaturethat loud, nasty guitar.
Back in the early days when you were
first using all those big amps, was
Eddie using pedals as well? How did
that progress over time?
Clinton: Eddie started right out learning
the pedalsthe wah wah, the Big Muff,
and phasers and shit. We bought all the
gadgets in the world, [especially] once
Bootsy got with us.
Blackbyrd McKnight: When I first got
there, I had a Fender Stratocaster. I think
EMG pickups had just come out in the
early 80s and I quickly gravitated to
them. Other than that and a little preamp
I used in my guitar, we were using Music
Man amplifiers. I recall having an MXR
Distortion +. I used a compressorit
probably was the Roland compressor at
the time. I think I had a chorus pedal,
but I cant remember what brand it was.
And I think that was about it because

the Music Man amps were killer. I was
told they were owned by Aerosmith.
They were beefed up and they sounded
absolutely great. I was a pedal guy and I
loved playing with all kinds of pedals,
but with traveling and carrying cords and
pedalsthis was before pedalboards and
all of that stuff, for me anywayI took a
couple of things out. But the amps were
more than enough to get that tone.
Michael Hampton: At that time, I
think they had Aerosmiths old Music
Manstheir old backline. They had a
Crown power amp, too. So they had
the Music Man and then they had them
running through the Crown to the
speakers. The guys working as techs back
then knew how to modify all that stuff.
They could go in and modify whatever
was happening with that amp. And they
probably made that amp hotter. If it had
anything to do with the tubes, whatever
they knew how to do, it was probably
responsible for that tone.
Compositionally, were the guitar
players free to find their own voice to
express themselves? Were you dictating
lines or creating parts for them?
Clinton: No. I did that once in a while,
but there was no need for me to do that.
I had too many people that could do that
for real. So I didnt. But every once in a
while I would have something to say. Just
something I felt, and they were pretty
good at interpreting anything I said.
Ricky Rouse: George lets you do what
you can do. He knows how to use
whatever youve got. Everybody gets quite
a bit of freedom to do whatever they
want to do.
McKnight: Once in a while George
would sing a part he wanted me to
incorporate in a song and I would do
that, but for the most part he gave us
creative control.
What are some of the basic
building blocks you use for soloing?
Harmonically and melodically, how do
you approach it?
McKnight: I just play what I hear. I
didnt really have any type of formula or
anything other than all

the influences I accumulated over the
yearsthat was about as deep as I got
with any sort of music theory with that
band. One of the reasons I wanted to play
with that band was artistic freedom, as
it were. I listened to a bunch of jazz and
rock and I always liked fusing those two
togetherthat was about the only process
I went through. Wherever the song was, I
did what I thought would fit. George never
said anything about what he wanted. He
would turn on the tapeor the engineer
would turn on the tapeand they might
say to face a certain way to get the hum
out or whatever, and that was about it.
Hampton: When I was starting to
find out about different scales, I
would experiment on how to resolve,
say, a diminished to a major, or do
a diminished scale or an augmented
and then resolve it to a minor. I mean,
as long as its not too far away from
the modes. I experiment a lot. If Im
playing something, I want to do as many
variations on it as I can. It depends on
the progression and whoever is producing
it or what they think they might hear.
They might have a vocal track on
there already so Im either trying to do
something that complements the vocal
or Im trying to actually do the same
thing as the vocalist. That would be
my foundation, and then I go off from
there and I try to enhance whatever the
progression is. But I really dont think I
gave it a whole lot of thought, like, Im
going to deal with it like this.
Clinton: Michael Hampton came in and
took Eddies place. He had that sound
and he learned very well when I told him
that the art of playing rock n roll guitar
on an R&B record is: Play the melody
of the singers part, go off and do your
psychedelic thing, and then come back to
the melody. For example, One Nation
Under a Groove, (Not Just) Knee Deep,
Never Buy Texas from a Cowboyhe
premierguitar.com
learned those concepts so well and he always

had real good sounds on his guitar.
Hampton: When I was really young, our
teacher took the whole class to see the
symphony orchestra. I was fortunate enough
to check that out, and something about it
just set something offwhen I hear certain
songs and the way they use the modes. Im
looking for what it makes me feel like, you
know? Like wonderment. Im trying to paint
a feeling of whatever feeling I have. Most of
the time its kind of minor-ish. But I love
all of the different modes. It interests me on
how to resolve it.
I also try to put solos in there like how a
drummer does a roll. He plays a drum roll
and sets it up for the melody. Im always
listening for that resolution. I might wander
around in some different modes or scales, but
Im interested in trying to resolve it right on,
at a time where people should understand it.
It could be a slow or fast lead, but whatever
it is should resolve. Oh, here it comes right
here. Okay. And bring it back home.
How does your tone change when youre
in the studiodo you sit in the control
room or do you stay in the room with
the amp?
Rouse: It depends on what were trying to
do. A lot of times when youre just playing
rhythm you can do it right there at the
board. And if youre playing some lead stuff,
you go out there and wire the amp up and
put it through like that. George likes the
power from the amp, but Ive cut sessions
with him where I just sit in front of him at
the board and do it.
Clinton: At United Sound [in Detroit],
we had separate rooms that you could put
a man in. Even in Torontowe did a few
of the songs like [1972s] America Eats Its
Young up therethose big sounds. And
sometimes wed just do straight up rock n
rolleverybody in the same place and wed
just turn it up loud.
Hampton: For one solo, I was outside the
booth and the amp was isolated in the vocal
booth. For the (Not Just) Knee Deep solo,
I think it was a Fender Twin cranked all
the way up. They had those microphones
that stuck to the glass. But in order to get
that sound, they isolated the amp. Ive done
both, like, where Im with the amplifier, like
premierguitar.com
on Butt-To-Butt ResuscitationI didnt

name that by the way [laughs]. I was using my
Alembic guitar, I forget what the model was,
and there was a Morley wah and I think they
had a Marshall stack. I was basically right next
to the stack when I did that solo. I prefer to be
right next to it, for feedback and other effects.
S
A
L
I
S
N
A
E
S Signature Series
ometer
Guitar Potenti
PDB241-SOTL1-504A3 PDB241-SOTL2-504A3
for Volume Control
for Volume Control
Knurled shaft
Plain shaft
500 k
500 k
With so many guitaristsplus

keyboardsplaying together, how do you
keep from stepping on each others toes?
McKnight: We just listen as well as we can. At
one point we had a mixer onstageeverybody
had a speaker of somebody elses on the other
side of the stage. Everybody had at least one
cabinet of another guy, so we listened and if
one guy was playing the parts he played on
the record, youd play something that was
relatively close to what he was playing but
not step on his toes, and the same with the
keyboards, because you could hear everything.
The thing for me was being able to hear
everything so that you didnt overdo it.
Michael, theres a video online of Red Hot
Mama and youre playing a guitar that looks
like a Strat but it has a reverse headstock and
its got three humbuckers. What is it and
how did you get it to sound so good?
Hampton: Its a Strat. I put the lefthanded neck on and three DiMarzio Super
DistortionsI just went crazy with that
guitar. I had an Alembic preamp they made
back in the daythat kind of blew out later.
I always liked funny cars and hot rods and
thats basically as close as Im going to get
for the guitar [laughs]. Plus, I would just
crank the guitar, man. I would turn it all the
way up. Most of the time everything would
probably be at 10. I guess it came from the
pickups itself and the actual makeup of
however it resonated. I pulled the saddles
all the way back, too, so I could get more
flexibility and more play in the string, and
it wasnt intonated correctly. The guitar was
intonated with itselfif I hit everything
open and you gave me all the strings open on
the keyboard, then the guitar would be kind
of out. But that might have a little to do with
the tone, too, because there was more play in
the strings. But its got to be those preamps,
that Alembic preamp was probably working
at the time, and those Super Distortions
along with it probably gave it that tone.
Not to give it all up to me, but some

people actually say its in your fingers. And
I guess there is some truth to that, but Im
just trying to stay humble on that one. Im
pretty sure were talking about the electronics
[laughs]. And the strings probably were
definitely somewhere near new. Because
I used to change them every two gigs or
something, keeping the strings fresh.
How does Parliament Funkadelic write
songs? Does the group jam and you find a
good line or do people come in with ideas?
Clinton: Most of the time we start off with a
good line that started as a vamp or something
onstage and we make a song out of it. When
we get into the studio, we come up with
licks and grooves and we just take them
from there. Most head sessions are done in
the studio, everybody [throws in ideas], and
then we put the words to it. Once in a while
I have a song written beforehand and then
we do the track after it. That would mean
[keyboardists] Junie Morrison and Bernie
[Worrell] would have to do arrangements as
opposed to head sessionsthey would have
to figure it out prior. Knee Deep was one
of the best of those types of songs.
Can you name an example of a jam that
started onstage that you turned into a song?
Clinton: Shit, Goddamn, Get Off Your
Ass and Jam. Almost all of the songs,
because like I said, there would be a lick or
something and wed go into the studio and
then put something to it.
Do you rehearse new material or is it cut
live in the studio?
Rouse: Its pretty much cut live; we dont
have to rehearse. George tells you what he
wants and hell give you the freedom to put
your thing on it and thats how we do it. The
only time we really rehearse is if were going
to do a TV show or something like that
where we have to have a set list. He is a very
good orchestrator in the studio as well as live.
He knows how to control the audience and
the band at the same time. Its never really a
set show. We have certain things that might
happen, like we might end with Atomic
Dog. He might pull some song from the
first album or something like that. But hes
pretty much in control of the thing.
www.bourns.com/proaudio
premierguitar.com
Jeff schroeder / the smashing pumpkins
yamaha.com/revstar
THE P-FUNK GUITAR ARMY
EDDIE HAZEL
RON BYKOWSKI
MICHAEL HAMPTON
CATFISH COLLINS
Eddie Hazel was

Funkadelics original lead
guitarist. He set the bar high.
Eddie Hazel colored the
style of Funkadelic, George
Clinton says. All the stuff
leading up to Maggot Brain
and afterwardshe set the
style. Garry Shiderwho
was like his little brother
kept the tradition going.
Hazel is lauded for his
lead playing, particularly
his iconic 10-minute solo
on Maggot Brain. But his
rhythm playing was just as
important. He had a way
of playing rhythm where
he used his fingers as well
as the pick, says Blackbyrd
McKnight. I understand that
he got that style from his
grandmother. He told me he
got a lot of that stuff from
herplaying with the pick
and the fingers at the same
time with the rhythms. It
was similar to how the blues
players did back in the day."
Probably the most

mysterious of the P-Funk
guitarists is Ron Bykowski.
Ron was the first white
guitar player we had, says
Clinton. Bykowski appears
on Cosmic Slop [1973] and
Standing on the Verge of
Getting It On [1974] and is
credited as the polyester
soul-powered token white
devil on the latter. He gave
us that Les Paul sound, like
the feedback on March to
the Witches Castle, Clinton
continues. He was the one
that made us like a real rock
n roll band early in our
careers as Funkadelic.
Ron was the feedback
king, Ricky Rouse says.
He knew how to get all the
different feedbacks from
the way he positioned his
body with the amp. He could
move his body a certain way
and get a different feedback
and a different tone.
I think one of my favorite
songs, Red Hot Mama, is
actually Ron Bykowski, says
McKnight. Everybody thinks
its Eddie, but its not."
Michael Hampton was just

a teenager when he joined
P-Funk, which is how he
earned his moniker, Kidd
Funkadelic. He landed the
gig after impressing the
band at an after-party in
his hometown of Cleveland,
Ohio. My cousin was
playing bass, Hampton says.
I showed him the chords
to Maggot Brain and we
played it in the living room.
The band was around me.
I didnt know it was Eddie
Hazel and [drummer] Tiki
Fulwoodit was the whole
bandGarry and Boogie.
They were all there and they
heard me play. He did his
first gig two weeks later.
Hampton developed into
an amazing guitarist. The
thing about Michael is that
he listens to everything
thats going on in a song,
McKnight says. He listens
to the chord formulas that
are being used, the key in
the chord formulas, the
scales, the alternative scales
you can use. He was that
scholastic guy...."
Catfish Collinsolder
brother of Bootsywas
a guitarist with James
Brown before joining up
with Clinton. In addition to
his work with Parliament
Funkadelic, he also played
on other P-Funk projects like
Bootsys Rubber Band and
the Horny Horns.
If you listen to Bootsys
music, Catfishs guitar
tracks are woven together,
McKnight says. It would be
two guitars layered over each
other and it just meshed. It
was like one guitar.
Collins was active until his
death from cancer in 2010.
Check out his iconic rhythm
work on the Parliament
mega-hit Flash Light.
YouTube search terms: The

Parliaments w/ Funkadelic
LIVE Eddie Hazel 1969
fixed video
YouTube search terms:

Funkadelic Cosmic Slop 1973
(Ron, if youre reading, we
would love to hear from you.)

Parliament-Funkadelic
Red Hot Mama
YouTube search terms: Flash

Light Parliament (1977)
Michael Hampton photo by Ken Settle
Its unclear how many guitarists played with Parliament Funkadelic throughout its six-decade existence,
but heres a brief rundown of the eight prime movers.
Blackbyrd McKnight photo by Alex Matthews; Ricky Rouse photo by Hight ISO Music; Garry Shider photo by Tim Bugbee / Tinnitus Photography
For more detail on each of these P-Funk pioneers, visit premierguitar.com/p-funk-guitar-army
DEWAYNE MCKNIGHT
LUCIUS "TAWL" ROSS
RICKY ROUSE
GARRY SHIDER
"DeWayne 'Blackbyrd'
McKnight is one of the
greatest guitar players
around, Clinton says.
Prior to joining P-Funk in
1978, McKnight was in the
Headhunters and worked with
jazz legend Charles Lloyd.
He was in the band with
Dennis Chambersthey were
the Brides [of Funkenstein]
bandand they were the
band that just kicked Bootsys
ass and our ass.
McKnight grew up
listening to jazz and bebop
lines, which are an integral
part of his playing. But
Hendrix was also a huge
influence. I was in junior
high school when I saw
Hendrix the first time.
McKnight says. He opened
up for Eric Burdon and
the Animals.
McKnight has also worked
with artists as disparate as
the Red Hot Chili Peppers,
Bill Laswell, H.R. of Bad
Brains, and Macy Gray.
Tawl Ross was the rhythm

guitarist in the original
Funkadelic. Tawl was a
genius of rhythm, Ricky
Rouse says. He had that
attitude of Funkadelichim
and Billy [Bass Nelson] had
that rock n roll attitude. It
made it real because it was
messing everybody up.
He was playing the
rhythmthe chunka chunka
chunka, Clinton adds. He
played the strong rhythm on
the first Funkadelic albums.
He had the rhythm and the
psychedelic image down
pat. He and myself were the
first ones doing punk rock
just prior to Iggy [Pop] and
them doing it in Michigan.
When we started playing
with them, we saw that Iggy
was doing the same stuff
we were doing. We were
wearing the diapers and
being real sick on the stage.
They called us the bad boys
of Ann Arbor.
Look at his resume, watch

him onstagethe dude
is one badass dangerous
guitar player, McKnight
says. Prior to joining P-Funk,
Rouse worked with Stevie
Wonder, Bohannon, the
Dramatics, and many others.
He was in the studio with
the Undisputed Truth in
1972, and thats when he
first met up with Clinton
and company. Ricky Rouse
was around Detroit when
we first started but never
did get into the group until
2000-and-something,
Clinton says. Rouse joined
in 2007.
In the early 90s, Rouse
hooked up with Dr. Dre.
I did Snoops first three
albums, Rouse says. I was
with Warren G when he
had the G-Funk thing, and I
played with Tupac because
I wrote songs with Pac.
His last gig before joining
P-Funk was with Chaka Kahn.
Garry Shider was from

Plainfield, New Jersey,
and knew Clinton from
his days working at a
barbershop there. Clinton
produced United Soul
Shiders band with Cordell
Boogie Mossonbefore
incorporating them into the
greater P-Funk collective.
Garry wrote a lot of
songs with George, Rouse
says. Garry was a real
singer and a great guitar
player. He and Boogie came
up through the gospel thing.
He was a great rhythm guitar
player and he could play
lead as well.
Garry, Eddie, and Boogie
had their own sound,
McKnight says. It was like a
Plainfield sound. It is hard to
duplicate, but just great to
listen to.
Shider was with the
Mothership for decades and
died of cancer in 2010.
YouTube search terms: The

Brides of Funkenstein FULL
SHOW 3/18/1979 Houston

Funkadelic Fish, Chips and
Sweat (1970)

TQ The Incomparable
Ricky Rouse
YouTube search terms: Garry

Shider with Funkadelic:
Cosmic Slop (1979)
The hit-making lap slide guru reunites with

his Innocent Criminals to forge an eclectic
new album, Call It What It Is, and talks about
his roots, songwriting, collaboration, and the
mysteries of reggae and Neil Young.
Photo by Joe Russo
BY JASON SHADRICK
premierguitar.com
Photo by Joe Russo
n 2008after nearly a decade

of making roots-based music go
pop, and winning two Grammys
along the waythe collective consciousness of Ben Harper and the
Innocent Criminals had started to fade.
Both personally and musically, the band
was failing to evolve and grow. It was time
for a change. So Harper focused more on
his hard-rocking Relentless7 group along
with some select solo projects.
Among those projects was a pair
of albums that had been on Harpers
list for a while. He paired up with an
elder statesman of the blues, harmonica
legend Charlie Musselwhite, for Get
Up!, a fantastically authentic straightup blues album that was as honest and
well-executed as anything in either
artists catalog. Harper says that a sequel
to the Grammy-winning collaboration
is in the works. On the flip side,
Childhood Home, a collection of tunes
with his mother, Ellen, brought his
sphere of influences full circle. I dont
think I would have even been ready to
do it until a year or two ago, states
Harper. Of course, we all love our
parents and we love our mom, but I just
saw her clearly as a peer and as a person
in a way that I hadnt up to that point.
That album is a celebration of family.
In late 2014, Harper announced he
was going to round up the Innocent
Criminals for a run of shows at San
Franciscos Fillmore. I didnt want to
pick up where we left off, he says. I
cant see the growth in that. But from
the start it was obvious this wasnt a
reunion with a goal of headlining the
latest trendy festival. It became an
evolutionmaybe even a rebirthof
the group that truly put Harper on
the map.
The eventual goal, even from the
earliest sessions, was to create the
next chapter rather than rehash the
hits that brought the fans in. Call It
What It Is expands on the groups
strengths, moving seamlessly between
genres without a hint of irony or lack
of conviction. The opening track,
When Sex Was Dirty, combines
socially aware lyrics with a sing-along
premierguitar.com
chorus, syncopated riffs, and a classic

rock staple: the cowbell. Outside
the studio with the door closed, that
cowbell would have still been too loud,
says Harper. That thing was cutting
through every microphone. With
Shine, the bands tackles a modern
Stax vibe stoked by keyboardist Jason
Yates infectiously perfect Rhodes
grooves. And the varied beat goes on,
with the Tom Waits-turns-country feel
of the dark title tracka meditation on
killings by policeand the garage-rock
grind of Pink Balloon.
Overall, the Innocent Criminals
which also includes percussionist Leon
Mobley, bassist Juan Nelson, drummer
Oliver Charles, and guitarist Michael
Wardis a rare musical outfit that is
truly greater than the sum of its parts.
The genre-hopping Criminals are simply
true to themselves. We dont have 10
songs of one genre; I never have, allows
Harper. When its time to make a
record, I have written songs in different
styles whether they be blues, punk rock,
soul, funk, or folk. During preparations
for his 2016 tour, we caught up with
Harper to discuss his life as a songwriter,
how legendary amp guru Howard
Dumble helped him discover his tone
and tune up his pinball game, and why
the Innocent Criminals have become his
most effective creative outlet.
What was the vibe like back in 08
when you decided to take a break from
the Innocent Criminals? Did you feel
that era had run its course?
Yes. We hit a point with each other, with
the music, with the creative process, that
required us to get some distance from
everything so we could actually see what
it was that we had and were doing or
not doing. But there was a little bit of
personal running-in-place. It is hard to
How can I put this? Its hard to grow
while youre not actually recognizing
what you are growing towards. They
are such monster players as well. I just
think we had reached a point where
maybe we were creating barriers for each
other and not creating open roads and
opportunities creatively.
Do you think it was more musical

or personal?
I think it was both. There was some
taking each other for granted and thats
where its hardest to grow. There was no
other way but to take time off. I never
said, I am breaking up the Innocent
Criminals. It was just time for all of
us to do something different. It sure
felt like a break-up, but it wasnt, and
that is why we were able to remain in
communication with each other. And it
wasnt easy, thats for sure. It haunted me.
In November
2013, Ben
Harper emotes
at Davies
Symphony Hall
in San Francisco,
in a concert that
also teamed
him with blues
harmonica
legend Charlie
Musselwhite.
I put a lot into
the words, the
guitarist asserts.
Throughout your career youve

focused on writing songs for yourself.
Obviously, that material is very
personal. Have you ever had an interest
in writing for other artists?
I mainly write for myself and the
dialogues that Ive been having with
specific groups of people. Theres this
privilege to be able to grow together
through music with people around the
world. I feel so lucky for that. I have
only written specifically for other artists
a couple of times. I wrote a song for Taj
Mahal. I wrote a song recently that is
coming up on Mavis Staples new record.
What does it feel like to hear another

artist cover one of your songs?
Its the best feeling in the world. It actually
makes you feel like a songwriter, which is
great, because I do put a lot into the words.
Some lyrics may seem deceptively simple,
but they are edited down from a lot of
pages of ideas. So when you hear someone
actually cover one of your songs in the wild,
its just the best. I think any songwriter will
tell you that. I have not grown immune to
how exciting that is.
Why was it important to you to view this
reunion with the Innocent Criminals as a
new chapter?
I couldnt do 10 Steal My Kisses. I
couldnt do it. I have never done anything
formulaic in my life. Every song and lyric
I write, I mean. Every collaboration with
the Innocent Criminals strikes as deep
as we can. We leave no stone unturned
and by the end of the process we are all
exhausted. Its all about bringing forward
our strongest material and taking risks. We
have never played it safe as a band. We have
always had polarizing songs and songs that
somehow were different in genre, but there
was a through-line in the way this band
interprets different genres.
This bands ability to fluently and
authentically move between genres is
remarkable.
Its the songs, man. I have every Ramones
record. I have every Dead Kennedys record.
Juan is the funk. Leons roots are Africa,
reggae. These are the influences of this
band and the songs that we write and the
way that we craft music. That is all we
are going for. There have been a couple of
times where, like the Get Up! album with
Charlie Musselwhite, Ive gone into my
archive of blues material and the timing
was right. Same with the Blind Boys of
Alabama record [2004s collaborative There
Will Be a Light]. Some of them, like the
folk record with my momthat took
she and I both digging into our archive
of songs in that style to put that record
together. I wouldnt have had an entire
record of folk music that I could actually
publish, that I could be proud of, on my
own. Its more about the songs that I have
BEN HARPER'S GEAR

GUITARS
Asher Ben Harper Signature Lap Steel
2010 Gibson Custom Shop
Les Paul Special
1954 Fender Hardtail Stratocaster
Martin HM Ben Harper
Special Edition acoustic/electric
Weissenborn Style 4 Lap Steel
AMPS
2010 Dumble Overdrive Special
Fender Princeton
EFFECTS
Vox wah
Hermida Audio Zendrive
Electro-Harmonix #1 Echo digital delay
Boss TU-3 tuner
Ernie Ball volume pedal
Voodoo Lab Pedal Power 2 Plus
STRINGS & ACCESSORIES

DAddario EJ16 Phosphor Bronze Lights
(.012.053; acoustic)
DAddario EJ17 Phosphor Bronze
Medium (.013.056; lap steel)
DAddario EXL 115 Nickel Wounds
(.011.048: electric)
Dunlop Picks
Dunlop Ben Harper Signature Tone Bar
and picking the ones that I feel strongest

about regardless of style.
Say for this record, I had 20 songs. We
recorded a good number of them until we
started to see the ones that were raising
their hands the highest and sitting together
the best. Its natural selection in the studio.
The ones that stand up, stand up proud
and what starts to happen is you get sister
songs. There is a song called When Sex
Was Dirty, which is a sister song to Pink
Balloon. Theres a song called Dance Like
Fire, and thats a sister song to Bones.

Goodbye to You is percussively linked
to How Dark is Gone. All of a sudden,
songs start to pair up with each other and
that really helps in the sequence. Its a big
risk this day and age to make an entire
body of work that is eclectic because we are
in the era of judging an artist by his song.
That has been coming on year by year and
now it is more prevalent than ever. Maybe
it will be to my demise or maybe it will be
my freaking calling card and strength. I am
counting on it being a strength and I am
counting on somehow people finding it as
an entire body of work. Maybe it is just a
pipe dream, I dont know.
As strongly as I believe in a body of
work, still, it is time that people start
honing the art of putting a body of work
together. The days of 13-, 14-, 15-song
albums are gone. Come up with a tight
10 or 11 songs and I think you will stand
a better chance of introducing people to
a larger body of work. Setting limits on
yourself is a big part of making a record.
Is the hardest part of making an album
the self-editing process?
Its so hard with this band, because we get
emotionally attached to songs. We had a
listening party of maybe 20 people, and
Chris Rock was there. The final song on
the record is Goodbye to You. There used
to be two songs after that. After that song
he said, Thats it. Dont play another song.
Thats where this record needs to end. He
was right. I felt great about the two songs
after that, but Chris and Ethan Allen, who
co-produced the album with the band,
were right. Ethan is really the North Star,
and those objective opinions kind of reeled
us in.
Did you have songs ready for this album
or did some of them come through
rehearsals?
I wanted to see what it was going to sound
and feel like when we got back together.
I didnt want to pick up and just start
rehearsing old material. I wanted to pick up
where we had all grown to. Everybody got
together for a week at the Village [studios]
in Los Angeles. I presented a couple of
new songs, and the way that the band just
premierguitar.com
leaned into them, working off each other,

it was something so different. I knew it
was on. I just needed to get all of us in a
room and move into that new direction.
That week set the stage for the record and
having the group back together and really
having the time of our lives creatively.
You spent your formative years
around your familys music store in
Claremont, California. Did you work
on instruments?
I did. I was a bona fide luthier.
Is that something you keep up on?
In a word, no, but I do go out and work
in my familys music store quite often,
and its always the best feeling to be back
in the shop and having my hands on
instruments. It also comes in handy on
the road.
The acoustic Weissenborn guitar has
become nearly synonymous with your
style. Did you stumble upon it at your
familys shop?
That was it. We were one of the rare
stores that actually recognized them.
People used to come in and, because
they couldnt fret them, would try to
play them like regular guitars. Imagine,
in 1958, my grandparents actually
recognizing that Wiessenborns were
a unique contribution to the acoustic
instrument pantheon. David Lindley
got his first Weissenborn from my
grandfather.
What specifically about that
instrument spoke to you?
I dont know. I had every guitar at my
fingertips. Although the guitars that I
wanted to consider mine, my grandfather
made me pay for, so I had to work
them off. Ive played Dobros, Nationals,
Triolians, Duolians, Regals, and all the
resonators. Everything from African
koras to sitars were at my disposal. There
was just something about that freaking
Weissenborn. From the time I could
hear it, I would just gravitate towards it.
Some sounds are out there waiting for the
player. Why would anyone want to play
the tuba? I dont know, but people have
devoted their lives to the tuba. Theres a

sound out there for everybody and that
was the sound for me.
How do you wrestle with the
Weissenborns at stage volumes?
I kinda stopped trying to force the
Weissenborns up above the band. Thats
where Billy Asher [of Asher Guitars
and Lap Steels] and I co-designed
my lap steel. Its a hollowbody with a
maple cap, like a Les Paul. It still has
this hollow nature, but I dont have to
struggle to get over the band. On certain
songs I will still crank the Weissenborns
up. Its always fun. I make sure I have
it out for about a quarter of the set on
the blues stuff, like Homeless Child,
Welcome to the Cruel World, and
Give a Man a Home.
What tunings did you use on the
album?
I am all over the map. Mainly versions
of open D (DADF#AD) and
Spanish G (DGDGBD). I will
take the open D tuning and move it

down to C and then I will tune the
Spanish G up to A or B. I will even go
as high as F on a Weissenborn in the D
tuning with lighter strings.
When did you get caught up in the
sphere of Dumble amps?
From the time I was probably 9 years old
onward, I grew up next door to David
Lindley. Davids daughter, Rosanne, and
I were thick as thieves. Every once in
awhile David and his band at the time,
El Rayo-X, would have rehearsals at a
place called the Alley. David would bring
Rosanne and I to rehearsals. I was about
10 or 11 and was at a rehearsal playing
the pinball machine. This super-generous
dude was giving me pointers on how to
shake the machine and how to get the
best of it. It was Dumble. He and I first
met huddled around a pinball machine.
When I started really jumping into tone,
would you believe that he remembered
me from that? Dumble and I have been
at it awhile.
YOUTUBE IT
Hermann Weissenborns distinctive guitars are hollow-necked

acoustics, and while Ben Harper can make them howl like
Hendrix at Woodstock, this solo performance of the socially
pointed title track of his new album, Call It What It Is, showcases
the instruments super-warm, amplified natural tone as well as
Harpers fearless lyrics.
YouTube search term: Ben Harper Call It What It Is (live acoustic)
Photo by Adam Keely
With the
exception of
a holy grail
Overdrive
Special amp by
Howard Dumble,
Ben Harpers rig
is fairly simple,
with a tuner,
volume pedal,
reverb/tremolo,
overdrive,
channel
switcher, digital
delay, and power
unit on his
pedalboard.
premierguitar.com
How did you get your first Dumble?

He helped me put out feelers for people who
had them for sale and I was able to get my
hands on one pretty quickly. Then he actually
brought me in and let me plug into his
oscilloscope, which he rarely does anymore.
He took notes on the frequency patterns of my
instruments and he built an amp for the sounds
that my instruments make. The only reason
he charges so much is because the market has
insisted. Otherwise he would charge $5,000
and someone would make $40,000 on his
amps. He has no choice. Are Dumbles worth
it? You listen to [David Lindleys version of ]
Mercury Blues and tell me whether or not it
is worth it.
Are you a big pedal guy? Do you like to tinker
with those?
I do, although Im going for fewer pedals.
Charlie Musselwhite will say, Hey, man.
Careful when you are using those pedals and
calling it blues [laughs]. He will walk over and
glance at my pedalboard and say, How many
of those you gonna use for the blues? How
many you need? So Charlie got me thinking
about relinquishing all pedals. For now, it is real
simple. Ive got a [Hermida Audio] Zendrive,
Strymon Flint, EHX delay, and thats about it.
Finding Our Way has such an authentic
reggae groove. How did you learn about
playing reggae guitar? Conceptually, it seems
very simple, but its quite difficult to get the
right feel.
That skank. Oh man, its nasty. First, its just
in me. Second, I have lived reggae music my
entire life from Lee Perry and Ernest Ranglin to
Stepping Razor and Legalize It by Peter Tosh.
My dad took me to see Marley when I was 10,
and it was a life-changing experience. The only
way I have been able to illustrate what that skank
means is to be in the studio and take it out of
the mix. The bottom falls out. Its just this weird,
mystic thing. I will never understand why Neil
Youngs G chord sounds so different than anyone
elses in the world. I dont know man; its the
mystery of the guitar. It just pulls you in.
How collaborative is the band in the studio
when it comes to creating parts?
This record is credited to the band, as far as
production. Everybody was producing. It was
magic. You would think it would be too many
premierguitar.com
cooks in the kitchen. Ive never been

in such an ego-free environment. It
made you want to try everyones ideas
even if you thought they were crazy.
When someone was driving, like
Oliver Charles on those drums, he
took the lead. He knew what he
wanted, he heard it in his head, and
he found it. Sometimes production
is patience, but its also letting people
find their way.
Might there be another hiatus in

the future?
We wont do that again. There might
be a couple of other side projects,
but they would be in between
Innocent Criminal projects, for sure.
What next thing on your list?
Im going to leave you with this:
instrumental album. [Luthier] John
Monteleone. Acoustic lap steel.
SHUBB
The best performers will settle for no less.
f
Jef k
un xter
k
S Ba
info@shubb.com www.shubb.com
707-843-4068
Photo by Piper Ferguson
John Jorgensons
instrumental album, Gifts
from the Flood, features
guitars that were rescued
and restored after being
submerged for days in
river water, diesel fuel,
and raw sewage. Here
he cradles one of these
instruments, a 61 SG
Les Paul. It was my first
good guitar, he recalls.
I bought it with monthly
payments when I was 15
or 16 years old.
Bluegrass, jazz manouche, hot-rod country, and instrumental rock

John Jorgenson nails it all in his epic triple-disc set, Divertuoso.
premierguitar.com
BY ADAM PERLMUTTER
n 2010, the city of Nashville was

subjected to two days of torrential
thunderstorms in what was one of the
areas worst natural disasters on record. The
Cumberland River crested at nearly 52 feet,
covering the Grand Ole Opry stage with
two feet of water. Those floodwaters also
poured into Soundcheck, Music Citys storage and rehearsal site for A-list musicians.
More than a few music professionals saw
their instruments completely destroyed.
John Jorgensonthe freakishly talented
guitarist and multi-instrumentalist who
has worked with everyone from Elton
John to Bonnie Raitt to Bob Dylanhad
many of his best pieces in storage during
the flooding, and all of them were at least
partially submerged. A musicians worst
nightmare, to say the least.
But he was lucky.
Over the course of many months,
Nashvilles ace guitar tech Joe Glaser was able
to carefully resuscitate nearly all of Jorgensons
gear that was damaged in the flood, including
a quintet of classic Gibson solidbodies and the
Telecaster he wielded in the Hellecasters and
the Desert Rose Band.
Incredibly, Jorgenson found that the
refreshed instruments sounded and played
even better than they did before the great
deluge. Just as water had seeped into the
instruments, Jorgenson witnessed new
compositions pouring out of them. And
working at a feverish pace, he documented
them on Gifts from the Flood, his new electric
instrumental album.
Around the same time he completed the
album, Jorgensona Gypsy jazz ambassador
as well as one of the great country pickers
was putting the finishing touches on outings
with his Hot Club and bluegrass ensembles.
And rather than release the three albums
consecutively, Jorgenson chose to bundle them
in one massive package. Divertuoso, which
includes Gifts from the Flood, The Returning,
and From the Crows Nest40 tracks in all
might be one of the most ambitious guitar
releases ever, by any player, in any style.
Speaking from his home in Ventura,
California, Jorgenson told us about the
metamorphoses his instruments underwent
in the flooding, and about how he manages
to work at such a high level across a range of
idioms and instruments.
Theres a staggering amount of music

on Divertuoso. Did you intend
from the beginning to release three
different albums at the same time?
I didnt really set out to do all three at
once. They started at different times
with different agendas, but they came
close to being finished around the same
time, and I had the choice of putting
them out individually or together, as a
package. It felt like a risk to release so
much music at once, but I was willing
to take that risk to put myself out there.
If Id thought about doing the whole
thing as one big project, I probably
wouldve been too overwhelmed and
not completed it. But being able to
complete each album in its own time
made it manageable, sort of like looking
at the mountain from the other side.
The electric disc, Gifts from the
Flood, is obviously a reference to the
disaster that wreaked havoc on so
many instruments, yours included.
How did it feel to have that happen?
It felt devastating because, like most
guitarists, Im pretty much a gearhead.
Ive been lovingly collecting guitars as
a player for my whole life. I was one
of those kids whod just pore over a
Gibson catalog, wondering if I would
ever have any of those guitars.
The flood happened when I was
on tour in Germany. I found out that,
first, the basement of my house flooded.
Thats where all my vintage amps were,
and so that kind of freaked me out. At
first, no one could help retrieve them,
because the roads were all messed up. A
couple of neighbors and some relatives
were able to come a day later and pull
everything out of the basement.
Then I got the news that my storage
locker in Nashville also flooded. It was
full of guitars and other instruments
some of my most favorite pieces. Some
Id had since I was a kid, like the 61 SG
Les Paul I used on the opening track. It
was my first good guitar, and I bought
it with monthly payments when I was
15 or 16 years old. The locker was
unreachable for a week. It was a strange
feeling to know that Id very likely
lost most of my
instruments. But
I have to admit
I was one of the
lucky ones. I had
good insurance that covered everything,
and Joe Glaser went into my locker, took
everything apart, and started to triage it
as much as someone could at that point.
Through that process a number
of instruments were saved, and once
they were playable again, I actually
appreciated them so much more the
second time around. They ended up
giving me so many songs. Thats why
there are some titles like 64 SG
Custom 3. That guitar gave me two
other songs, but there was only so
much I could fit on one album.
What was the extent of the damage?
Some of the guitars had to be taken
apart and cleaned with a toothbrush
to get the rust out of everything. But
some had grown mold inside and
needed more extensive work.
What was it like to receive the
repaired instruments?
It was amazing because they were new
and familiar at the same time.
It must have been interesting to see
how different pieces fared. What did
you learn?
I learned that Fender pickups dont
fare as well as Gibsons, because a
Gibson has a metal bottom piece and
Fender has fiber. Fiber tends to take
on the water and cause the coils to
break. On the other hand, Gibsons
have more holes in them for the water
to get into the wood. Also, it seemed
like the cheaper the finish, the better it
withstood not just water, but the diesel
fuel and sewage that came with it.
How did the revived guitars sound?
Some seem to sound better than before.
I asked Joe about that, and he told
me a number of people had said that
same thing. He speculated that, for
newer guitars, being waterlogged would
artificially age the pickups due to the
premierguitar.com
many small fractures in the coil windings. The

pickups became imperfect in the flood, creating
the sort of comb-filter effects that everyone loves
so much in 40-year-old pickups.
Did your pickups survive the flood?
Most of them did. Joe was able to rewind a
bunch of them, which was kind of amazing,
considering the condition they were in
after the flood. But the pickups in one or
two guitars had to be replaced. That wasnt
necessarily a bad thing. Before the flood, the
64 SG Custom had non-original humbuckers
that Id been meaning to replace, so I took the
opportunity to find better pickups for it.
Vintage gear tends to have a certain aroma.
What did your instruments smell like after
the flood?
At first the smell was horriblelike I said, a
combination of diesel fuel and sewage, not to
mention mold. It was just awful to remove the
back of a Marshall 4x12 and smell inside the
cabinet. Luckily, those odors subsided once
the gear was cleaned up, but the pieces didnt
smell vintage anymorethat combination of
cigarette smoke, sweat, and a little bit of mold
in the old cases. They pretty much lost that.
The compositions on the disc are all titled
after the guitars you played on them. Did
the guitars inspire the pieces, and what was
your compositional process like?
Each guitar would kind of push me in a certain
direction. I normally dont write things down
when working. If I cant remember it, then its
probably not a strong enough melody. But so
many songs were coming out at the same time
that I found a shorthand way of notating them
not through notation and not through tab, just
little things to help me remember everything.
Strangely enough, even though the album is all
electric, I wrote most of the pieces on guitars not
plugged in. The acoustic properties of the electric
guitars are what pushed the compositions. For
example, on 70 Les Paul Custom, the guitar
has a kind of sweet sound in the high register
way up the neck, acoustically speaking. And that
sound informed the melody of the song.
As for the notation, I just wrote the chords
down and sort of notated the lead notes in a
rhythm and the frets underneath that. It wasnt
even on a gridjust a little something to
remind myself.
premierguitar.com
On 64 SG Custom, the guitar

has a beautifully singing tone. Is
that how it originally sounded?
That was one of the guitars that
sounded so much better after
the flood. I mentioned that the
electronics had to be changed, but
also the fretboard started pulling off
the neck. Thats because the guitar
had been in a trunk full of water.
Some of the others were in more of
a vault, where the guitars were in a

standing position, and so the water
subsided. But the ones that were in
flat trunks retained the water, and, as
a result, it damaged the guitars glue.
Anyway, when that SG came back
to life it had this amazing feedback
quality to itit could sustain and
feed back without being superoverdriven. You can hear that tone on
the track.
ALANCE
OWER
w/ MIDI Control
Balance power and ease with The Nemesis Delay, a compact and easy-to-use stereo
delay pedal featuring 24 distinct effect engines ranging from vintage tape and analog
delays to highly advanced pitch shifting, reverse, filter modulating, and rhythmic delays.
The Nemesis features 128 presets, multiple delay taps, a hold function, tap tempo, full
MIDI control, deep editing functionality with the Neuro Mobile App, and much more.
JOHN JORGENSONS GEAR

on the returning
on from the crows nest
GUITARS
GUITAR
Altamira flamenco
Gitane DG-300 John Jorgenson model
1942 Selmer oval-hole 14-fret
2012 Blueridge BR260A
OTHER FRETTED INSTRUMENTS

1927 Gibson K-4 mandocello
1980 Gibson F-5L mandolin
Matsikas custom bouzouki
MANDOLINS
1980 Gibson F-5L
2010 Kentucky KM-1000
STRINGS, PICKS, & ACCESSORIES
Savarez Argentine (.010.046)

DAddario Gypsy Jazz (.010.046)
Wegen Fatone 5 mm and vintage
John Pearse 700M Phosphor Bronze

(.013.056)
John Pearse 80/20 Bronze mandolin set
(.011.039)
Wegen Bigcity and vintage
tortoiseshell flatpicks
tortoiseshell flatpicks
Shubb capos
STRINGS & PICKS
on gifts from the flood
GUITARS
1957 Fender hardtail Stratocaster
1983 Fender Telecaster Custom
Fender Jazzmaster
Fender Paisley Telecaster
Fender Custom Shop John Jorgenson
Signature Telecaster
1960 Gibson J-160E
1960 Gibson Les Paul Junior
1960s Gibson Firebird
(from components)
1961 Gibson SG Les Paul
1964 Gibson SG Custom
1970 Gibson Les Paul Custom
1966 Silvertone U-1
TakamineJJ325SRC John Jorgenson
Signature acoustic-electric
OTHER INSTRUMENTS
1968 Coral Electric Sitar (by Danelectro)
1990 Atlansia Victoria Bass
1998 Fender Duck Dunn Precision Bass
1967 Fender Telecaster Bass
AMPS
1966 Danelectro DS-50 through a
Vox Buckingham cabinet

1965 Marshall JTM45 through a
Vox AC15 Hand-Wired
Vox AC15 through a Marshall cabinet
with two alnico 12" speakers
1964 Vox AC30
1967 Vox Berkeley II with 2x10 cabinet
Vox 730 head through a
EFFECTS
Boss DC-2 Dimension C chorus
Boss DD-2 Digital Delay
Colorsound Tremolo
Digidesign Eleven Rack
multi-effects unit
Matchless Hot Box preamp
Vox Stereo Fuzz-Wah
STRINGS & PICKS

Assorted DAddario sets
(.010.046 and .009.044)
Fender medium picks
How did you come to work with Brad

Paisley on Sunburst Tele 2 and what was
it like?
Sunburst Tele 2 is probably the most
country cut on there. That guitar wasnt
under water but the amp, a 1964 Vox
AC30, was submerged. Before the flood,
Brad had told me that particular combo
of guitar and ampwhich Id used on
the Desert Rose Bands version of Hello
Trouble from 1988was his favorite
guitar tone ever. It was unbelievable that
the amp came through. All the screws and
bolts were rusted, and even the speakers had
gotten soaked.
I tried to write something that would
incorporate that same tone, and on the
album I left the solo spot open for Brad. I
thought it would be cool to have Brad come
and play on it because the track was inspired
by the fact that he liked the tone so much.
He has such an unpredictable style: a lot of
technique and a lot of humor at the same
time. When he plays, you never know whats
going to come out.
Do you store your guitars differently now,
having experienced the flood, even though
youre based in Southern California?
Well, I never leave them on the floor, I
keep them up on something. I do have a
sump pump in the backyard, just in case.
And I left that storage facility in Nashville
and moved to a different one, which is far
away from the river.
On The Returning, the Gypsy jazz outing,
you use everything from clarinet to
bouzouki. Howd you get into playing
such a range of instruments?
My first instrument was piano. I started
when I was 5 years old, then started playing
clarinet and then fretted instruments. I
had my first ukulele when I was 10 and
my first guitar at 12. So I was used to
practicing different instruments from an
early age, and the skills I picked up on one
instrument transferred to another. I took
what I learned on the clarinet and applied it
to saxophone, took what I learned on guitar
and transferred it to the mandolin and the
Dobro, and what I learned on piano to
keyboard and organ. So, I basically look at it
as three different groups of skills.
premierguitar.com
Jorgensons bluegrass quartetJ2B2features Jon Randall on guitar, Mark Fain on bass, and the
legendary Herb Pedersen on banjo. I took what I learned on guitar and transferred it to the mandolin,
says Jorgenson, who cites Clarence White, Tony Rice, and Doc Watson as his favorite flatpickers.
How do you determine what instruments to use?

If Im going to record a part on one of my
records, its got to stand up to my skills on
guitar, or else it will sound bad.
Photo by Senor McGuire
What instruments cant you play?

There are some instruments Im not as confident
on. I can play the bassoon, but only for a
short time. If I have enough time, I can play a
satisfactory Dobro part, but I wouldnt hire myself
out to play for someone else. Flute, I can get a
little something out of. And it kind of depends on
the parts, too. Some can be technically challenging.
On another note, how have you found your
own voice within the Gypsy tradition?
I would have been happy just to lead a Django
tribute band, but it seems like music often
has its own journeyit sort of chooses what
it wants to do. It was a very natural process
for me. Ive loved the style since I first heard
it back in 1979. And back then there was
really no scene. It was kind of underground.
I realized at the time it couldnt be a career
music for me, so I pursued it for enjoyment
and did other music for a living.
Over the years, more people became
interested in Gypsy jazz, and in the late 1980s,
beginning with my album After Youve Gone,
I began writing in the style. The next Gypsy
premierguitar.com
jazz album I did, in 2003, was called FrancoAmerican Swing. By that time there was more
of an established scene for the music, and I was
asked to recreate two tracks for a film featuring
Django Reinhardt called Head in the Clouds.
It was great to actually get paid for something
I would have done anywayto transcribe and
learn exactly what Django played.
In any case, when I finished FrancoAmerican Swing and started touring in support
of it, I needed more material than what was on
the album, and so I started bringing in some
of my other compositions from other styles
for example, a piece from the Hellecasters
called Le Journe des Tziganes, which was
influenced by Eastern European folk music.
And when I brought in flamenco, classical, and
other influences from outside of the Gypsy jazz
tradition, things got really interesting.
It seems like youve repurposed some nonGypsy material in a cool way on the disc.
Theres one called Istiqbal Gathering.
Thats a piece I originally composed for full
orchestra, with cimbalom [a large Hungarian
dulcimer], violin, and guitar as soloists. I dont
get the chance to perform with a full orchestra
that often, so I adapted it for quintet, and
it worked really well. And strangely enough
theres one song I recorded in two different
stylesSand Away the Years and It

Only Takes a Secret. This might seem
counterintuitive or strange, but I heard
the melody played two different ways,
with different keys, grooves, and tempos.
You recorded From the Crows Nest,
your bluegrass disc, in Sheryl Crows
barn. What was that like?
It was a really cool barn, a functioning
one. The studio was on the second level
and horses were underneath. There was
this very cool Western dcor and theme.
Being up there felt isolated, in a good
waya creative cocoon. We were really
able to put out the rest of the world for the
three days we were there. We got all those
tracks done, and there was a very minimal
amount of overdubbing and re-singing.
How much 6-string did you play on the
record and what guitar did you use?
Im mostly the mandolin player on this,
but I did play guitar on a few cuts, and
I used a Blueridge BR-260A, which is a
great dreadnought with an Adirondack

top and rosewood back and sides. For
mandolins, I used a Gibson F-5L, which
I bought new in 1980Ive been the
only ownerand a Kentucky KM-1000.
On that one, to get a little more of a
ringing sound when crosspicking, I
dropped in an aluminum bridge saddle.
Who are your benchmarks when
playing bluegrass guitar?
Definitely Clarence White and, through
him, of course, Tony Rice. And then
theres Doc Watson. Those are probably
my three favorite players. Theyre on
the same continuum to me. I also think
Bryan Sutton is fantastic. Hes probably
my favorite current player.
How does it feel to travel between
different styles like you do on
Divertuoso?
When I look back over 40 or so years so
far, it feels natural because of the way in
which the styles dovetail. But the logistics
can be challengingfiguring out how to

get the right gear to the right place at the
right time. Last summer I had to make
a chart to determine what I could fly
with and who might be able to loan me
something for a given gig. When I play
bluegrass I need a mandolin and a flattop
guitar. When I play Gypsy jazz I need a
guitar, a bouzouki, and a clarinet. And
at an electric show, I need at least two
electric guitars and a pedalboard. You can
only travel with so many pieces at a time.
How do you tie everything together?
Probably the first thing is melody. No
matter what style of music I do, Im
always attracted to a more melodic
composition. And on all three recordings,
I set out to make music you dont
necessarily have to be a guitar player or
musician to enjoy. Instrumental music
might be more attractive to musicians, but
hopefully the melodies are strong enough
to hold anyones attention, even if they
dont know the first thing about music.
PLAY LONGER
PLAY LOUDER
PLAY HARDER
premierguitar.com
Blueridge Guitars...More
Bang for the Buck!
hen its your instrument thats holding

you back, its time for a change. We
invite you to stop by your local Blueridge
Dealer and have an intimate conversation
with the guitar that will bring out the best
in you.
The secret of tone lies in the
details of design, selection of
materials and the skilled hand
of the craftsman.
The result is more bang
period!
The Quality
and Value Leader!
Blueridge BR-160 Guitar

Select, aged, solid Sitka spruce
top with traditional herringbone
purfling for tone and beauty
Expertly handcarved top braces
in authentic, pre-war, forward-X
position
Select, solid East Indian rosewood
back and sides for deep, rich tone
Carved, low profile, solid mahogany
neck and dovetail neck joint for
strength and stability
BR-160 Dreadnaught
To learn more about Sagas

Blueridge Guitars, visit
www.sagamusic.com/PG
Saga Musical Instruments
P.O. Box 2841 So. San Francisco, California

Connect with us on
GUITAR SHOP 101
The ABCs of Output Jacks

STORY AND PHOTOS BY JOHN LEVAN
here are many different types of

output jacks, including mono,
stereo, TRS, barrel, and power
types (Photo 1). Ultimately they all have
the same job: transfer the signal from
your guitar to the instrument cable.
Output jacks can eventually wear out,
causing the signal to be intermittent
usually at the worst possible time. Ever
been onstage and heard a crackling sound
or even silence when you jiggle your guitar cable in the jack? No fun.
When its time to replace a cranky
output jack, there are several things you
need to know before firing up the ol
soldering iron. The first step is to identify
what kind of jack you have and what will
make the best replacement.
Form and function. Almost every
type of output jack used on both acoustic
and electric guitars is referred to as a
1/4" jack, but as gearheads we have to
be more specific. Heres a list of the most
common types of 1/4" output jacks:
Mono: Used in most acoustic and
electric guitars with passive pickups.
Stereo: Used in acoustic and electric
guitars with stereo outputs or active
electronics.
TRS (tip-ring-sleeve): Used with active
electronics, active pickup systems,
or acoustic-electric guitars with two
independent sound sources (such
as an under-saddle transducer and
onboard mic).
Power: This is usually a stereo or TRS
jack attached to a preamp.
Each of these can be found in different

forms, including the open or skeleton
jack, the enclosed or panel jack, the barrel
jack, and the flange jack. Lets take a
closer look.
Electric guitars with passive pickups
typically have open jacks. I prefer the
Switchcraft brand, because they have
heavy-duty construction.
Imported guitars, especially budget
models, usually come with enclosed or
When its time to replace a cranky output

jack, there are several things you need to
know before firing up the ol soldering iron.
panel jacks. Often encased in plastic, these
jacks are inexpensive and tend to wear out
faster than a well-made open jack.
Acoustic-electric guitars often have a
cylindrical barrel jack that passes from
the inside of the instrument through
the tailblock. Secured externally with
a nut and threaded strap button, this
jack replaces the guitars endpin. Barrel
jacks can have mono, stereo, or TRS
configurations.
Takamine acoustic-electrics, as well as
some other acoustic-electrics, use flange
jacks. These have integrated endpins and
structurally resemble barrel jacks. They too
come in mono, stereo, and TRS styles.
Guitar applications. The most
common output jack for electric guitars
is the mono jack. It has two lugs: One
is the ground, and its part of the jacks
interior or case. The other lug is the hot
or primary lead. This lug is part of the
long, bent flange that connects to the tip
of your instrument cable.
A stereo jack is similar to a mono jack,

but its equipped with a third lug and a
second (shorter) bent flange. The latter
acts as a power switch for active pickup
systems by connecting and disconnecting
the third lug when a standard 1/4" plug is
inserted or removed from the stereo jack.
For example, when the black (negative)
wire of a battery snap is soldered to the
third lug, inserting a 1/4" plug into the
jack engages the battery by connecting
the negative battery wire to ground and
completing the circuit.
The TRS jack functions like a stereo
jack with the addition of a fourth lug and
third flange that allow you to add a second
pickup source. By using a stereo cable and
TRS plug, you can independently control
these two sources. This is useful when
you want to send each to its own preamp,
direct box, or amplifier.
A common use for a TRS jack is in an
acoustic guitar that has an under-saddle
pickup, as well as an onboard microphone
premierguitar.com
or a body sensor. For electric guitars, the

TRS jack works great for using magnetic
pickups in conjunction with a bridge
configured with piezo-pickup saddles,
like the L.R. Baggs X-Bridge.
Power jacks attach directly to a
preamp and can have either a stereo or
TRS configuration, and some preamps
are housed within a barrel jack. Power
jacks are found in many different
systems, including the L.R. Baggs Active
Element, Fishman Matrix, and Taylor
ES1 and ES2. Because most power jacks
are soldered to a printed circuit board,
they are difficult to replace without
damaging the electronics. If a power jack
fails, your best option is to replace the
entire unit.
premierguitar.com
How do I wire this thing? With the

exception of the power jack, all of these are
simple to wire if you take the time to map
them out. All of them will have a ground
and a primary lead, but they differ in other
ways. Heres a breakdown of those details:
Mono jack: The ground lug is attached
to the case and the primary lead lug
connects to the bent flange (Photo 2).
Stereo Jack: The ground lug attaches
to the case; the primary lead is the
short lug that connects to the longer
bent flange, and the long lug is the
power/battery switch that connects to
the short bent flange. Photo 3 shows
the wiring for a stereo open jack and
Photo 4 is a stereo barrel jack.
TRS jack: The ground lug attaches

to the case. The primary lead is the
short lug connected to the bent flange,
and the medium power/battery lug
connects to the short bent flange.
The longest lug connects the secondary
pickup to an isolated output
(Photo 5).
Okay, got all that? Greatsomeday
there will be a test ... and youll be ready.
JOHN LEVAN has written five
guitar repair books, all published
by Mel Bay. His bestseller, Guitar
Care, Setup & Maintenance, is
a detailed guide with a forward
by Bob Taylor. LeVan welcomes
questions about his PG column
or books. Drop an email to
guitarservices@aol.com.
ON BASS
Varying Techniques in a Song

BY VICTOR BRODN
uitar players have their pedals

and so do we, but to navigate
a song with several different
sounds, approaches, or tones, we often
need to alter our playing techniques
instead of quickly pressing a pedal or
switching the pickup selector.
As Ive mentioned in previous
columns, a skill vital to being a great
bass player is to be even. Being even is a
never-ending quest and cant be practiced
enough, much like playing in tune on
a fretless bass. I have colleagues who
practice with their eyes focused on a VU
meter to achieve maximum evenness.
Whatever your method may be, you must
practice it vigorously. Once you get to
the point where you think, Hey, Im
getting pretty solid with this stuff, the
real challenge presents itself: How to stay
even when switching between techniques
in the same song!
Recently, I had to learn Uptown
Funk by Mark Ronson featuring Bruno
Mars. Every time this tremendously
popular song came on the radio I rejoiced
in how loud the bass is in the mix and
how the bass part is rigid, but has enough
fills and tricks toward the end of the
track to make it feel truly alive. I always
thought Mars bass player, Jamareo Artis,
was great, but my respect for him grew
even more while learning this tune. There
are quite a few tricky spots, and playing
the part evenly while switching positions
takes some practice.
The bass enters on the second half
of the first verse. I made things harder
for myself by playing the main bass line
fingerstyle to keep the tone warmer
(Artis slaps most of the song). That
makes some of the quick fills extra
challenging. The post-chorus is built on
rapid-fire 16th-note hits that alternate
octaves. If youre slapping the bass like
Artis, you have two things to pull off in
that section: switching your right hand
position to fingerstyle and making those
fast notes tight, which I prefer to do
by using left-hand palm muting. Two
YOUTUBE IT
Follow Jamereo Artis funky, percolating, and multi-faceted bass line

as he drives Uptown Funk, by Mark Ronson featuring Bruno Mars.
YouTube search term: Mark Ronson Uptown Funk ft. Bruno Mars
seconds later a very quick slap lick that

needs to fit in seamlessly appears at the
1:20 mark. This part is easy to hear in
spite of occurring right in the middle of
the normal repeated phrase, which makes
it quite a bit harder when switching
between fingerstyle and thumping (as
Larry Graham calls it). That lick sounds
fluid, fairly easy, and funky on the record,
but takes practice to pull off.
At the 3:26 mark, there is a brief bass
solo of sorts. Everyone but the drummer
and Artis drops out, and he plays a
pentatonic fill higher up, which has the
unmistakable sound of fingers played
away from the bridge, closer to the neck.
He plays so hard that you can literally
hear the strings hit the neck as his fingers
press them all the way down before the
actual release of the notes. This technique
is by nature very loud, so the saving grace
is that its performed on the D and G
strings, which dont move as much air. To
play that fill with that amount of attack
and, again, match the volume to the
regular bass line is a challenge.
The outro of the song features all kinds
of bass ear candy. Every lick used to that
point is repeated in between the normal
notes of the bass line. The most prominent
lick is a horn-doubling riff that repeats
throughout the outro and first appears
at the 4:00 mark. That horn and bass
riff presents yet another opportunity to
practice your technique switching, and to
make it as smooth as possible.
If that song is too challenging, start
with this exercise. The entire exercise
should be played as eighth-notes and is
only two bars long. Start at a slow tempo
and slap the G on the 3rd fret of the
E string and pop the G on the 5th fret
of the D string. Play this pattern twice
and then move up the neck and play the

G on the 12th fret of the G string and
the G on the 10th fret of the A string,
fingerstyle. Repeat this pattern twice, too.
Not only are you switching techniques,
but youre also switching the direction of
the actual playing by going low to high,
then high to low. Remember to focus on
evenness not only between techniques,
but also within the octave. The slap
should be the same volume as the pop
and vice versa.
The second half of the exercise starts
by switching from fingerstyle to slapping
and popping the same octave starting on
the 10th fret of the A string. The trick
is to switch direction and techniques on
the same high octave without stopping
at all.
Last, you will move down the neck
and play the lower octave fingerstyle,
starting with the G on the 5th fret of
the D string, and drop the octave from
there. Increase speed as you get more
comfortable and make sure that the
volume is nice and even. Your ear will
not be distracted by hearing different
pitches in this exercise, so its easy
to diagnose unevenness. When you
get fluid, try Uptown Funk again.
Throwing in the little fingerstyle tricks in
the middle of the slapped bass line wont
seem so hard. This skill will obviously
carry over into any other song and give
you the power to make things a lot more
interesting and dynamic.
VICTOR BRODN is a Nashville
bassist and producer who has
toured and recorded with more
than 25 major-label artists,
including LeAnn Rimes, Richard
Marx, Casting Crowns, and Randy
Houser. You can reach him at
vbroden@yahoo.com.
premierguitar.com
THE BASS BENCH
Cold Facts About Strings

BY HEIKO HOEPFINGER
Bottom: This
disassembled
T-style guitar
and a batch
of strings are
about to take a
cold bath.
n a 1999 New York Times article

titled For the Musical Alchemist, a
New Tack: Cryogenics, author Terry
H. Schwadron describes a trend among
brass and woodwind makers to offer deep
freezing of trumpets and flutes as a way
to improve their sound. The article cites
both makers and scientists looking for
evidence that this technology actually
works, and their opinions could hardly
be further apart. This debate has raged
for years and continues todayat least
in the world of brass instrumentswhile
the process of deep freezing has spread to
other areas, including bass.
What is it? Cryoscopy is an
experimental method in analytic
chemistry used to determine the
molecular weight or amount of a
dissolvable or mixable substance in a
solvent. Meaning freezing measurement,
the term comes from Greek.
The related term cryogenic treatment
means something is exposed to very low
temperatures. The most popular coolant
is liquid nitrogen at its freezing point of
63 Kelvin (corresponding to -210 degrees
Celsius or -346 degrees Fahrenheit),
but for various reasons the practical
temperature is slightly higher at 77
Kelvin. Some systems even use helium at
temperatures of about 4 Kelvin.
Simply put, cryogenically treated
instruments or parts are exposed to these
low temperatures for about 30 hours.

The claim is that when these objects
are brought back to room temperature,
something has changed. Companies
offer the treatment for strings, pickups,
bridges, and even complete instruments,
with strings being the most successful
product when it comes to market share.
The cold, hard truth. Because strings
are relatively simple in terms of material
and construction, they offer a useful way to
see if this process can offer any real-world
advantages or whether its all voodoo.
For bass strings, were most often dealing
with stainless steel in both the core and
outer windings. One certainly cant expect
that making something coldradically
reducing the vibrational movement of
the moleculeswill alter the chemical
structure ... except in a few special cases.
And stainless steel is one of them.
In certain steels, the changes during
a cryogenic treatment happen via a
diffusionless transformation of atoms,
which form different crystal structures
that remain stable at room temperature.
This process yields higher strength and
hardness, and thus reduces wear, so its
widely used for tools, bearings, and engine
parts. No similar transformations are
known to take place in copper or silver.
So even though we start to smell
marketing B.S. when statements like
every major NASCAR team treats
their engine components for added

horsepower are used as an argument for
buying a set of strings, the underlying
process isnt voodoo.
Whenever a new technology creeps
into our world of instruments, theres
usually not much further evidence to
support marketing claims, but one
elusive study on acoustic guitar strings
finds increased stiffness of around 30
percent and a modulus of elasticity
(Youngs modulus) of about 20 to 80
percent. Additionally, the researchers
measured an increased amount of upper
harmonics, although often at the cost of
the low end (Chen Jer Ming, Cryogenic
treatment of music wire, 2004, National
University of Singapore).
The implications. So what does this
mean for bass strings? Hardened strings
provide some real-world advantages,
starting with improved tuning stability
and increased longevity. In addition, the
toneespecially the upper endwill not
decay as fast as the strings start to age.
This will be especially welcome news if
you play slap-style because that technique
is particularly hard on standard bass
strings. The only possible downside to
hardened strings could be increased fret
wear and, of course, the higher cost of a
cryogenically treated set.
Next time well look at some
hardwareand even instrumentsto
discover what might happen when these
items get thrown into the cold.
HEIKO HOEPFINGER is a
German physicist and long-time
bassist, classical guitarist, and
motorcycle enthusiast. His work
on fuel cells for the European
orbital glider Hermes led him to
form BassLab (basslab.de)a
manufacturer of monocoque
guitars and basses.
Photos courtesy of cooltech.at
Top right:
Although the
change is
invisible, theres
evidence that
bass strings
benefit from
cryogenic
treatment.
premierguitar.com
NEW
SOUNDS
FROM BOSS
VO-1 VOCODER
An innovative vocoder/talkbox for powerful
vocal expression on guitar, bass, and more.
VB-2W VIBRATO
The legendary analog pedal reborn
with new custom features.
BC-1X BASS COMPRESSOR
A studio-quality multi-band compressor
pedal for bass players.
w w w. B o s s U S . c o m
STATE OF THE STOMP
In Defense of Noise
BY PHILIPPE HERNDON
The potential
sources of
noise are both
maddening and
manylying
in wait along
every step of the
signal chain,
and beyond.
fter being a player, tech, and

industry observer for 30 years,
one of the things Ive come to
grips with is the cyclical nature of trends.
Shredding is in, then very much out,
then back in but with an ironic smirk,
then out again in purported service of the
song or ideals of good taste, then back in
again. The same back and forth could be
said for big amps, skinny jeans, floating
tremolos, offset guitars, dotted eighthnote delays, and a host of other aesthetic
and sonic considerations.
Lately the trend on the upswing is
concern about noise. With all those
Jazzmasters and fuzz pedals on social
media gear pages, I thought this was on
the downslope, but the most prominent
worry or concern we hear from customers
is noise. Is this pedal supposed to be this
noisy? Am I using this incorrectly? Why
is this noisy with my rig?
For a designer and builder, noise is a
curious thing. I can breadboard things
to the ends of the Earth and it will be
quiet. We can test it with every guitar we
can acquire through every amp we can
find. We get prototypes completed, tweak
some values because of the differences in
shielding and parts placement on a PCB,
and then we get a final version. We run
it into every amp we have, give it the
go-ahead, and begin spending money
we hope to recoup. Then we release it,
somebody calls and tells me its kind of
hissy through their specific amp, and lo
and behold, it iseven with everything
else accounted for. I then find another amp
just like what the user has, try our pedal
thereand it is noisy. Hmmm. Then I
find another like that, and its quiet.
Its enough to make designers want to
pull their hair out and/or light themselves
on fire. Like most men of my age, I just
grit my teeth, bury my emotions, and
probably eat or drink more than I should
and give myself an ulcer. Anyone else?
We follow the RFI/EMI noise
reduction practices I have in my notes
and textbooks. Sometimes certain
discrete components or integrated

circuit designs are kinda noisy. So are
my record player and my 70s hi-fi. But
I think they all can sound terrific. At
some point, some things are beyond
my control. The amps people play, the
wiring in their homes, their proximity
to a weird dimmer or gospel radio
station, their ability to assemble a DIY
patch cable, the authentic single-coils
in their guitars, the vintage blackface
Fender amp or Vox top-boost with a
two-prong power cable ... theres only
so much you can work around. We
make something we think sounds really
beautiful and fun and imperfect, and
hopefully inspiring and great. We hustle
to make it a good pedalboard citizen,
and then, we kind of have to live with
it. We do a lot more to fight noise than
most pedals Ive opened up and studied,
and Ive seen a lot. Im always game to
do more, but if endlessly chasing that
dragon means we never get around to
releasing something that were excited
about, thats just no fun for anyone.
I also wonder whenever there is a
stacked single-coil pickup or a noise gate
that really just eliminates noisecould
it really be doing nothing but that?
Something else had to be changed in that
design or signal path for it to work. Is
that change positive? Does that singlecoil hum that comes from my Strat when
Im running into a drive somehow make
me feel like everything is a bit more ...

alive? Am I the only one who feels that?
I also once had a very expensive tube
amp steadily increase hum to where it
just broadcast a loud ground hum that
eventually overpowered whatever I was
playing into it. As it happened, I wanted
to fill it with dog poop and light it on
fire and leave it on the manufacturers
doorstep. So does this make me a
hypocrite, a flip-flopper, or just a guy like
most of us who have drawn a line in the
sand that works for them?
Someone once told me: Nobody
ever returned an album or demanded a
refund because of single-coil hum. While
that sounds dismissive of what can be a
genuine concern, I hope you consider
that idea as a player or user. Most pedals
are audio amplifiers to some degree, and
whatever you feed themgood, noisy,
or badwill be altered by some order
of magnitude. Find your acceptable
threshold and learn to work around
it. Some venues or studios will simply
remove guitars, pedals, or amps youve
been dead set on using. In the end, what
matters is the performance.
PHILIPPE HERNDON is the
founder and chief product
designer at Caroline Guitar
Company. One day he might
actually get around to making
a guitar. He likes pretty much
any British TV series that
Netflix recommends for him.
premierguitar.com
Introducing the AV Series from VOX, offering players 8 all-analog amps in one.
VOXs new AV Series uses a pair of 12AX7 tubes and a unique analog circuit design
to deliver robust guitar tones, reminiscent of the most coveted amplifiers of all time.
VOXAMPS.COM
Configured with the right accessories and apps, todays smartphones,

tablets, and laptops let you track virtually anywhere you happen to be.
Heres what you need to know.
BY EMILE MENASCH
n the early 1970s, mobile recording studios were the size of trucks. Actually, they
were trucks. The first famous examplethe legendary Rolling Stones Mobile
Studiosat atop the chassis of a British Motor Corporation Laird lorry.
Today, a mobile studio can be as small as a laptop, tablet, or smartphone.
Throw in the growing power of compact stand-alone recorders, and you have
an overwhelming number of potential tools for recording that can fit in a backpack
or back pocket. The combination of power and portability is redefining our very
understanding of the concept of mobile recording.
[A mobile device] is capable of recording everything from a songwriters demo to a
fully finished track, but in its own way and time, says Vincent Leonard, co-author with
Thomas Rudolph of The iPad in the Music Studio: Connecting Your iPad to Mics, Mixers,
Instruments, Computers, and More! and Musical iPad: Creating, Performing & Learning
Music on Your iPad. It can [also] function as an extension of a desktop system
allowing you to work on projects remotely and finish them in your home studio.
I would define [mobile recording] as recording music anywhere in the world
outside of a commercial studio or your own home setup, says Rich Tozzoli, whose
credits include production and engineering for artists like Al Di Meola, Ace Frehley,
and David Bowie, as well as composing original music for Fox, the NFL, Pawn Stars,
Duck Dynasty, and others. For mobile situations, less complicated recording systems
are better.
Choosing a mobile recording device is about balancing factors like portability,
simplicity, fidelity, and flexibility. The sweet spot is often less about the equipment than
it is about your working method and the task at hand. Rather than make some blanket
recommendations, lets look at things to consider for a number of common situations.
Capturing Ideas: Keep It
Simpleand Light
The Muse can be a cruel mistress. She
shows up unannouncedand she doesnt
like to stick around. So while shes there,
youd better be ready to grab everything
shes giving you. For mobile Muse patrol,
you need a recorder thats easy to keep
close at hand and that gets ready to track
as quickly as possible.
A standalone recorder or a smartphone
with a basic recording app can each work
well here. Even a compact camera, like a
GoPro, can serve you well. But no matter
what hardware youre using, readiness is
more important than any other feature.
Your device needs to be charged and it needs
premierguitar.com
to have enough available storage memory

to capture the idea. Most important, you
have to have the device with you. A small
stand-alone recorder is greatif its handy.
But thats a big if. A smartphone, on the
other hand, is likely to be within arms reach
most of the time. How else would you
play Candy Crush Saga while youre on a
conference call? So even if you do have a
stand-alone recorder, it pays to set up your
phone for recording as well.
How elaborate does that setup need
to be? Again, readiness is your goal. You
can plug in an external high-end mic
for better sound. There are a growing
number of options from leading
manufacturers like Shure, Sennheiser,
Audio-Technica, and
others. But if it means
shifting focus from
the creative flow, dont
bother. You dont need
great sound to capture
an idea.
That said, recording
quality isnt completely
unimportant. You dont
want things to be so
distorted or lo-fi that you
cant hear that brilliant,
complex chord you just
played by accident. With
a stand-alone recorder, this isnt much of
an issue as long as you position the mic
close enough to the source and adjust the
input levels accordingly. If it has direct
inputs and your guitar has a pickup, all
the better.
If youre using a phone, tablet, or
computer, the devices internal mic may
even be okay. Remember, youre looking
for clean, not studio quality. The app
youre using can make a difference,
however. The audio apps that come
with most phones are usually designed
for voice. They tend to offer limited
frequency response and store recordings
in space-saving (but bad-sounding) lowresolution audio files.
Youre actually better off using your
phones video camera to capture sound.
The sound quality can be quite good,
but because video is data intensive, the
file will be huge. Use the camera for
quick captures, not long sessions. Ive
run out of storage space in the middle of
recording, didnt realize it, and lost some
ideas as a result.
So it pays to invest in a basic audiocapture app designed for music. One
A stand-alone
recorder, like the
Tascam DR-40, is
ideal for making
a homework
tapea clear
recording of
your bands
practices and
performances.
The advantage?
Larger storage
space and
the fact that
a dedicated
recorder wont
be interrupted
by calls, texts,
and other
intrusions that
can plague
phones and
tablets.
MAKING ALBUMS
ON iPADS
With an iPad,
recording
software, and
a batteryoperated
interface like
the Apogee
One, you can
record wherever
and whenever
inspiration
strikes.
of my favorites happens to be free. We

wrote about Spire in our January 2016
issue (Recording Roundup 2016).
What makes it especially good for
mobile use is that it boots fast, records
up to 4 tracks of high-resolution audio,
and provides a number of file-sharing
tools. Its DSP enhances the sound of
the phones built-in mic, and while it
wont make the mic sound better than a
quality external interface or microphone,
its quite an improvement over the
unprocessed input.
If youre using a portable device,
make it a point to copy the files from
your device regularly and keep them
organized. Not only will this make
it easier to back things up, it frees
memory on your recorder, which can
become an issue more quickly than you
might thinkespecially with tablets
and smartphones that also store games,
movies, books, and other apps.
Doing Homework: Stand-Alone
Devices Rule
If youre serious about performing, few
things are as valuable as the homework
tapea simple but clear recording of
your bands practices and performances.
I always think of these as capture
sessions more than recording sessions.
You want an accurate representation of
the music, not a self-conscious recording.
As a result, the ideal tool will be
something that can run happily in the
background, without forcing you to
stop. Recording time and ease of use are
primary considerations, but flexible inputs
and other extras are welcome additions.
Stand-alone recordersespecially
those with built-in mics and removable
storagecan be ideal for this. You can
set the machine up some distance away,
point its mics at the music, hit record, and
forget about it for the rest of the night.
A mobile phone or tablet may be able
to get you through an entire session,
but for peace of mind, a stand-alone
recorder is probably a better choice
thanks to its larger storage space and
the fact that it wont be interrupted by
phone calls, texts, and other intrusions
that can plague phones and tablets.
And avoiding interruptions is the key:
Most stand-aloneseven those at budget
pricescan record in both compressed
(like MP3) and uncompressed (AIFF or
WAV) audio formats. And although the
uncompressed audio offers higher fidelity,
youll save spaceand therefore increase
potential recording timeby using a
compressed format. When youre tracking
with mics from across the room, youll
hardly notice the trade-off in sound quality.
In addition to storage, you also want
to make sure that your device isnt going
to run out of juice midway through
the session. If its an option, run it on a
plug-in power supply. If you are using
batteries, make sure theyre fresh or
freshly charged.
When it comes to placing the unit
and setting your recording levels, thats
a matter of trial and error. If youre
recording in the same space regularly
(such as a rehearsal studio), pick a spot
and use it as consistently as possible.
Take the time to do a quick level
check by recording a song at the start of
rehearsal or during soundcheck. Listen
back, and adjust your input levels and
placement as needed. I always keep the
levels just a little lower than optimal
because bands tend to get louder as the
night progresses.
Heres an idea to consider when
youre capturing a live show: If your
recorder can use its internal mics and
external line inputs simultaneously,
combine the mics with the feed coming
from the PAs front-of-house mix. This
can be especially good if each input is
saved to its own audio file, because you
In late 2011, the music

industry went abuzz after
learning that Gorillazs album The
Fall had been recorded on co-founder
Damon Albarns iPad during a U.S.
tour. I literally made it on the road,
Albarn told the Guardian. I didnt
write it before, I didnt prepare it.
I just did it day by day as a kind of
diary of my experience in America.
Albarn used a wide range of
apps to make the album (which
was mixed when he got back to
England), but indie punk duo the
Ultramods described how they only
needed GarageBand for iPad to
make Underwear Party. I see [the
GarageBand app] as an everythingcombined-into-one package,
lead singer Max Bunny Sparber
told Wired magazine. Both new
musicians and professional musicians
are going to be very surprised with
what they can do with it.
These days, theres a lot less geewhiz factor around mobile devices,
so its unlikely that recording on a
tablet is going to be any more central
to an albums publicity campaign
as recording with a laptop. But
whether mobile devices are used as
a complete studio or as a part of
the production process, its clear that
pros are finding a place for such gear
in their work.
In a detailed 2014 MacWorld article,
Andrea Pejrolo, Assistant Chair of the
Contemporary Writing and Production
Department at Berklee College of
Music, explains how he used the iPad
as a complete production system
to record sessions for indie artist
and composer Ella Joy Meir. While
admitting that the iPad had some
limitations compared to laptops in
terms of storage, he notes that there
are also advantages that go beyond
its small form factor. If you are
planning to record in a space where
your sound engineer and performer
are in the same room, the iPad has
the advantage of being dead quiet,
he says. And then theres the cost:
iOS offers the convenience of a touch
display and the portability of a laptop,
but with a much smaller price tag.
FENDER
CUSTOM SHOP
60s Empress Relic
Telecaster
Masterbuilt By
Yuriy Shishkov
(112036074)
60s Empress Journeyman

Relic Stratocaster
Masterbuilt By
Yuriy Shishkov
(112036058)
MARSHALL
Astoria AST2 Custom
30W Hand-Wired Tube
Guitar Combo
(111632998)
SEE THESE INSTRUMENTS AND MORE AT GUITARCENTER.COM/PLATINUM
THE INS AND OUTS OF MOBILE INPUTS

The idea of recording an album on
a phone or tablet seems like more
fun than hauling around a laptop or
stand-alone recorder. Computers are
for work; smartphones and tablets
are for play.
Then again, theres nothing fun
about recording music and having
it sound like, well, you recorded
it on a cell phone. Fortunately, a
growing number of manufacturers
are bringing betterand, in some
cases, pro-levelaudio quality to
mobile devices. As with computer
interfaces, these connect to a
data portcurrently, the majority
work with Apples Lightningand
offer analog-to-digital-to-analog
conversion. Among them are a
number of options offering 24-bit
resolution at sample rates as high as
192 kHz. (All prices listed are street.)
Apogeeknown for making
high-end A/D converters and
interfaceswas one of the first
computer audio companies to
get serious about mobile. The
development shows in their
latest array of mobile accessories
ranging from the $129 Jam 96K
to the $1,395 Quartet. The latter
boasts four mic preamps, an
8-channel Lightpipe I/O, and the
ability to work with both Mac and
iOS devices.
PreSonus has affordable
and compact interfaces
that can connect directly
to both computers and iOS
devices, including the $99
2x2 AudioBox iTwo (left),
which offers both audio
and MIDI I/O and comes
with the companys free multitrack
mobile app, Capture Duo.
Shure made a splash last fall
by introducing MOTIV series
microphones and interfaces
designed specifically for the latest
generation of iOS devices. Priced
between $69 and $199, the series

includes mono and stereo mics, as
well as the MVi, a guitar-friendly
interface that can also work with
a computer. Other pro audio mic
makers have been going mobile
as well. Sennheiser offers a pair
of clip-on mics that seem targeted
more to video work than music, but
with Apogee converters, the $199
ClipMic Digital does the trick.
Rodes lineup of iOS mics includes
two stereo condensers: the iXY-L
($199) has a Lightning connector,
while the iXY ($149) is both
less expensive and sports the
increasingly hard to find 30-pin
connector of old. And Blue
Microphones Mikey Digital ($99)
can mount directly to an iOS device
and has an auto-sensing level and
multiple gain settings.
In addition to making a number
of popular handheld standalone recorders, Zoom recently
released the iQ series of
versatile Lightning-compatible
mics, ranging from $69 to $99.
Focusrites stable of iOS interfaces
includes the two-channel,
24-bit/96 kHz iTrack Dock ($199),
which lets you dock and charge
your iPad while feeding it mic,
line-level, or MIDI signals.
While IK Multimedias original
iRig series connected via the
headphones jack, the companys
new iRig Pro series, topped by
the two-channel PRO DUO ($199),
uses Lightning for better audio
quality. The Line 6 Sonic Port ($99)
offers both Lightning and 30-pin
connections and comes with a
mobile version of the companys
POD amp/effects modeling app.
Youll also find an array of compact
USB interfaces and microphones
that can be made iOS-compatible
with an Apple Camera Kit or
Shures highly adaptable MV51

digital large-diaphragm mic has five
DSP modes optimized for voice, analog
instruments, and more.
Lightning-to-USB Camera Adapter,

such as Apples $31 MD821AM.
Among the latest is Steinbergs
new UR22mk2 ($149), which
can record at sample rates as
high as 192 kHz and comes with
Cubasis LE, an iOS version of
the companys popular pro-level
DAW, Cubase. Rolands $179
Duo-Capture EX offers 48 kHz
A/D recording, MIDI, and more.
The Audio-Technica AT2020USBi
($199) mates a large-diaphragm
side-address condenser with a
USB interface that can work with
Windows, Mac, and iOS devices.
Finally, if youre looking to make
your iOS recording rig part of
your performing setup, youll
find a few mobile interfaces in
the pedal format. Sonoma Wire
Works $299 GuitarJack Stage has
four footswitches, high-Z inputs
specifically designed for guitar
and bass, and knobs that can be
used to control iOS or computer
amp modelers.
premierguitar.com
can then upload the files to a digital audio

workstation (DAW) and mix the room
sound from the mics with the board mix
from the direct feed.
Multitracking: Apps and
Interfaces To Go
Sometimes I think multitrack recording
should be called multi-personality
recording, because so many different
approaches fall under the multitrack
umbrella. Are you working alone and
building tracks one at a time? Recording
a band? Are you only recording acoustic
and amplified instruments like voice
guitar, drums, and tuba? Or are you using
electronic and software instruments along
with your guitar?
As youre putting your system together,
consider what you hope to do with the
tracks after you record them. Do you plan to
produce and mix complete tracks with your
mobile rig? Or are you going to hand your
tracks off for later overdubs and mixing?
Although some stand-alone recorders can
handle multitrack recording, well focus on
more production oriented setupsDAW
software running on a computer or mobile
device thats mated to an audio interface.
For guitarists, the software might include
the recording app itself along with ampmodeling plug-ins, other effects, software
instruments, and more.
If youre looking for a small footprint,
youll find a number of options for
iPhone or iPad. Apples own GarageBand
($4.99) is built for these devices, and
offers easy compatibility between mobile
and computer versions of the software, as
well as Apples professional DAW, Logic.
PreSonus Capture ($9.99/free demo) offers
basic multitrack recording in an elegant
interface. If youre willing to spend more,
$24.99 will get you Steinbergs Cubasis for
iPad (a streamlined yet powerful version
of the companys Cubase Pro PC/Mac
sequencer), or Auria by WaveMachine
Labs, an audio-focused app that seems to
be modeled on Avid Pro Tools.
Although these tools can be used to
produce complete mixes, they are limited to
some degree by the platform. Tech always
has a tradeoff, Leonard says. An iPad, for
example, offers a lot of production power
Voted Best of Show at 2016 NAMM. Visit reverendguitars.com to begin your journey of escaping mainstream.
premierguitar.com
in a small package, but that comes with

restricted storage and a limited use time
unless youre able to charge the unit while
you work. When you finish a session,
you will need to transfer your tracks so
the device doesnt fill up. That process is
a little slower than copying files over a
computer network. Get into the habit of
transferring files in any free time. Because
once youve filled up your device, you
cant work until you free up more space.
For production work, an external
interface and a quality external mic
is definitely recommended. On the
lower end of the price scale, youll find
options that use the mobile devices
headset input. This category includes a
number of devices designed for guitar,
including IK Multimedias iRig series, the
RapcoHorizon iBLOX, and others, which
have 1/4" connections for an electric
guitar or bass, as well as a jack for stereo
headphone monitoring. But the headset
input still uses your phones analog-todigital converters, so the sound isnt great.
For serious recording, an external

interface that connects to the phones
USB input (currently Lightning for iOS
devices) will offer much better sound.
The options continue to grow, including
several that boast instrument inputs for
direct recording of your guitar or bass.
Many of these compact interfaces can also
be used with a computer, making them
both economical and flexible. Guitarfriendly models include IK Multimedias
iRig PRO, Fender Slide Interface, Line 6
Sonic Port VX, and Apogee Jam (among
others). Youll also find all-purpose
interfaces that let you plug in a 1/4"
cable, standard microphone, or use an
internal mic. The compact Apogee One,
for instance, has a built-in mic as well
as a removable harness with 1/4" and
phantom-powered XLR inputs. The
Focusrite iTrack Pocket iOS interface acts
as a dock and has built-in DSP. PreSonus
AudioBox has a more traditional USB
audio interface form factor and connects
to both computers and mobile devices.
If the USB interface has its own power

supply, it can even be used to charge your
mobile devicesomething that seems
like an extra when you read the features
list, but turns out to be a big deal when
youre in the field.
For a mobile setup that can come close
or even match a home or project studio,
a laptop and interface seems like the way
to go. It can still be portable, and its easy
to add or subtract peripherals as needed.
If you want something truly portable
and dont need to record more than two
independent sources at a time, a small
bus-powered USB interface should have
you covered.
Make sure that all components
are of good quality and work well
together, adds Steve Oppenheimer,
VP of marketing at PreSonus, which
makes audio interfaces for computers
and mobile devices, digital mixers, and
software. In addition to selecting a
quality, bus-powered interfaceyou
want bus power because an interface
(716) 630-7030
premierguitar.com
CLASSIC TONE MEETS

IBANEZ PERFORMANCE
Talmans simple beauty is a testament to a common Ibanez theme:
our commitment to empowering player performance. By applying
a vintage design sensibility with Ibanez know-how, weve built the
guitar you didnt realize you could have.
Check out the complete line-up at ibanez.com
FAST ACCESS NECK-JOINT
Full, comfortable access, all the way to the upper end of the fretboard is one
of the de ning characteristics of Ibanez playability.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
STRAIGHT STRING-PULL DESIGN
The advantages of less drastic string break angles are many, both mechanically
and harmonically. Talmans Gotoh Locking Machine Heads help secure
uncompromised intonation, while staggered tuning peg holes alleviate
the need for compensating components like string trees.
FLATTER RADIUS FRETBOARD
The rounder fretboards designed 70 years ago made sense thenbecause

of the way guitarists played 70 years ago. Talmans 12 radius enables more
nimble ngering, and doesnt choke out from extreme string bending.
that requires AC power is not entirely

mobileyoull need a good microphone,
headphones, and cables, as well as
recording and production software and a
reliable laptop or tablet computer, such as
an iPad.
If you need more inputs, there are
plenty of mid- to high-end interfaces
to choose from. A good unit capable of
recording eight or more individual tracks
will fit in a single rack space and can be
shoved into a laptop bag in a pinch. If
the interface has built-in mic preamps
and instrument inputs, it can serve as the
sole peripheral (minus mics, headphones,
and cables). With eight inputs, you can
record a whole band, capture an electricacoustic guitar on two independent tracks
using its internal pickup and an external
mic, and much more.
Packing for Tracking: Be Prepared
According to Tozzoliwho regularly
does pro-level sessions away from his
main studiothe specific equipment
you choose for your mobile rig is less

important than the way you organize
your gear. One missing pieceno matter
how smallcan sabotage a session.
For me, the essentials include a
computerusually a laptopinterface,
speakers, headphones, and all the
necessary cables, he explains. I have
several setups that vary in scope. The
simplest is a MacBook Pro with a
Universal Audio Apollo Twin interface
running Pro Tools 12 and Propellerhead
Reason. The next level up is a Universal
Audio Apollo 16, with a variety of
FireWire outboard eight-channel preamps
from Focusrite and Audient, again
running Pro Tools 12.
With either rig, whenever I go
remote, I like to bring the same gear,
packed in exactly the same wayevery
time. For example, in my laptop bag,
I have the charger, the external hard
drive, all cables and adapters, and
even the iLoks in the same place. That
way, if something is missing, it has a
better chance of registering with just a

quick glance.
I also create a written checklist in my
iPhone to make sure I have everything. It
gets easier the more you do it, and now
its second nature.
A few years ago, a studio like the
one Tozzoli just described would take a
desktop computer and card-based audio
interfaces, not to mention a rack of gear.
Now you can do it all with a laptop.
Will tablets and smartphones go the
same way?
When I started working with music
on the iPad four years ago I thought it
might become the new Portastudio,
Leonard says. When we started writing
The Musical iPad, the industry was
exploding with products. In some ways,
its like watching a repeat of 30 years
ago when MIDI and the computer were
starting to come togetherdealing with
the limitations of the hardware and
watching the software developers ask for
more power and flexibility.
the Straight Truth About Pickups by Jason Lollar

The magic found in some (but not all) classic vintage pickups
was created by accident. Dont let anyone tell you different. And
over time, some pretty stellar accidents happened. The only way
to recreate that magic is to study more than a few exceptional
examples of all the classic pickup types, while acquiring a
thorough understanding of exactly what materials were used
and precisely how each pickup was constructed and wound. Only
then is the magic repeatable, if you are willing to spend the time
and money required to chase the dragon. I am.
I personally design and wind over 30 different pickup models,
including all the vintage classics, many obscure works of art
known only to lap and pedal steel players like Robert Randolph,
and even a few of my own designs that never existed in the past.
I invite you to visit our website for sound clips, videos and
current product information, or feel free to give us a call.
Lollar Pickups,Tacoma, WA. (206) 463-9838 www.lollarguitars.com
premierguitar.com
Charlie Sexton
and Collings Guitars
Charlie Sexton with his custom Collings SoCo Deluxe
Serious Guitars | www.CollingsGuitars.com | (512) 288-7770
MOD GARAGE
Riptide Stratocaster Wiring
layers who dont want to change

guitars onstage often ask us if we
can cross a Stratocaster with a
Telecaster. After exploring this Strat-Tele
concept for many years in our shop, we
came up with a custom model called the
Riptide (Photo 1). The ideal crossover
guitar combines both electrical and
physical attributes, and Ill describe both
in case you want to build your own
Riptide-inspired guitar. That said, simply
implementing Riptide wiring into your
own standard Strat will bring you closer
to a crossover guitar than anything you
may have tried before.
Before I describe how to do this, lets
summarize what most players seek from
merging these two worlds. They want the
comfort and playability of a Strat with
its deeply contoured body, neck profile,
and balance, as well as its parallel-wired,
bridge-plus-middle and middle-plus-neck
pickup combinations. For the Tele, the
appeal lies in the twangy, snappy sound
of its bridge pickup, a dedicated bridge
tone control, the boxy tone of the
neck pickup, and the guitars distinctive
bridge-plus-neck pickup combination
(again, wired in parallel).
Physical construction. Our basic
platform is a Stratocaster body plus a
maple neck with a soft V-profile and
rosewood fretboard. For the body, we
use extremely lightweight swamp ash,
which was what Fender typically used
for early Telecasters. (There are vintage
swamp ash Strats, but Teles were more
common.) For a classic Tele look, we
finish the body in butterscotch blonde.
String-through-body construction plays
an important role in Tele tone, so we
skip the tremolo, opting instead for a
hardtail Strat bridge with 6 individual
saddles. On a Tele, the bridge pickup
mounts directly into the metal bridge
another key ingredient in classic Tele
toneso we use a metal Strat pickguard
to place some steel around the pickups.
We powder coat our pickguards, but
alternatively you can paint them.
Electrical layout. The main goal is

Fig. 1
to cram as much Telecaster vibe into
the Strat wiring as possible without
overwhelming those signature Strat
tones. Balancing the pickups is tricky:
You want a bold Tele bridge tone, yet
also the clucky bridge-plus-middle Strat
sound. And you want the boxy character
of the Tele neck pickup, yet it should
look like a Strat pickup and have some
of its sonic glory.
To allow the bridge and neck pickup
RWRP, so be careful not to end up with
to work together in parallel la Tele, we
an out-of-phase ensemble.
connect an on-off (SPST) switch to the
The neck pickup has a Strat shape,
neck pickup. This is nothing newits
so it too fits a Strat pickup cover and
the good ol Stratocaster 7-Sound mod. pickguard. It sounds like a typical Tele
(The subject of our September 2008
neck pickup when combined with the
column.) We altered the layout of the
bridge pickup in parallel, but like a Strat
two tone controls so one knob works
neck pickup when played solo with the
with the bridge and neck pickups (as on
tone control wide open. Depending on
a Tele), while the second one controls the the tone cap you use, the neck Tele tone
middle pickup.
emerges when you roll the tone knob
The bridge pickup is constructed like
back about 30 percent. Weve never
a Telecaster bridge pickup, yet its shaped
found a pickup like this on the market,
like a Strat pickup so it fits the latters
but there are metal covers (open and
pickup covers and pickguard. It has the
closed) available for Strat pickups, and if
typical Tele metal baseplate and is custom you put one on your existing Strat neck
wound to emulate an early 50s Tele
pickup, this will get you into the tonal
bridge pickup. We offer all the Riptide
ballpark. For extra shielding, you can run
pickups individually or as a set for a
a wire from the metal cover to ground,
decent price, but a viable alternative is
just like on a real Telecaster neck pickup.
the Seymour Duncan Twang Banger Strat
We use an open-frame 5-way switch,
APST-1. Simply adjust it a tad lower than three 250k audio pots with a vintage
usual for a good Strat tone when paired
60:40 ratio, NOS 0.05 F ceramic disc
with the middle pickup.
caps from the early 60s, and cloth-covered
The Riptide middle pickup has the
wire. The Riptide wiring diagram (Fig. 1)
same winding direction as the bridge
shows all the other changes compared to a
pickupits not a reverse-wound, reverse
standard Strat wiring. Thats it!
polarity (RWRP) model designed to
Next month well try to stuff as
cancel hum when combined with the
much Stratocaster goodness as possible
bridge or neck pickup. We did this to
into a Telecaster. Until then ... keep on
emulate the beautifully open, defined
modding!
tone of vintage Strats. Because the middle
pickup has to compensate for what the
DIRK WACKER lives in Germany
and has been a guitar addict since
bridge pickup lacks in Strat character, we
age 5. Hes also a hardcore DIY-er
had to tweak its construction to create
for guitars, amps, and stompboxes
and runs a website on the subject
classic bridge-plus-middle Strat tones.
(singlecoil.com). When not
As an alternative, I recommend a Fender
working at his guitar workbench,
he plays country, rockabilly, surf,
Custom Shop 54 Strat or Fender Texas
and flamenco. Contact him at
Special middle pickup, but the latter is
info@singlecoil.com.
Wiring diagram courtesy of singlecoil.com
BY DIRK WACKER
premierguitar.com
Slick SL60
Slick SL52
Xaviere XV845
Xaviere JT100
Xaviere XV975
XGP Archtop
Bodies
XGP Repair
Workstation
GFS Gold Foil

Pickups
XGP Bound Necks
Only the best stuff at the very lowest prices... At Guitarfetish.com we sell the very best guitars, basses, cases, parts and pickups, priced at wholesale,
direct to the public. Whether youre looking to build, buy or upgrade a guitar, Guitarfetish.com is the place to shop!
All of our products are designed by musicians, for musicians.... priced for musicians. Remember, you can ONLY buy GFS Pickups, GFS Electronics,
Xaviere Guitars, MODboards, Slick Guitars and Slick Pickups and XGP Parts from Guitarfetish.com... Wont you stop by and check us out?
Slick, GFS,, XGP, and Xaviere, are sold exclusively at
www.Guitarfetish.com
ASK AMP MAN
Reviving an Alamo Fury

BY JEFF BOBER
nce again Im going to stray

from the typical format for this
months column. Instead of
attempting to answer a readers question,
Im going to feature an amp that came in
for servicing. Okay, if you really need a
question, well go with, Hey Jeff, I just
acquired this cool old amp. I dont know
too much about it, but its dead. Id like
to know if its repairable, but I dont know
what its worth or how it sounds, so I dont
want to invest too much in the repair.
The amp in question is an Alamo
Fury combo. Remember the Alamo?
No? Me neither. I dont know if Ive
ever seen one before, and if I have, it
wasnt this model. This combo has two
7868 output tubes and appears to have a
single 15" speaker. But waittheres only
one 12AX7 tube. Hmmm, a couple of
possible scenarios here, so lets see whats
going on under the hood.
Because the output is directly wired to
the speaker, the first move is to remove
the rear panel of the speaker enclosure
and disconnect the speaker. This reveals
a stock 15" speaker (Photo 1) stamped
67-7307. This would be an Eminence
speaker (67) that was manufactured in
the seventh week of 1973 (7307).
So now its on to the electronics.
Upon pulling the chassis, the question
of a circuit with only one 12AX7 is put
to rest. That tube was used as a phase
inverter, which means that the front end
of the amp is solid state. I would have
already known this had I taken the time
to look at the tube chart first (Photo 2),
which is on the inside wall of the cabinet.
Its actually a hybrid chart and happily
touts the fact that the Furys preamp is
powered by a 2N5210 transistor! It also
appears to tell us that the amp has a solidstate rectifier, as denoted by the diode
symbol. Okay, mystery solved. Now lets
see why the amp will not power up.
Multimeter in hand, I did a quick
check of the fuse. It shows continuity,
although I dont think a 10-amp fuse
belongs here. That could easily cause
WARNING:
All tube amplifiers contain lethal voltages. The most dangerous voltages are stored in
electrolytic capacitors, even after the amp has been unplugged from the wall. Before
you touch anything inside the amp chassis, its imperative that these capacitors are
discharged. If you are unsure of this procedure, consult your local amp tech.
premierguitar.com
One important thing to bear in mind when doing a repair this way is to keep all the
capacitor ground connections as close to the original ground point as possible.
3
transformer failure, but lets continue. After

installing a more appropriate fuse, I began
measuring voltages starting with the AC
line voltage, which we find stops right after
the fuse holder. By process of elimination,
if the fuse isnt bad, the fuse holder is.
Replacement of the fuse holder yields
an illuminated pilot light. Progress!
A quick signal at the input and load
on the output shows that the amp is
working, but barely. More issues. A sound
check with a guitar and speaker reveals
that the amp has weak output with hum.
Okay, this sounds like a filter capacitor
issue. Seeing as how this amp has a chassis
mounted multi-cap can, I opted to reduce
the time and expense by installing discrete
filter caps. One important thing to bear in
mind when doing a repair this way is to
keep all the capacitor ground connections
as close to the original ground point as
possible, as this is the way the amp was
designed. It may be easier to install the
capacitors in other locations, but this
often results in increased hum. Now, lets
see what the amp does.
Power on, plug in, turn up and
were good. The amp seems stable and,
while its not going to set the world
on fire, seems to function as intended.
Could the amp benefit from a new set of
tubes? Probably. And maybe a new, more
efficient speaker? Probably. But Ill leave
that to the customer, should he wish to
invest further in his acquisition. But hey,
while I have the amp on the bench, lets
learn a bit about it and see if it could

benefit from any improvements.
The preamp board is designed around
not one measly transistor, but two (Photo
3). The first is used as the initial gain
stage for the inputs and drives the tone
controls. The second re-amplifies the
signal from the tone stack and drives the
phase inverter tube. Surely there must be
some way to enhance the performance
of these devicesand there is. Both
transistors use a 1k emitter resistor
(Photo 4). Placing a capacitor across
these resistors is the same as placing a
bypass capacitor across a cathode resistor
in a tube amp. Too large a value here
might be too much of a full range boost
for this little amp to handle, but because
this was designed as a bass amp, a bit
more highs may add some needed sparkle
for guitar. I found that a value of 0.1 F

added a noticeable increase in high end.
Placing it across the Q1 resistor gives
the increase before the tone stack, which
means its controllable, while placing it
across the Q2 resistor gives the boost just
prior to the phase inverter. Its a matter of
sonic preference. Also, Photo 5 shows the
tone stack bass and treble caps, which can
further alter the amps tone.
There you go. Now maybe this amp
will be an Alamo to remember!
JEFF BOBER is one of the
godfathers of the low-wattage amp
revolution. He co-founded and was
originally the principal designer
for Budda Amplification, though
he launched EAST Amplification
(eastamplification.com) in 2010.
You can catch his podcasts at
ampsandaxescast.com or email
him at pgampman@gmail.com.
premierguitar.com
A NEW GENERATION OF
TWO-ROCK
AMPS
HAS BEGUN - INTRODUCING THE
2016 TWO-ROCK CARDIFF
TWO-ROCK.COM
TOOLS FOR THE TASK

Look for this icon
to click and
purchase the gear.
Pedalboard Amps
Schlepping a heavy amp from home to practice to gig to home is not likely on any guitarists list of favorite things to
do. If you like to keep things light and easy, having an amp on your pedalboard might just be the ticket.
TRAYNOR
QuarterHorse Microamp
This 25-watt, 2-channel design delivers both clean and

lead tones, while a micro-toggle selects tape-delay or
tremolo effects.
$99 street
traynoramps.com
DIAGO
Little Smasher
The 5-watt Little Smasher has four analog cascading gain
stages that range from chimey clean to rock crunch, and
its speaker out works with cabs from 4 to 16 ohms.
$199 street
diago.co.uk
TAURUS
Stomp-Head 5
This 40-/90-watt, 3-channel amp boasts a tube preamp,
noise gate, boost, and mode switch. The amps mix mode
allows all three channels to run simultaneously.
$1,299 street
taurus-amp.pl
QUILTER LABS
Tone Block 200
This solid-state amp delivers tube-like tone up to 200
watts and features gain, master, and contour controls, a
proprietary direct out, and a universal power supply.
$399 street
quilterlabs.com
DEMETER
TGA-1-180D Mighty Minnie
Originally designed for Sonny Landreth, the handbuilt

TGA-1 can deliver 180 watts into 4 ohms, and features a
standby footswitch and gain, bass, midrange, treble, and
master controls.
$949 street
demeteramps.com
premierguitar.com
RANDALL
RG13
This 3-channel, 1-watt stomp includes footswitchable
effects loop/volume-boost functions, aux in, headphone
out, and a speaker-emulated XLR output with ground lift.

$249 street
randallamplifiers.com
BLUGUITAR
AMP1
Amp1 pumps 100 watts through four channels (clean,
vintage, classic, and modern), and has switchable boost
and reverb, and a speaker-simulated output for recording
or headphones.
$799 street
bluguitar.com
ELECTRO-HARMONIX
44 Magnum Power Amp
This palm-sized box delivers 44 watts into 8 or 16 ohms,
has a selectable top-end boost, and can be driven to tubelike amplifier saturation.
$151 street
ehx.com
9
9
CUSTOM TONES
Ethos Overdrive Amp
The 30-watt (at 8 ohms) Ethos two channels have
independent EQ, and tone-stack toggles for bright,
modern/classic, and jazz/rock voicing. Optional upgrades
include 3-band, post-drive EQ, and active effects loop.
$595 street
customtonesinc.com
10
10
HOTONE AUDIO
Mojo Diamond
This 5-watt, class-AB amp was inspired by tweed Fender
amps, and includes a 3-band EQ, effects loop, headphone
out, and auxiliary in.
$99 street
hotoneaudio.com
premierguitar.com
REVIEWS
Quick Hits
ROLAND
VICK AUDIO
By Jason Shadrick
By Charles Saufley
Just because an
amp lacks glowing
glass tubes doesnt
mean it cant
deliver iconic
and immensely
inspiring tones.
Take the Roland
Jazz Chorus.
It has come in
many shapes and
sizes over the decadesthe big JC-120 is perhaps the most
famous. But the latest model, the JC-40, offers a lighter,
more compact option to players seeking the JC series classic,
clean solid-state sounds and airy chorus and vibrato effects.
The JC-40 is a clean machine that delivers wonderfully
three-dimensional sound by splitting the dry and wet signals
between the two 10" speakers. The range of the vibrato and
chorus controls can move between subtle warbles reminiscent
of Mike Sterns and John Scofields old recordings, to twisted,
psychedelic modulation when the effects are maxed. As you
will hear in the clips on the online version of this article, the
distortion control might not replace your favorite overdrive
or low-gain distortion pedal. But few buy a Jazz Chorus for
its dirt tones. And even if the JC-40 can, at times, seem like
a one-trick pony, it does that clean, rich modulated thing so
very well.
Outwardly, Vick Audios pedals

look subdued and functional. The
effects themselves are typically
anything but, howeverand the
fuzzes (Muff clones in particular)
are renowned combinations of
killer performance and fair price.
That goes for the companys twist
on the much-coveted Cornish
G-2, the Vick V-2.
Like the G-2, the V-2 isnt easy
to classify, which speaks to its versatility more than anything
else. At its heart, its a Big Muff circuit. But while it shares
many characteristics of that effect familysmooth, singing,
sustained lead tones and a knack for harmonically rich,
grinding power chord soundsthe V-2 is a much lower-gain
affair. And though its neither as loud nor searing as a Muff,
its strengths as an overdrive and as a mid-gain distortion are
copious indeed.
There are a few critical differences between the G-2 and
the V-2. The Vick uses silicon clipping diodes, while the
Cornish uses germanium, and some softer contours in the
distortion are likely lost as a consequence. But the end result
is still a cool synthesis of Muffish distortion and purring
overdrive that can add a silky edge to any lead and an
addictive, sculpted, and civilized toughness to chords.
TEST GEAR Fender Stratocaster, Les Paul Custom
silverface Bassman, Fender Champ
JC-40
$599 street, rolandus.com

Tones
Ease of Use
V-2 Distortion
PROS Plenty powerful for

club gigs. Rich, versatile
chorus and vibrato effects.
CONS Distorted tones are a
bit thin.
TEST GEAR Fender Stratocaster, Rickenbacker 330, Fender
$139 street, vickaudio.com

Tones
Ease of Use
Build/Design
Build/Design
Value
Value
CLICK HERE TO HEAR this amp.
PROS Rich and slightly

civilized distortion tones. Easy
to record and forgiving in the
studio. Silky lead tones with
great sustain. Fair price.
CONS Focused overdrive
tones sometimes flirt with
compressed boxiness.
CLICK HERE TO HEAR this pedaL.
premierguitar.com
MXR
CHELLEE
By Charles Saufley
By Charles Saufley
Guitarists are funny about the

power of suggestion. Take delays.
Most players will nod their heads
enthusiastically when discussing
the legendary virtues of dark,
ghostly, analog echoesuntil they
plug one in, of course, at which
point they gripe about being
lost in the mix and reach for the
nearest DD-3. MXRs analog
Carbon Copy Bright is designed
to confront this paradox.
The Brights feature set is identical to the original Carbon
Copy: mix, regen, and delay knobs, plus a button that
activates the modulation, which can be adjusted for width
(intensity) and speed. I used mellower modulation settings
than I do on my original. The more-pronounced high end
makes the warbles feel less hazy and tape-like. The tones of the
repeats themselves, however, are beautifula perfect match for
clean chord arpeggios and mildly overdriven lead sounds.
I love both the Bright and the originalfavoring the
Bright for clean tones on this test, and the original for fuzz
assaults. If youre on the fence about whether to go analog or
digital, the Carbon Copy Bright is a rich, colorful, and classy
sounding way to split the difference.
Given how plentiful goodeven

greatoverdrives are these days,
its a treat to try a unit that
can still surprise. And Chellees
Odie Classic impresses with its
depth, transparency, cultivated
aggression, smoothness, protean
flexibility, and price.
The Texas Instruments 4558 chip that takes pride of place
on the tidy circuit board suggests that the Odie leaps from
the same launch pad as the TS family. And it excels at those
concise and purring overdrive tones. But those sounds are
just the center of Odies much wider radius. Near-clean boost
tones are particularly excellentrevealing an airy, oxygenated
headroom that betters most TS-style pedals and even the
reliably clean-ish Klon clone I used for comparison. (The Odie
classic can also be run at 18V to maximize this attribute.)
Overdrive tones are ample and varied thanks to wideranging controls, thoughtful EQ voicing, and silicon/
LED diode switching. These options enabled me to dial up
mid-gain overdrive sounds that were, at turns, more open,
less boxy, louder, and more harmonically complex than my
vintage TS-9. The EQ switch, meanwhile, is a bonanza of
bonus tones, combining bass settings with heavy drive settings
makes almost any amp a growling power-chord delight!
TEST GEAR Fender Jaguar, Fender Telecaster, Fender silverface
TEST GEAR Fender Jaguar, Fender Telecaster, Rickenbacker 330,
Bassman, Stomp Under Foot Civil War, Jesse Trbovich TrboBender,
Fender silverface Bassman, Fender Champ, Ibanez TS-9, Electro-
Ibanez TS-9
Harmonix Soul Food
Carbon Copy Bright
$159 street, jimdunlop.com

Tones
Ease of Use
Build/Design
Value
PROS Yummy echo tones

deftly straddle the divide
between digital definition
and analog soul. Adjustable
modulation section.
CONS Enhanced high end
can make modulation sound
less natural.
CLICK HERE TO HEAR this pedal.
premierguitar.com
Odie Classic
$149 street, chellee.com

Tones
Ease of Use
Build/Design
Value
PROS Loads of rich, airy

overdrive tones. Excellent
headroom. Versatile and
effective tone, gain,
EQ voicing, and diode
switching controls.
CONS None.
Quick Hits Contd
KORG
Pitchblack Custom
By Rich Osweiler
BIG TONE MUSIC

BREWERY
Gray Box
When on the hunt for a new tuner,

accuracy and speed likely top the list of
must-haves for most players, by far. As
long as its spot-on and quick at getting the
job done, youre all set, right? What if you
could have all that in a little box that looks
like Darth Vaders mobile command center?
Korgs true-bypass Pitchblack Custom follows in the
footsteps of its Pitchblack predecessor, but brings some
notable improvements: a detection range of +/- 0.1 cents,
triple the battery life, a sleeker look, and a smaller enclosure
yet bigger display. The Pitchblack Customs 3-D vertical
strobe-esque display is fantastic, and it instills confidence that
this black box can handle its duties on the darkest of stages.
During the time I had with the Pitchblack Custom, I used
it as my go-to tuner for a couple basses and a couple guitars
while testing it alongside a trusty Boss TU-2. Accurate and
fast? Check. However I tuned up, the display was crisp and
clear, and I liked having four different meter-display modes
available. I also liked that the display and calibration buttons
are rear-side located and somewhat recessedout of harms
way from happy feet.
Im a sucker for clean lines and precision engineering
when it comes to motorcycles and tech, and that suckerness
applies to music gear, too. The Pitchblack Custom didnt
leave me wanting for much else.
By Charles Saufley
TEST GEAR Fender Precision, Epiphone Scroll, Gibson SG,
TEST GEAR DeArmond JetStar, Fender Stratocaster, silverface
DellArte Dark Eyes
Fender Bassman, 64 Fender Tremolux
$99 street, korg.com

Ease of Use
PROS Reliable, quick,

precise. It looks really cool!
CONS Adjustable brightness
would be nice.
Big Tones Gray Box Overdrive does not

disguise its relation to the original DOD
250, but it sure takes the concept a whole
lot further. It adds germanium/silicon
diode switching, which effectively makes
the Gray Box a shape-shifting DOD 250/MXR Distortion
+ hybrid. It also adds a very clever, capable, and tunable EQ
that enables you to focus the slap-in-the-face impact of those
circuits or soften their harsher edges.
This is a fantastic pedal for overdubbing or double
tracking rhythm partsespecially with a softer clipping
Klon- or TS-style overdrive or a bass-heavy clean tone as the
other half of the mix. I used it primarily with my silverface
Bassman and 2x12. It was perfect top-end counterpoint to
that amps belly-shaking low-end capabilities for both 70s
rock crunch and Steve Albini-, Sonic Youth-, and Pavementstyle indie-attack tones.
As fantastic as the Gray Box can sound in these
applications, this isnt an overdrive for everyone. Even with
all the EQ flexibility, some soft clipping devotees will find
it shockingly immediate and even harsh. But if you crave
overdrive tones that inhabit the, well, gray area between
civilized and brutish, youll dig what Big Tone has in store.
$199 street, bigtonemusic.com

Tones
Build/Design
Ease of Use
Value
Build/Design
Value
PROS Thoughtful, practical

EQ section. Heavy duty tones
make a great match for
bassy amps. Diode switching
versatility.
CONS Can sound harsh with
bright amps. EQ can be tricky
to master.
CLICK HERE TO HEAR this pedaL.
premierguitar.com
Giveaways
Smokey SMH
Value: $2,000
Enter on PremierGuitar.com/contests
REVIEWS
FENDER
Jimi Hendrix Strat

By Matthew Holliman
ts impossible to replicate the sound, soul, and impact of

Jimi Hendrixs playing. But that hasnt kept folks from
replicating his gear. Nearly every piece of Jimis signal chain
has been pored over and built anew at some pointright down
to cables and straps.
The new Fender Hendrix Strat isnt the first Stratocaster built
in Jimis honor. Nor is it some dead-on replica of, say, the guitar
he played at Woodstock or Monterey. Instead, the Mexico-made
instrument is designed to deliver the most authentically Jimilike sounds at an accessible, sub-Custom Shop pricelargely via
use of a reverse headstock and reverse-angle bridge pickup.
A Tip of the Velvet Hat

Purists will contend that Jimi-izing a Strat for right-handers
is easy. You just take a left-handed Strat, reverse the nut, and
youre done. At that point, youve got everything situated the
way Hendrix would have, including tone knobs, pickup selector,
whammy bar, and input jack sprouting out of the top left bout.
Obviously, its not the most practical or efficient hardware
layout, but its certainly authentic.
For players more fixated on tone than visual authenticity, the
Hendrix Strat design is a great compromise. There are plenty of
unmistakably Jimi-inspired visual elements. The alder body is
Reverse angle
bridge pickup
American Vintage
65 pickups
Alder body
9.5" fretboard radius
premierguitar.com
painted in Woodstock-style Olympic white

(black is also available) and the pickup
covers and hardware knobs are a faded,
antique white. There are also a few cool
special edition touches, like a Jimi portrait
engraved on the neck plate. The pickups
are very nice Fender American Vintage 65s.
Curiously, though, the maple neck has a
modern 9.5" fretboard radius and medium
jumbo frets rather than the 7.25" radius
and smaller frets you would see on a vintage
Stratocaster. Its a detail that can seem
doubly strange given that there are other
vintage-style, Mexican-built Strats in the
current Fender catalog that feature a 7.25"
radius. Players that like easier string bending
will no doubt dig the change. Hardcore
Hendrix freaks may be less excited.
The angle at which the bridge pickup is
situated is, of course, reversed, which also
changes the relationship between the pole
pieces to the strings. The low-E string pole
piece is closer to the bridge and the string,
while the high-E pole piece is further away
from the bridge and string.
Fly onin Reverse
Running the Hendrix Stratocaster
through a big amplifier with lots of
headroom is key to an authentic Hendrix,
ahem, experience. In this case, an
Orange OR50 with four 12" Celestion
Vintage 30s did the trick. And boy, do
the Strat and the Orange scream together.
To my ears, the high-end response from

the bridge pickup seems slightly subdued
(an as-intended consequence, no doubt,
of the reversed pole piece position). Its
still, however, a bold-sounding pickup
and very dynamic.
While the pickup position delivered
discernible sonic differences, the effect
of the inverted string lengths are less
apparent. I sensed little to no difference
in playability or elasticity compared to
my own late-60s-style Stratocaster. Nor
did I hear any appreciable difference in
bass resonance or treble intensity from
the two pickups that arent situated at
different angles.
Dont get me wrong, though: This
guitar still sounds 100 percent like a
60s Stratocaster. If I pounce on an
Analogman Sun Face, I get walls of the
same teetering-at-the-verge-of-feedback
howl that Hendrix made into one of his
most essential sonic tools. With a wah in
the mix, its pure joy.
The Hendrix Stratocaster is no less
expressive with a little amp. Combining
the Strat with a Fender Champion 600
(with a Jensen Mod 6 speaker) was a
sweet tandem for Jimis quieter soul
ballads or bluesy fare like Voodoo Chile
(sans the Slight Return). The pickups
are no more or less noisy than any 60s
style Stratocaster pickups Ive worked
with. And the volume consistency is
Reverse headstock
Medium jumbo frets
exceptional, which is especially nice when

exploring Jimis mellower moods. The
neck tone pot is particularly sensitive and
has a huge sweep. At its lowest levels its
great for jazz moves or for expanding the
voices of trebly, fuzzy effects.
I was slightly frustrated with the
tuning hardware on the Hendrix Strat,
simply because it exhibited the same
stability issues on the high strings as my
own Mexico-made Stratocaster. This
shortcoming might be a combination of
the bridge and tuning pegs, which feel like
they could have been a little more robust.
The Verdict
This is a very good Stratocaster for
chasing the Hendrix sound. The
American pickups sound authentically
vintage, and if you factor their value
alone into the $899 price, the Hendrix
Stratocaster starts to look like a real
bargain. As a player who has customized
my own Mexico-made Stratocaster to
match late-60s specs, I can say that the
Hendrix Strat is a less expensive way to
get the job done. And if the aesthetic
deviations from the classic Stratocaster
dont bother you, its a very cool way to
inch a bit closer, in sonic terms, to the
perfect Jimi platform.
CLICK HERE TO WATCH A
REVIEW DEMO of this guitar.
Fender Jimi Hendrix

Stratocaster
$899 street
fender.com
Tones
Playability
Build/Design
Value
PROS Lots of Hendrix mojo on a budget.

Nice pickup set. Bridge pickup reversal
delivers cool, if subtle, tone differences.
CONS Tuning hardware could use
some help.
premierguitar.com
REVIEWS
WARWICK
Rockbass Adam Clayton

Artist Line
By Jordan Wagner
arwicks Rockbass Adam Clayton 4-string is the

younger, less expensive sibling of the U2 bassists
upscale Custom Shop model. The bass is made in
Warwicks facility in Asia and includes variations on many of the
accoutrements sported by its higher-priced relative. Just like the
Custom Shop model, the Rockbass is designed for generating
P-bass flavored tones with a decidedly modern edgebut at a
price point thats less likely to make jaws drop.
Kith and Kin
To the casual observer, Claytons mid-priced Rockbass looks
virtually identical to his high-end bass produced in Warwicks
Custom Shop. And despite the changes to help keep its price
affordable, it still manages to deliver much of the originals
versatility, smooth playability, and vintage thump. The

instruments curvy P-bass-meets-Dal body is made of alder,
which was chosen as a price-conscious alternative to the costly
lightweight swamp ash used for the Custom Shop model. Its
white crme finish has just enough yellow tint to give it a classy
aged look while retaining a nice hint of sparkle. Both the singleply black pickguard and small, wooden thumb rest of our review
model looked flawless from a distance, but close inspection
revealed frayed edges along the pickguard and a stripped
screwhead in the thumb restminor issues, but ones you dont
want to see on an $800 bass.
Its raw, 3-piece maple neck (versus a 1-piece on the Custom
Shop model) is bolted onto the body using a 4-bolt design and
rounded joint, and features a 34" scale length, 21 jumbo bronze
Seymour Duncan
Quarter Pound pickup
2-piece Warwick bridge
Alder body
Volume, bass, and

treble controls
premierguitar.com
frets, and a modern 9.5" radius maple

fretboard with black-block inlays. The
neck on our review model felt smooth to
the touch with a comfortable taper, but
it should be said that the slot for the 9th
fret wire looked like it had been miscut
and the extra spacing hastily repaired
with a dab of body filler. The strings
are anchored in place using a standard
2-piece Warwick bridge, a Tedur nut, and
a set of large, chrome tuners.
Claytons Rockbass sports a single
Seymour Duncan Quarter Pound pickup
with passive MEC electronics, the output
of which is shaped using controls for
volume, bass, and treble. Its a simple
setup that offers a clever way to tame
the Quarter Pounds aggressive highs and
lows while leaving the midrange intact
resulting in a more vintage-like growl
instead of the modern scooped tone that
the pickup tends to deliver when run
full-bore.
Scion Tamer
After strapping on the bass, I was
surprised at its lack of neck dive and how
evenly its weight balanced against my
shoulder. The body is more compact than
a typical P-bass shape, but the elongated
upper horn seemed to help in distributing
its body-to-neck weight. Thanks to the
position of the thumb rest, I was able
to place my hand close to the strings for
nimble and precise picking, and its small
size prevented it from getting in the way
when flatpicking close to the neck.
I began by setting the Rockbasss

onboard EQ controls for full bass and
treble, then plugged into an Ampeg
SVT driving a 4x10 cabinet. The
Quarter Pound pickup delivered the
raw and aggressive tone thats made it
a staple of hard-rock bassan earthmoving concoction combining crisp and
articulate highs, plus slightly scooped
mids with an emphasis on the lowermidrange spectrum, supported by a
frighteningly deep low end. The treble
grew crisper as I dug into the strings with
more punk-rock vigor, and their edginess
backed off a bit when I lightened my
attack with subtler grooving.
Fans of Claytons trademark warm
and thumpy bass tones with U2 might
be surprised that his signature Rockbass
comes loaded with a pickup thats so
focused on the treble and bass frequencies.
The trademark P-bass punchiness is
therewithout a doubtbut the stalwart
highs and mammoth low end infused
with it resulted in a tone that I would
be hard-pressed to describe as vintage.
With a couple of quick adjustments of
the onboard bass and treble controls, the
pickups raucous output can be shaped
into those classic tones and many more.
To achieve a flatter tone, I simply
dialed back both controls about a third
to meet the midrange scoop. Using
this setting as my starting point, I only
needed to employ small adjustments to
the controls to uncover a surprisingly
wide gamut of useful tones for a variety
of genres, including mellow blues, jazz,

high-spirited classic rock, and gritty
contemporary Americana. And as for
tones close to those of the man himself,
I had no difficulty in approximating
them by turning the treble knob down
a little below halfway, turning up the
bass control to around 70 percent of its
range, and adjusting the SVTs preampgain knob to taste for filling out the tone
while warming up the low end.
The Verdict
Warwicks Rockbass Adam Clayton
Artist Line signature model is a solid
bass that delivers an impressive range
of vintage and modern tones. Much
of that versatility can be attributed to
a simple passive EQ system that excels
in shapingand taming, if desired
the tones produced by its high-output
pickup. Our review model did arrive with
a couple of minor build flaws. And while
they didnt affect playability or function,
they are hard to overlook on a bass with
an $800 asking price. Blemishes aside,
the new Adam Clayton signature model
is still an attractive option for players
looking for a simple and unique bass that
covers plenty of ground.
CLICK HERE TO HEAR this bass.
Warwick Rockbass
Adam Clayton Artist Line
3-piece maple neck
$799 street
warwickbass.com
Tones
Playability
Build/Design
Value
PROS Passive EQ is highly dynamic and

versatile. Comfortably tapered neck.
Good balance.
CONS Some minor fit and finish flaws.
A little pricey.
premierguitar.com
REVIEWS
ECHOPARK
F-1 Fuzz
By David Von Bader
lthough Echopark isnt a household name, sharp-eyed

guitar spotters have no doubt noticed the companys
wares in rock n roll circles. The instruments from
Gabriel Curries little L.A. workshop exhibit a cool mix of
classic solidbody design, tasteful sensibilities, and the precision
of a builder who apprenticed under Leo Fender at G&L. But
Curries instincts about pickups and electronics, as well as his
fastidious sense of build quality, means his guitars are tough,
practical sonic tools.
Now Echopark is in the fuzz business. And in the F-1 Fuzz,
hes applied his obsessions for granite-tough build quality and
twisted-but-classic sounds to a spartan, vintage-inspired box that
can sound positively magical.
Dual-transistor
gain control
The F-1 balances

brashness and
musicality in a way
that can make
the simplest riffs
sound massive.
Simple Duality
The F-1 houses its super-tidy, handwired circuitry in a humble,
industrial gray powder coated enclosure. With its big Bakelitestyle knobs, it would look at home among any of the first wave
of fuzz pedals from the mid 60s. The pedal can be run off
a 9V adapter or a battery, though vintage fuzz devotees will
undoubtedly opt for the battery.
The F-1s clean, streamlined look might seem too minimal.
There are no markings explaining the roles those knobs play
in shaping sound. Then again, operating the F-1 is not rocket
science: About 30 seconds of tinkering reveals that the pedals left
knob controls volume, while the one on the right controls gain.
premierguitar.com
Master volume
That simplicity is a bit deceptive, however. This is a gain knob

with a twist. From 6 oclock to 12 oclock, the gain section utilizes
just one of the pedals two germanium transistors. Past the halfway
point, the knob begins to cascade the first transistors output
into the second, blending the output in a way that adds dirt and
changes the texture of the fuzz. Specifically, the two transistors
blended add a bit of fizziness and sparkle to the top end without
deleting any low-end beef. And at the most extreme settings they
add an almost swirling, phased effect that recalls a vintage Fuzz
Face. In general, the F-1 boasts a remarkable harmonic richness that
pushes leads through and over any mix without becoming harsh.
Fuego Gris
The F-1 balances brashness and
musicality in a way that can make the
simplest riffs sound massive. High notes
and leads ring with great sustain and
tasty compression that you can transform
into exceptionally controllable feedback.
Low notes have a high-calorie chewiness,
textured dirt, and a chunky saturation
that sacrifices nothing in the way of
focus. Like any germanium fuzz worth its
salt, the F-1 is extremely touch sensitive
and feels very responsive to changes in
pick attack and guitar volume. In fact,
the F-1 becomes a nice taut overdrive as
you roll off guitar volumealthough the
wide-open settings are so addictive that I
rarely used the pedal in this context.
The F-1 is powerful enough to turn
any clean amp into a beast, but it melded
in particularly pleasing ways with highheadroom Marshall-inspired circuits
and tube amps at the verge of breakup.
And while many fuzzes disappear or
sound just plain crappy when mated
to higher-gain amps, the F-1 excelled

at driving dirty sounds into zones from
fiery to outrageous. And while the lack
of an EQ or tone function may look like
a deal-breaker for players who think they
need more control, the F1 is excellent at
enhancing the EQ attributes and color
of an amp without sacrificing any of its
personality or power. I rarely needed to
adjust the EQ knobs on my amps when
the F-1 was on.
The Verdict
The Echopark F1 is a foolproof, musical,
and explosive fuzz pedal that, while far
from subtle, feels very integrated and
at home with almost any amp/guitar
combo. While there are a lot of very
nice fuzz options to consider in this price
rangemany with a more diverse feature
setfew are as inspiring or satisfying
in sound and feel. And for $230, its a
great way to get ahold of some of that
Echopark voodoo that has charmed so
many rock stars in recent years.

REVIEW DEMO of this pedal.
Echopark F-1 Fuzz

$230 direct
echoparkguitars.com
Tones
Ease of Use
Build/Design
Value
PROS Remarkably great fuzz tones and

touch sensitivity. Killer, streamlined
looks. Easy to use.
CONS A bit expensive.
I'm really excited about

what Trev and I have come up
with and think other players
will be too.
Black Label
John Jorgenson
JJ Artist
Available
NOW!
This guitar is killer, plays

and sounds great!
A matched, calibrated set of Wilkinson/JJ pickups are

coupled with two auxiliary ghost coils under the JJs
unique pickguard, providing the ability to switch between
single coil tones associated with a guitar of this style and
true hum cancelling noise reduction with no perceptible
change in sound or tonality.
Available online now at:

AmericanMusical.com
Zzounds.com
Fret-King.com
premierguitar.com
.................................................
DISTRESSED TOBACCO SUNBURST LIMITED
.................................................
Drawing on an epoch of American guitar design, these instruments
are inspired by three periods of U.S. history: The parlor---borne of the
Civil War era, the Grand Concert---from the turn of the century, and
the Dreadnought, a creature of the roaring 20s. Rich with tone from
another era, each model features a solid Spruce top with

Mahogany back and sides, and is augmented by vintage period
.................................................
touches like antique nickel tuners and aged bone saddle and nut.
Grand Concert
AVC6DTS
ibanez.com
Parlor
AVN6DTS
Dreadnought
AVD6DTS
REVIEWS
TYYSTER
Pelti 12-String
By Joe Gore
innish luthier Ville Tyyster has expanded his Pelti

guitar line with a gorgeous 12-string. It excels at the
crisp, jangly tones of classic 12-string electrics from
Rickenbacker and Fender while adding new angles of its own.
Unheavy Metal
Pelti is the Finnish word for sheet metal, and the guitars
body is fashioned from steel. The unbound, bolt-on neck is
maple. In my book, theres nothing controversial about the
metal-plus-wood recipe. For years, my favorite modern guitar
has been a Trussart Steelcaster with a steel body and koa neck.
Players who havent tried a metal-bodied guitar sometimes
assume its tones will be brighter than normal, perhaps with an

edgy resonance. But guitars of this type can sound perfectly
warm and sweet.
Not that youd know the Pelti 12-string is metal-bodied
just by looking. Unlike Trussart guitars, which announce their
composition with rusted surfaces and ornate engraving, this
body is coated with a thick, mirror-perfect purple finish. The
same finish covers the entire neck. (The guitar is also available
in a turquoise finish.) A cream-colored plaque adorns the
headstocks face, echoing the pickguard color. A small, hornshaped soundhole is a sly Rickenbacker tribute. A quality
hardshell case is included.
Two Tyyster
humbuckers
Steel body
Internal contact
microphone
Strings attach to
metal tailpiece
Microphone
volume control
Pickup volume control

Master tone control
premierguitar.com
The Pelti 12-string feels as comfy as

fuzzy slippers. Despite the extra headstock
hardware, it balances perfectly whether
seated or standing and weighs a modest
seven pounds. The frets are fastidiously
seated and rounded, with a perfectly
consistent feel in all positions. The
straight-edged cutaway provides easy
access to the topmost frets. Even up there,
the intonation is spot-on. And it has to
bethe bridge is a variant on the vintage
Gibson lightning bar design, where you
cant set the intonation string-by-string.
Still, I found the Pelti easier to play in tune
than any electric 12-string Ive encountered.
The necks broad and relatively flat playing
surface provides lots of space to explore
complex and extended chords.
When Transducers Collide
The Pelti 12-String has two amplification
systems: a pair of humbuckers wound by
Ville Tyyster and a contact mic mounted
inside the steel body. Each system has
its own volume control, and they share
a single tone control. You need a stereo
cable to output both sounds, but you
can use a standard mono cable for the
humbucker or contact mic sound alone.
The electric tones are straight out
of the 60s (though, admittedly, just
about any clean electric 12-string tone
evokes the decade). But once you get
past playing Ticket to Ride and Mr.
Tambourine Man, youll find the Pelti
surprisingly versatile. The consistent feel
and tone across string pairs and registers
makes the guitar unusually suited to
single-note lines. The intonation is solid
Gotoh tuners
enough to play twinkly, mandolin-like

figures in the highest octave perfectly
in tune. And while you dont encounter
the sound much on Beatles and Byrds
records, unison and octave string pairs do
strange and wonderful things when fed
through anarchic fuzz pedals. As usual,
the top two string pairs are unisons,
while the other four pairs are octaves. On
the octave pairs, the high string resides
above the low string, so it sounds first
when downpicking.
a different story. Blended that way, the

humbuckers provide all the needed treble
edge and intensity, while the internal mic
fills out the mids and lends a grand sense
of space. For my mic-plus-pickups clip,
I dialed in equal amounts of each source
and panned them far left and right.
To my ear, the mic adds lovely depth
and animation to the already fabulous
humbucker tones. Its a sound you
probably wont hear from vintage-style
electric 12-strings.
Of Mic and Mix

The Pelti 12-Strings internal contact
mic is its boldest break from tradition
(though in some respects it seems
inspired by Rickenbackers underutilized
Rick-O-Sound system). Using a stereo
output cable, you can send your pickup
signal to an amp and the mic signal to a
direct box, a preamp, or another amp or
amp channel. The dual volume controls
let you blend the sources to taste.
Heard in isolation, the mic sound
can seem dull, distant, and a bit noisy.
To get close to a miked 12-string sound,
youll probably need to dial in extra treble
on your amp, or add brightening EQ
if recoding direct. (My mic-only audio
example was recorded direct through a
high-quality preamp with no added EQ.)
Also, whenever you employ an internal
electric guitar mic, it amplifies every
errant tap and clack on the bodys surface,
so you may need to summon extra-clean
picking-hand technique.
While I dont love the mic sound
alone, mixing it with the humbuckers is
The Verdict
I dig the Tyyster Pelti more than any
electric 12-string Ive played. It looks
beautiful. The workmanship is flawless,
and it plays like a dream. It outperforms
vintage models on their own terms, and
then adds more cool colors via its internal
mic. Bravo.
But theres a solid-gold elephant in
the room: the daunting $4,570 price.
To be fair, the amount isnt out of line
compared to other high-end, handmade
guitars with metal bodies or ornate metal
engraving. Still, youd have to really
love electric 12-string to invest so much
in this specialized instrument. But for
such hardcore jangle-holics, its hard to
imagine a more gratifying fix.
Tyyster Pelti 12-String

$4,570 street
tyysterguitars.com
Tones
Ease of Use
Build/Design
Value
Maple neck
PROS Great classic electric 12-string

tones. Glorious hybrid pickup/mic tones.
Superb workmanship. Remarkable feel
and intonation.
CONS Oy, that price!
premierguitar.com
BOUTIQUE GUITAR EFFECTS MADE IN THE USA SINCE 1993 WWW.BLACKCATPEDALS.COM 203.764.2644
premierguitar.com
REVIEWS
VENTURA
Valve Amps VVA50

By Joe Gore
ately Ive been reviewing a lot of ultra-high-end amps.

While its a joy and a privilege to spend time with such
beautiful instruments, it can feel like Im writing the
same article over and over: Unbelievable tones. Unbelievable
workmanship. Unbelievable $3,200 price tag.
So its a treat to uncover a versatile boutique head with
many fine tones and a vibey handmade feel that sells for a
sensible $1,299.
Tough Transformers
Powered by a pair of big 6L6-GC tubes, Ventura Valve Amps
VVA50 is a descendant of such classic mid-sized Fender amps
as the Bandmaster, Super, and Bassman. But its no clonewith
its multiple cascading gain stages, its more like a vintage 60s
Fender hot-rodded by some crafty amp tech at some point in
the 70s. (Ventura Valve Amps also makes a more British

version of the head with EL34 power tubes.)
Naturally, the parts and workmanship arent identical to
what you tend to encounter in amps selling for more than
twice the price, but the VVA50 cuts costs in intelligent ways.
Internal components are assembled on a modern circuit
board, substantially reducing assembly time and cost. There
are no magic unicorns inside: just standard-issue modern
parts, including plastic tube sockets and CDM capacitors.
Instead, Ventura invests their resources where they really
count: the VVA50 houses a honkin pair of Mercury Magnetics
transformersreal top-drawer stuff. The amps guts reside in
an aluminum chassis secured by four long bolts. (Removing
the chassis takes 5 minutes, max.) The wiring work is solid, if
not virtuosic. There are a few needlessly long wire runs, but
Two gain controls
Solid wood
head cabinet
premierguitar.com
Footswitchable boost
(pedal included)
Components
assembled on
circuit board
Mercury Magnetics
transformers
theres nothing to suggest the amp wont

perform reliably for many years.
Despite some large parts, the VVA50
head resides in a compact 17"x9"x8"
solid-wood cabinet, weighing in at a
manageable 29 pounds. Our review
model was covered in Tolex, with a
rugged carrying handle. (Ventura offers a
wood-covered model for $100 extra.)
Its a single-channel design, with just
one input jack and one speaker out
(switchable between 4, 8, and 16 ohms).
But even if youre a player who relies
on a hot gain channel for solos, youre
covered: You can switch to high-gain
mode via footswitch (included) or a rearpanel button. The front panel includes
bass, mid, treble, and presence controls,
master volume, and two additional gain
controls. Our demo amp came stocked
with fine-sounding JJ power tubes, and
JJ and EHX preamp tubes. Its rectifier is
solid-state.
To record the demo clips, I connected
the VVA50 to a THD Mickey Mouse
cabinet with one 12" and two 10"
speakers, miking one of the 10s with
a Royer R-121 ribbon mic. The demo
guitar is a Les Paul with unpotted PAFstyle pickups.
The Gain Game
Between the dual gain knobs, the gain
switch, and the master volume, you can
dial in a vast range of sounds without ever
touching the tone controls. Clean settings
are crisp and articulate in classic Fender
fashion, with glistening highs, speedy
response, and lots of airy headroom. Note
fundamentals feel deep and grounded,
with superb sustain even at super-clean

settings. Distortion gradually accumulates
as you advance either or both gain
controls, but not too much or too soon
there are cool and usable semi-driven
colors throughout the knobs range. The
two gain stages provide dramatic tone
contrasts: Settings that emphasize gain 1
tend to break up in a loose, spattery sort
of way, while those emphasizing gain 2
are tighter and brighter.
When both knobs are cranked, you
get singing, harmonically rich sustain. But
its not the sort of hyper-saturated grind
you expect from modern metal and hard
rock amps. Even here, theres crisp note
attack and excellent dynamic response.
You can floor both gain controls and still
get nice clean sounds by backing off your
guitars volume. Maximum-crunch tones
are closer to 70s classic rock than modern
chunk tones, with explosive harmonics
but relatively loose lows. Actually, dialing
in high-gain tones feels a lot like working
with a vintage Marshall with a jumper
cable between its channels. (Its worth
remembering that early Marshalls were
strongly influenced by dual 6L6 Fenders.)
And then theres the boost circuit,
which adds gobs of gain with little
additional coloration. Engaging it feels
a bit like whacking the amps input with
a powerful clean boost pedal. Its easy to
imagine players getting every tone they
need from the VVA50s single-channel
design: You might set the front-panel
gain relatively high, veer from clean to
crunch via touch and guitar settings, and
then kick on the boost for loud solos or
monster chords.
The Verdict
With tones ranging from Fender-like
sparkle to plexi-colored crunch, Ventura
Valve Amps VVA550 is an ultraversatile head that can cover most styles
short of full-on metal. With its fine
dynamic response and highly interactive
gain controls, its an uncommonly
responsive amp as well. Regardless of
gain settings, notes are well defined
and harmonically rich, with powerful
fundamentals, zingy highs, and relentless
sustain. This amp could be a great
choice for guitarists who covet a top-tier
boutique head but cant quite cough up
the cash.
REVIEW DEMO of this amp.
Ventura Valve Amps VVA50

$1,299 street
(as reviewed with Tolex covering
wood finish $100 extra)
vvamps.com
Tones
Ease of Use
Build/Design
Value
PROS Sparkling clean tones.

Many flavors of crunch. Solid build.
Reasonable price.
CONS Only one channel/input. No
reverb or tremolo.
premierguitar.com
get into your
ELEMENT
The Element Series acoustic guitars are the most

refined, well-appointed instruments Mitchell has
ever created. Stunning flamed maple binding,
shifted scalloped X-bracing and rubbed satin
finishes provide a striking look and warm woody
tone. Available with onboard Fishman electronics,
in dreadnought and auditorium style, theres an
Element guitar for every player.
ME1
Dreadnought
Solid spruce top
Sapele back/sides
ME1CE
Dreadnought/cutaway
Solid spruce top
Sapele back/sides
Fishman electronics
MitchellGuitars.com
The NEW Element Series available
EXCLUSIVELY at these preferred retailers:
ME2CEC
Dreadnought/cutaway
Solid cedar top
Rosewood back/sides
Fishman electronics
ME1ACE
Auditorium/cutaway
Solid spruce top
Sapele back/sides
Fishman electronics
REVIEWS
ALLEN EDEN
1987
By Joe Charupakorn
llen Eden first hit the scene as a guitar parts

manufacturer that sold bodies and necks to DIY
enthusiasts. Theyve always been very focused on
affordability, and on their website youll see necks that sell for as
little as $60 and bodies for around $80. In 2014, they opened a
retail store in El Monte, California, and expanded their line to
include complete guitars. The 1987 is one of their more striking
new offerings: a neck-through-body super strat that features a
Floyd Rose-licensed tremolo and streets at $439. The guitar often
dazzles for its combination of features, quality feel, and price.
The 1987 is a fairly bold visual statement, but its a very

practical, functional, and smart design. The neck-throughbody construction means the body center is an extension of
the walnut-and-maple neck. The burl maple body wings are
peppered with wood grain craters and valleys that are neither
buffed out, nor filled. You can even fit your fingertips into
some of the pits on the body. Clearly, using wood that other
builders might pass over for cosmetic reasons means saving costs
without any sonic penalty. But a surprising secondary result is a
distinctive guitar with major mojo. The walnut stripes, reverse
Wilkinson
humbuckers
Floyd Rose-licensed
tremolo
Neck-throughbody design
Burl maple
body wings
premierguitar.com
headstock, and diamond inlays also lend

hot-rod flair and pay homage to Ibanez,
Alembic, and BC Richs 70s instruments
as well as metals glory days on the Sunset
Strip. The guitar even arrived with a
fancy looking, tweed hardshell case thats
a $90 dollar option. Otherwise it comes
with a gig bag free of charge.
Born to Rock
I tested the 1987 with a Mesa/Boogie
Mark IV amp and some pedals including
a Pro Co RAT and MI Audio Tube Zone
Overdrive. With the amp clean, the
neck pickups sounds like the richer of
the two Wilkinson humbuckers offered,
tone-wise. The bridge pickup sounds a
bit thinner and congested. In isolation,
both pickups exhibited a lack of sparkle
and pop that doesnt quite match the
guitars outward personality. Their relative
neutrality isnt all-bad, though. In a band
mix they were often a blank slate that
made them a better fit than pickups with
a more dominant personality might be.
The 1987 was clearly born to rock,
so I wasnt shy about using it with the
many sources of dirt, distortion, and
overdrive I have at my disposal. With
the Mark IVs lead channel engaged, the
neck pickup has a sweet singing quality
that sounded especially nice on upper
fret bends. With the guitars volume and
tone controls maxed, the pickup sounded
articulate with an ever-so-slightly soft
edge to upper register notes. (This is
when the neutrality of the pickups works

out well.) Further down the fretboard,
things get a little woofy on the 6th
and 5th strings. But while that type of
tone might be too ratty for a shredder
playing three-notes-per-string scales in
low registers, it was amazing for fuzzedout, stoner-rock riffs. The bridge pickup
sustains nicely and can be surprisingly
smooth and warm for high-gain lead
sounds. Its not the most dynamically
responsive pickup around, but for shredstyles, it does the trick.
Shredders will also like the sculpted
neck joint, which allows for unobstructed
access to the 1987s 24 jumbo frets. The
25.5", 5-ply maple-and-walnut neck and
flattish fretboard work perfectly with
the low-action factory setup. Even bends
way up high on the high E and B strings
never fretted out. And it was a kick to
play against a D minor track, bend the
24th fret high E to F, and hear the note
ring true. The playability was so good
that I soloed often and readily above the
17th fret.
For distorted chord work, the bridge
pickup has enough of the bite necessary
for classic metal. More complex, progtype chord voicings would benefit
from better note separation, and some
modern metal styles might call for a bit
more aggressiveness. Of course, if youre
hell-bent on switching the pickups, the
low cost of the instrument means youll
have more money to treat yourself to
replacements. And for an extra charge

you can order the 1987 from Allen Eden
with a pair of Seymour Duncans that
might get you closer to the shred tone
you need.
Typically, when a guitar offers this
much bang for the buck, somethings
gotta give. And, not surprisingly, a
few minor quality control issues were
apparent. The pickup selector switch
felt a little tight, while the volume knob
seemed pretty loose. I also noted a few
protruding fret endswhich clearly did
not effect the superb action. And the
Floyd Rose-licensed locking tremolo,
which is factory set for upwards pull
of almost a major third plus deep dive
bombing, sometimes failed to stay in
tune as well as a locking tremolo should.
The Verdict
For an axe that straddles the line,
price-wise, between a beginner and
intermediate guitar, the 1987 is leagues
above many of its competitors in terms
of playability. As is, its a solid-sounding
instrument that could deliver for many
heavy rock and metal gigs. Swap out the
pickups (or opt for the Duncan upgrade)
and maybe some of the tuning hardware,
and youre on your way to a pro-quality
guitar at a bargain basement price.
Allen Eden 1987

$439 street
allenedenguitars.com
Tones
Playability
Build/Design
Value
PROS Killer price for a neck-throughbody guitar. Superb playability.

CONS Could benefit from a pickup
upgrade. Some tuning stability issues.
premierguitar.com
MUSIKMESSE 2016 - HALL 11.0 STAND D85
www.GuitarsSanDiego.com
858-500-7998
premierguitar.com
REVIEWS
BERGANTINO
B|Amp & HD Cabinets
Program button
By David Abdo
ergantino Audio Systems has garnered and maintained

a solid reputation for their quality speaker cabinets
since the company got its start in 2001. And an oftendiscussed subject by fans of the companys cabs is what amplifiers pair best with Jim Bergantinos designs. These dialogues,
along with a growing cynicism towards modern-amp construction, compelled Bergantino to create the 700-watt B|Amp. His
concept was to develop a unit that contained the essentials of
tone sculpting and robust power, plus speaker profiles that EQ
the response of different speaker enclosures. Bergantino provided us with both HD210 and HD112 cabinets for this review,
but an HD212 and an additional HD112 from a personal collection were also utilized to check out a number of different
speaker combinations.
Get with the Program

Thanks to digital technology, Bergantino was able to pack the
6-1/2 pound amp with features that could fill a medium-sized
rack, and these options are organized in a thoughtful, intuitive
configuration. Once a player sets the gain and master levels,
the fun begins with the quintet of multifunctional controls
underneath the LCD display.
The home screen displays the 4-band EQ and, here, the four
knobs function as boost and cut controls. Pressing and holding
any of the knobs switches the screen to the semi-parametric EQ
section, where one can adjust the center frequency for each.
Tapping any of the knobs brings you back to the home screen.
A quick push of the filters knob engages the variable
feedback and high-pass filter section. These are extremely
helpful for cleaning up muddy lows (as well as safeguarding
your speakers) and mellowing out any feedback issues that
plague some acoustic instruments. Conversely, tapping the
bright/treble control engages the bright filter.
The bulk of the B|Amps features can be accessed through the
program button, where I was able to sift through 13 different
screens of tonal and operational functions. For instance,
screen two displays the DI settings, while screen five displays
information related to the USB input that allows installation of
new speaker profiles or updates to the operating system. Screen
seven sets the speaker load for safe operation at 2 ohms, 2.67
ohms, or 4/8 ohms. Theres even a screen that monitors the
amplifiers temperature and regulates fan control. There isnt
premierguitar.com
enough space here to detail all

the screens and their respective
functionality, but its safe to say
this amp is packed. And while
options of this magnitude might
seem daunting at first, Bergantinos
interface is impressively intuitive.
I feel the most intriguing
aspect of the B|Amp is the ability
to pre EQ a particular speaker
cabinet before any equalization
takes place. To paraphrase Jim
Bergantino, amp designers
compromise their EQ settings to
satisfy a wide range of cabinets.
As a result, users make EQ
adjustments that relate more to
the deficiencies in the acoustic
response of their cabinet, as
opposed to their instruments
tone. This likely explains why
many a bassist will contend that
a particular amp sounds much
better with one type of speaker
over another.
Bergantinos solution lies within the profile section of the
B|Amp. A twist of the filters knob reveals 12 speaker profiles
(based on Bergantinos models), which utilize precise filters
to EQ different speaker configurations. This both maximizes
speaker performance and minimizes excessive EQ adjustments.
Containing woofers with creamic magnets and vented pole
pieces, the HD210 and HD112 cabs provided for the review
are ported, precision-tuned enclosures, constructed from highquality Baltic birch. Throw in a high-intelligibility tweeter,
dress it all up in black tolex and a rigid, black grille, and you
have a speaker cabinet with sleek styling that delivers crushingly
clean tone.
USB port
for profile
uploads and
firmware
updates
Ceramic
magnet
woofers
Premium
Baltic-birch
construction
Three Notes and the Truth

Initial tests were done by connecting the B|Amp to the HD210
and HD112 cabs, a speaker configuration reminiscent of a
popular but discontinued Bergantino cab called the HD322.
Once I plugged in a Sire Marcus

Miller V7 4-string and diagnostics
were completed, the muted amplifier
engaged the tuner mode. The tuner isnt
as accurate as my Peterson strobe, but it
could certainly come in handy for quick
adjustments.
Once I disengaged the mute, I set
the gain and turned up the master. After
playing three notes, it was crystal clear
that the Bergantino rig could produce
full-bodied tone and had the capabilities
of getting really loud. These impressions
were intensified after adjusting the
speaker profile to the HD322 setting.
Within seconds, I heard (and felt) the
enhancements provided by the filters that
delivered a deep punch and a smoother
transmission of the upper mids and
highs. Replicating all of my technical
idiosyncrasies with definition, the note
response was quick.
I was curious to hear how the profile
settings affected other Bergantino
cabinets, so along with a fellow bassist,
we added another HD112 and an
HD212 to the mix. After a lengthy
listening session with individual
cabinets and different cab combinations,
we were both impressed with how
markedly the profile settings enhanced
the characteristics of each cabinet. The
HD210 profile increased upper mids
and provided punchier lows, the HD112
profile delivered more midrange content,
and the HD212 profile tightened up
the lows with a slight boost in the
highs. While other profiles did indeed
highlight different aspects of each cab,
the assigned profiles still sounded best
to my ears. Using the assigned profiles
also minimized EQ adjustments, thereby
requiring only slight boosting or cutting
to polish the desired tone.
The EQ and high-pass filter were
flexible and easy to use. Boosting and
cutting frequencies was sensitive and
abundant, and the means to adjust the
center frequencies of all four bands
helped to solve tonal dilemmas. This
feature was particularly beneficial in
live settings where different rooms (and
instruments) required different solutions.
For example, I used the complete rig
CLICK HERE TO HEAR

this amp & cab.
Bergantino Audio Systems

B|Amp
$1,399 street
bergantino.com
Tones
Ease of Use
Build/Design
Value
PROS A powerful, detailed amplifier

packed with user-friendly options. Speaker
profiles simplify sound sculpting.
CONS Control knobs lack a feeling
of durability.
with an 18-piece swing band in an
800-seat theater where I was playing
a German upright. Equipped with a
Fishman Full Circle pickup, my bass
was experiencing nasal-y mids and had
a nasty feedback issue on the open 3rd
string. I set the feedback filter to cut the
A frequency -7 dB and cut -2 dB from
the high mids centered at 800 Hz. These
adjustments resulted in a natural sound
that really conveyed the wood of the
instrument. I also gave the low mids a +2
dB boost at 150 Hz and set the high-pass
filter at 70 Hz, which provided notes a
plump, tight bottom. While it did take
a few minutes to set the EQ for the
room, I didnt have to make any further
adjustments the rest of the night and
could instead focus on supporting the
ensemble with confident, well-defined
bass lines.
These impressions were consistent
with every instrument and gig using the
Bergantino rig. Whether it was beefing
up the low end of a 64 Jazz, crafting an
upright-like tone with a Ned Steinberger
EUB, or transmitting the detail of a
Ritter R8 5-string, the features of the
B|Amp pretty much accommodated any
tonal demand. It didnt matter if the amp
Bergantino Audio Systems

HD112 & HD210 cabinets
$729 street (HD112);
$829 street (HD210)
bergantino.com
Tones
Versatility
Build/Design
Value
PROS Clean tone. Capable of handling

a lot of power. Built like a tank.
CONS Boutique price.
was connected to the HD210 on a blues
trio gig, two HD112s on a Chicagostyle horn-band show, or the 2x10/1x12
combo for a rock showthe Bergantino
rig delivered studio-quality tone with
plenty of volume that sat in the mix to
near perfection. My only gripe, albeit
slight, would be the amps knobs. They
felt somewhat flimsy and didnt elicit
total confidence they could handle the
rigors of the road.
The Verdict
The Bergantino Audio Systems B|Amp
and HD cabs rank high amongst top
options for bass amplification on
the market. The components respect
your instrument by delivering a bass
characteristics with rapid-fire detail. Its
an excellent reference rig, rife with soundshaping solutions that will please the tone
tweaker, yet still surprise those who prefer
streamlined simplicity. The price tag
may likely scare some budget-conscious
bassists, but what you get for the price
truly feels well worth the investment. If
youre seeking a mighty serious upgrade
to your signal chain, the Bergantino
B|Amp and HD cabinet pairing just
might be the missing link.
premierguitar.com
delay
Effortlessly create your

own world of intricate and
synchronized echoes,
along with hypnotic and
atmospheric repeats that
blur the line between delay
and reverb.
DOPPELGNGER
DIG unearths the true soul
of digital delay and doubles
ittwo simultaneous,
integrated delays with the
captivating rack delay
voicings from the 1980s
and today, for incredible
expressive
potential.
exp
strymon.net/dig
www.mezzabarba.com
premierguitar.com
REVIEWS
RADIAL
Top- or side-mounted handle

(Rack ears sold separately.)
Headload
Compact footprint
(approximately
6" x 12" x 3.5")
By Joe Gore
s hard as it is to accept, there comes a crisis point in

the lives of many guitarists when they mustgasp
turn down. Sure, we can postpone the inevitable with
unassailable logic like, I need to be that loud for my tone,
man. Still, there are times when shrieking toddlers, pitchforkwielding neighbors, and tri-county SWAT teams will challenge
the most dedicated tone seekers commitment to 130 dB
practice sessions at 3 a.m.
A Worthy Compromise?
Fortunately, savvy minds have concocted tools that let us dime
our 100-watt heads well into the wee hours: power attenuators.
Connected between your amps speaker-out jack and the speaker(s)
in your combo or cab, they let you run your amp full-bore, but at a
fraction of the usual volume. Some attenuators are also load boxes,
which electronically simulate a speaker load so you can record
directly from your head (without a speaker connected) and not
destroy your amp (the likely outcome without such compensation).
A number of good attenuator/load boxes sell for between
$200 and $300, and the half-dozen Ive tried all work well. Ive
never encountered a model that exactly reproduces the sound
of a blasting speaker or cab at whisper volume, but you can
narrow the realism gap by modifying your amps tone settings or
EQ-ing the signal at the mixing desk. And anyway (cover your
ears, tone illuminati!), a small compromise on your guitar sound
is a reasonable trade if it spares you disemboweling by your
bandmates, soundperson, or spouse.
Not Your Basic Load Box
Radials Headload does more than most competitors and is priced
accordingly. At $899, Headload is probably overkill for players
who just want to crank their amps at night with minimal collateral
damage. But its rugged steel enclosure and many pro features could
make it crucial gear for touring guitaristsespecially those fortunate
enough to travel with their own front-of-house soundperson.
Headload incorporates circuitry from Radials popular JDX
48 Reactor Guitar Amp Direct Box, which lets you send direct
post-amp/pre-speaker signals to the board via a single XLR jack.
But Headload offers four outputs: dual XLR and 1/8" jacks.
One set of each routes the signal through the front panels EQ
and cabinet-simulation settings, and one set bypasses them. Its
your choice whether to connect a speaker or just listen through
premierguitar.com
in-ears, stage monitors, or Headloads headphone jack. You can

even connect two cabinets, provided their combined impedance
matches the amps speaker-out impedance.
The front-panel controls refine the sound you hear through the
speakers, and you can decide whether these adjustments are applied
to the direct signal or only the monitored one. The range and load
controls let you lower the speaker signal by as much as 99 percent.
The low and high resonance switches are like the loudness controls
on a hi-fi tuner, fattening and brightening to compensate for the
ways our ears tend to interpret relatively low-volume sound.
You can choose from six simulated cabinet voicings for the
direct signal. Headload also incorporates the phase-alignment
circuitry from Radials Phazer box, which helps nix unwanted
phase cancellation when combining direct and miked amp
sounds. In other words, Headload provides the tools to contend
with just about any direct-from-the-amp signal, whether or not
you connect a speaker.
Lets Talk Tone
When listening through speakers at attenuated levels, the results
are similar, but not identical, to a non-attenuated tone. Hear
for yourselfall the audio examples feature the same brief
performance, routed through Headload at various settings via
a Reamp. Compare Ex. 1 (an 18-watt Marshall clone at nearmaximum volume) and Ex. 2 (the same audio and amp settings,
but with the signal attenuated 80 percent). Both were recorded
with the same Royer R-121 ribbon mic in the same position,
with no direct signal added.
For Ex. 2, I activated Headloads high and low resonance
switches, so the tone is both brighter and boomier than the
originala result I might well prefer in a mix. It certainly
doesnt sound fake or quiet. Ex. 3 is simply the Ex. 2 clip
with some compensatory board EQ added. It sounds pretty
darn close to the loud sound in Ex. 1. Impressive!
Direct tones without a miked speaker sound less realistic
(though not bad, necessarily). Even with speaker emulation,
tones are buzzier and less threedimensional. Ex. 4 features the same
reamped guitar performance through
various Headload emulations. Theres a
nice range of choices, though none sound
as realistic as the miked examples.
In fairness, though, Ive never heard a
guitar DI box with genuinely convincing
speaker emulation, and Headload is
better than many. In Ex. 5, I use EQ
to nudge the direct sound closer to the
miked sound, but theres still a strong
character difference. (Which isnt to
say that the ultra-present direct sound
wouldnt be perfect in some contexts.)
But there are many ways crafty engineers
might incorporate direct sounds other than
blasting them as-is. They might add EQ
or mix it with the miked sound, dialing
in the least phasey-sounding blend via the
Phazer tool. They might also use just part
of the direct signal. (For example, I once
did a tour with a two-guitar/no-bass band.
My signal ran through a DI on its way to a
small amp. The engineer isolated only the
lowest part of the direct signal and pumped

up its lows before recombining it with the
miked sound. Result: arena-filling bass youd
probably never get from a miked guitar
speaker.) Meanwhile, just about every amp
simulator these days includes realistic speaker
emulations based on impulse responses
captured from real miked speakers. Most of
them sound more organic than the analog
EQ emulations found on Headload and
rival other products Ive tried. So dont take
the flat, buzzy DI tones at face valuea
good engineer can make them sound great.
The Verdict
Radials Headload Guitar Amp Load Box
and Direct Box sounds at least as good
as any attenuator/direct box Ive heard,
and it boasts more useful features than
any of them. Few hobbyist or homebody
guitarists need to spend $899 for this
specialized tool if all they want is loud
tones at low volume. But for players and
engineers who must contend with varying
venues night after night, this Swiss Army
guitar DI could become one of the most

crucial tools in in the road case.
CLICK HERE TO HEAR the headload.
Radial Headload Load Box

$899 street
radialeng.com
Tones
Ease of Use
Build/Design
Value
PROS Superb construction.

Great-sounding level attenuation.
Comprehensive connectivity.
CONS Speaker emulations not
100-percent realistic. Probably too
complex and pricey for non-pro players.
premierguitar.com
Nash Guitars S-63

Value: $1,960
Enter on PremierGuitar.com/contests
REVIEWS
MAGNETIC
EFFECTS
Bias control
White Atom
By Charles Saufley
ummoning new voices from proven fuzz circuits isnt easy.

Extracting extra utility from them can be trickier still. In the
form of the White Atom, London-based Magnetic Effects
delivers a hybrid silicon/germanium fuzz that manages both tricks.
At core its a thrilling and howlingly vintage sounding fuzz. But its
also capable of tones on the mellower and more psychotic sides of
the fuzz spectrum that few strictly vintage-style units deliver.
Laws of Physical Attraction
In my experience with Magnetic Effects (the Electrochop
tremolo is a fixture on my board), there is a thoroughness in
design and execution that makes their pedals useful beyond
obvious applications. In the case of my Electrochop, I found
the volume control so effective that it has become my primary
source of clean signal boost. On the White Atom, theres
a highly interactive control set with impressive range that
translates to an ultra-wide tone-color spectrum.
On the surface, the White Atoms control set is neither
complex nor terribly unusual. There are knobs for volume, tone,
gain, and texture. The latter is essentially a bias control that
starves the circuit of voltage. The White Atoms bias control
works somewhat differently than most, though. While bias
controls often create a disparity between the voltages in individual
transistors, the White Atoms bias control shifts the operating
point of both transistors simultaneously. The sonic dividend
seems to be slightly subtler and more demented biased tones.
The circuit board is clean and ordered, if crowded. The
transistor array sits clumped together like a little forest towering
over the plains of all-in-a-row diodes and capacitors. But rather
than use an all-transistor gain-generating section like youd see
in a vintage fuzz, the White Atom uses an OpAmp to boost
the signal from two transistors. Theres plenty of room for a 9V
battery (it will run via 9V DC power as well), and the sturdy
enclosure-mounted jacks and pots make the circuit board more
isolated from the blows that come with life on the road. In
this respect at least, the move to a more compact and tightly
populated board looks like very good sense.
premierguitar.com
Germanium/
silicon hybrid
fuzz circuit
Classics Read Colorfully

The White Atom is a very forgiving fuzz. At nearly all settings
apart from the most extreme, its very focused and balanced
across the frequency spectrum, with scads of cool fuzz colors
that pop, cut, record well, and evoke the most expressive 60s
units. The pedals basic voice is perhaps most akin to a less
midrange-y, three-knob Tone Bender Mk III. Theres also a dry,
husky inflection that hints at both the Tone Bender Mk II and
a germanium Fuzz Face. And while it wont deliver the porcine,
buttery, and wide-load presence of a Big Muff, the White Atom
exhibits that circuits capacity for slightly compressed, growly,
overtone-rich chordsonly with less-scooped midrange and less
low-end power. Its killer for tight power chord riffing, however.
And at high pedal volumes the box is very loud and punchy.
That slightly compressed, focused, and even wallop also
means its perfect for dry, stinging leads. Maxing the tone and
texture controls gives leads a sweetly lacerating, early Jimmy
Page-style volatilityespecially through small amps. You can
also achieve a lot of extra shading and nuance through guitar
volume manipulation, thanks, no doubt, to the germanium side
of the gain circuitry.
Starving the two transistors of voltage with the texture knob
makes lead tones even more interesting. And tuning the texture
and gain knobs in different configurations conjures colors
from buzzing and sonorously reedy to mangled and tattered
8-bit carnage. The latter effect is best

achieved by using the most extreme
counterclockwise texture setting, a gain
setting just on the more aggressive side
of halfway, and a loud volume setting.
Its a massive and deranged sound.
Through a second, cleaner fuzz it sounds
like a 10-story, atomically mutated,
biomechanical monster. At lower tone
levels the same texture settings are
less spitty and chaotic, but still plenty
weirdand a very cool sound for singlenote lines or doubled bass lines on a
detuned guitar or baritone.
The White Atom delivers at much
less extreme sides of the gain scale, too.
And with a gain setting in the middlethird of its range or lower, it makes a hip
low- to mid-gain overdrive. Higher tone
levels lend definition in these settings and
are a very nice match for humbuckers.
You wont hear the harmonic complexity
of Klon-style or tube-amp-wide-open
crunch, but this is a very tight, concise,
and punchy overdrive thats killer for
tracking and doubling rhythm parts,

and is very responsive to guitar volume
adjustments.
If theres a downside to the White
Atom, its that the pedal is a tiny bit on
the noisy side. I suspect few potential
customers will be put off by the extra
hum, which, if anything, suggests a
readiness to rumble. It can, of course,
be dialed back with volume attenuation
from your guitar.
The Verdict
The punch and harmonic evenness of the
White Atom make it an excellent primary
fuzz. Its potential as a second, more
frenzied fuzz toneespecially at the fore
of a signal chain and in front of a more
conventional fuzzis also tantalizing. The
fact that the White Atom can so easily
function in both roles is among its many
strengths. And when you consider this
chameleonic powerand the many colors
it places at your fingertipsthe $145 street
price looks like a very sound investment.
Magnetic Effects White Atom

$145 street
magneticeffects.net
Tones
Ease of Use
Build/Design
Value
PROS A dazzling, dizzying array of

fuzz colorsfrom Tone Bender to
tortured Ampeg Scrambler. Range-y and
highly interactive tone, gain, and bias
controls. Punchy at high volume levels.
Sturdy build.
CONS Focused, even fuzz output
can sound boxy in some applications.
Deranged voltage-starved tones might be
of little use to some users. A touch noisy.
premierguitar.com
STAFF PICKS
Question & Obsession
This month were talking about the golden era of guitarthe 1950s and 60s birth of rock n roll. Filter frontman
and guitarist Richard Patrick joins us in naming our favorite pioneering players.
Whos your favorite guitarist

from rock n rolls golden
erathe 1950s and 60s?
Richard Patrick
Winston Smith
Filter
Reader of the Month
A: Buddy Holly because he

was weird. But also Jimi
Hendrix ... his avant-garde
approach with feedback and
the whammy bar made me
realize the rulebook had
been broken. We all get that
a guitar player should learn
his craft, but at the same time
we need to tear that down.
Buddy kept it simple and Jimi
fucked it up. Bravo!
A: Link Wray and Jeff Beck.

Link Wray because he pretty
much defined the rebel as
far as tone and punk attitude,
and Jeff Beck made the
pursuit of musicality and
experimentation cool for
all genres of guitarists from
punk to jazz.
Far left: Photo by Myriam Santos
Current obsession:
The Zoom G5. I programmed
a bunch of the patches and
Im obsessed to see what
the kiddies think. I love
noise. I love being able
to make music relying on
equipment. People who say
you should be able to play
everything on an acoustic
guitarthats bullshit. I
want more tech, more chaos.
Current obsession:
To see how I can adapt my
playing style and tone to
genres of music Im not very
comfortable playing. Pushing
my technique and ear into
new territory. I have to learn
15 songs by this weekend, in
three different keys, to play
live in a genre Im not familiar
with, with musicians that play
said genre as masters.
premierguitar.com
Andy Ellis
Shawn Hammond
Tessa Jeffers
Senior Editor
Managing Editor
A: Working back through

the British Invasion bands, I
discovered this era of music
circa 1965. The Shadows led
me to Duane Eddy, whose
twangy, throbbing, cavernous
tones inspire me to this day.
A: Its a toss-up between Elvis

sideman Scotty Moore (holy
crapthe solo on Hound
Dog alone!) and James
Brown badass Jimmy Nolen.
Nolens spare, gloriously
funky lines knifed through
the mix and were like
absolute clockwork.
A: When I hear Chuck Berry,

Im immediately transported
to a nostalgic place I know
only romantically through
the sounds of those times.
Berry is 50s golden guitar
to memost of his songs
start with a variation of the
same signature lick. Beyond
that, he could sing and swing,
inventing his own brand of
rock n roll.
Current obsession:
My Phantom MandoGuitar.
Its designed to be tuned
like a 12-string capoed at
the 12th fret, although I
tune it a whole-step lower:
DDGGCCFFAADD.
The top three string pairs are
each tuned in unison; the
lower three pairs are octaves.
Deluxe chime!
premierguitar.com
Current obsession:
My PureSalem Pink Beard
fuzz, which can go from
wonderfully organic and
dynamically responsive to
mutated and scuzzy.
Current obsession:
Thinking about guitar
phrasing in terms of voice
or approaching melodic
lines, like a singer would. My
favorite players make their
parts distinct and memorable,
like a skilled vocalist catches
you with their inflection.
Gearheads win!
Mail this ad to ThroBak by 4/30/16 to receive your 20% off

coupon for any pair of ThroBak Pickups.
Jerry T. Brownstead of Crossville, TN

Winner of the Gibson J-29
Mark Kaufmann of Plainfield, VT

Winner of the Reverend Sensei RA from Guitar Riot
CHANGE IT CRANK IT SHRED IT

Enter at PremierGuitar.com/Contests
Void where prohibited. Read full rules on
PremierGuitar.com. To enter our gear giveaways
by mail, legibly hand-print your first and last
name, address, age, and day and evening phone
numbers on a 3x 5 card and mail to:
Sweepstakes
Gearhead Communications, LLC

Three Research Center
Marion, IA 52302
premierguitar.com
INTRODUCING THE NEWEST MEMBER OF

THE KYSER QUICK-CHANGE FAMILY
ROSEWOOD
Guaranteed for life.
www.kysermusical.com
KYSER MUSICAL PRODUCTS
MADE IN USA
henrettaengineering.com
hand made custom
multi-effect units
breaking old ground
Apps
Get everything thats in the
print magazine...and more.
premierguitar.com/apps
iPad | iPhone | Android
iPad, iPhone, & iPod Touch are trademarks of Apple Inc., registered in the U.S. and other countries.
App Store is a service mark of Apple, Inc. Android is a trademark of Google Inc.
premierguitar.com
premierguitar.com
Giveaways
Win the FULL pedal range

from
Enter At:
PremierGuitar.com/
Contests
premierguitar.com
Multiselector 4X
Four in, to one out.
bidirectional switcher.
The new standard in high performance switching.

New Product
MULTISELECTOR PRO
4x1 Instrument Switcher
Wt2000
Chromatic tuner
(not included).
The MultiSelector PRO is a state of the art unidirectional 4-to-1

instrument switcher incorporating innovative features sought
after by touring professionals. The MultiSelector PRO allows
selection of any 1 of 4 inputs to a single output. Each of the four
inputs is electronically buffered with a 1 MegOhm input impedance which emulates a proper amplifier load and prevents any
degradation to the instruments tone. Signals pass through the

MultiSelector PRO transparently, with no coloration and the
digitally controlled optical switching is completely silent. Weve
also included a tuner output on the front and rear. All three nonactive inputs are routed to the tuner outputs so a guitar tech can
tune any instrument in a non active channel without unplugging it.
New Product
MULTISELECTOR AMP
1x4 Amplifier Switcher
The MultiSelector AMP is a state of the art unidirectional 1-to-4

instrument amp switcher that silently switches one instrument to
multiple amps, with complete isolation between amplifiers. The
input is electronically buffered with a 1MegOhm input imped-
ance, which emulates a proper amplifier load and prevents any

degradation to the instruments tone. The signal passes through
the MultiSelector AMP transparently, with no coloration and the
digitally controlled optical switching is completely silent.
MULTISELECTOR REMOTE
The optional MultiSelector REMOTE stomp box style
footswitches contains four switches that remotely
control the switching functions of the rack mount units
using a regular 3-pin XLR microphone cable. A unique,
proprietary communication protocol ensures reliable
switching with mic cables up to 100 feet long.
mltselPRO4XR remote works with the multiselector PRO and 4X only. mltselamPR remote works with the multiselector amP only.
To check out our full line of SELECTORS, visit us

whirlwindusa.com
1 - 8 0 0 - 7 3 3 - 9 4 7 3 | 9 9 L i n g R d . R o c h e s t e r, N Y 1 4 6 1 2
MADE IN THE USA
the legendary
SELECTOR A/B BOx
INTERESTED IN A CAREER
IN GUITAR REPAIR?
We provide tools & handson training to prepare our
students for a career in
guitar tech, repair &
restoration. Endorsed by
over 16 manufacturers,
(Taylor Guitars, Seymour
Duncan, All Parts, Stew
Mac, etc.), our students receive the best training, tools and
learning materials in the industry. Sign up today!
SALES SERVICE STRINGS PARTS RESTORATIONS
Restorations by Jeff Babicz
www.HeadlessUSA.com
GM1T
Hotline: 2033958013
The worlds largest Steinberger inventory.

TM
premierguitar.com
GAME
CHANGER
the
Avante
Gryphon
by Veillette
the choice for working musicians,

pro players & manufac turers
for over 10 years.
years
www.nordstrandpickups.com
A
whole
new
tonality
veilletteguitars.com
845.679.6154
HIGH VOLTAGE HORSEPOWER

The Original
And
The All New
Higher Gain Introducing Lower Gain
CUDA
CUDA Lite
Pure Class A Tube
200 Volts of B+
Power From 9VDC
Wide Range Tone
Controls
Made in the USA
www.sibfx.com
FOR BREAKING NEWS

Follow
on Twitter!
NOW
SHIPPING!
@premierguitar
premierguitar.com
Better. By people.
No Velcro
Patents Issued
Lifetime Warranty
Curved Deck
2 Levels
Quick.Tight.Better.
www.chemistrydesignwerks.com
premierguitar.com
ESOTERICA ELECTRICA
The Forest for the Trees

BY JOL DANTZIG
an you remember the first time

you saw an electric guitar? Was
it love at first sight, or did it
reveal itself to you slowly, seducing you
with its sirens song? I can recall the
moment this happened to me, at age 10.
Not long after, I became fascinated with
the Mosrite Ventures Model. Like the
surfboards and hot rods I associated with
the Ventures sound, Mosrite was swoopy
and shiny with plenty of chrome. It was
a crazy shape, had a zigzag headstock that
looked like a cartoon, and came in dunebuggy colors like candy red and metallic
blue. I begged my parents to buy one for
me. We went to a store that stocked multiple brands. I approached the Mosrite
display as if it were an altar. To my shock
and horror I realized they were made of
wood, not the fiberglass Id imagined.
How could such a forward-looking
implement of modern sound be made of
such a mundane and archaic material?
It took me a while to get over my
disappointment, but move on I did. We
couldnt afford the Mosrite, so I settled
for a used Fender student model called
a Duo-Sonic. At least it was painted
white. Over time, I started to notice
more interesting instruments with pretty
woods and elaborate binding, inlays,
and stains. I met musicians who let me
try their Rickenbackers, Gibsons, and
the occasional Gretsch. And I started
to appreciate that all of these guitars,
although cursed by being made of wood,
sounded pretty great. I was learning and
my taste in guitars was evolving.
Later, I learned fiberglass guitars did
existand they were miserable to play.
I didnt realize this had more to do with
cheap construction than the plastic body
itself, but by then my opinion of wooden
guitars had reversed: plastic was for toys,
and wood was for serious instruments.
In retrospect my assessment is hard for
me to reconcile. I was a technology fan
of the highest order. I adored fighter
jets and missiles for space exploration.
I followed drag racing and Formula
1sports favoring vehicles made of the

latest exotic materials and engineering
breakthroughs. Yet, I was dedicated to
musical instruments made primarily
from treesa tradition that automobile,
aircraft, and boat makers had left in the
dust decades before. So why, I wonder,
do I (and most others) still make guitars
from wood?
On the surface, the answer is
tradition, but its also practical. The look
of wooden guitars and the sound they
make are the very fabric of the popular
music lexicon. As such, builders (and
reviewers) of plastic or metal guitars find
themselves constantly comparing their
products to wooden instruments. But
more importantly, wood is plentiful,
light in weight, and easy to work with.
Contrary to popular belief, most species
are also, by comparison, inexpensive
compared to aluminum, brass, or carbon
fiber. Weight is also important. Even a
hollowed-out metal guitar strong enough
to withstand string tension can tip the
scales beyond what most guitarists deem
acceptable. A successful way around
this is to fabricate thin metal shells,
which requires different skills and more
elaborate equipment than the simple
ones woodworkers employ.
Still, it comes down to perception. Do
you think you could spot an aluminum
guitar by listening to a recording of a
band? Music history is filled with the
stories of huge sounds created with

unlikely guitars. Most listeners are unable
to determine if a solo is played on a
Telecaster or a Les Paul, so I dont think
music would be harmed or degraded
in any way if guitars were made from
Plexiglas. Had the Beatles played
aluminum guitars on TV in the 1960s,
we might be at a very different place right
now, but I tend to doubt it.
After all, I prefer wood. Why? Well,
there is the traditionnot only of
the instruments and music that has
come before, but also the tradition of
the woodworker. There is something
intrinsically satisfying about working
with an organic material. I love the way
it smells and the way it looks, with its
infinite colors and markings. Wood
is a living material with a personality
that differs from piece to piece. I once
craved (and preached) consistency
as part of excellence, but now I see
it a bit differently. I like the idea of
each instrument having a slightly
different character. In this way, wooden
instruments mirror us as individual
artistsand individual humans.
JOL DANTZIG is a noted
designer, builder, and player who

co-founded Hamer Guitars, one of
the first boutique guitar brands,
in 1973. Today, as the director
of Dantzig Guitar Design, he
continues to help define the art of
custom guitar. To learn more, visit
guitardesigner.com.
Photo by Andy Ellis
Electric guitar
love at first
sight. But hang
on ... its made
of what?
premierguitar.com
b a s s e s b u i lt f o r a l i f eti m e s i n c e 1 9 7 6
Introducing new Euro4LX / Euro5LX in Tobacco Sunburst with custom-wound Bartolini pickups
and Euro4 / Euro5 in solid white or black gloss with EMG P/J (Euro4) or 40DC (Euro5) pickups.
W W W . S P E C T O R B A S S . C O M
LAST CALL
Do Not Fear Mistakes. There Are None.

BY JOHN BOHLINGER
hen I was younger, I didnt

handle mistakes well. Every
time I hit an unintentionally
ugly note at a gig, session, or jam, I
would be so preoccupied with selfloathing and shame that I would
consistently follow that clam with two,
three, or seven additional flubs. I focused
on my clams, not the music, which killed
the fun factor. Worse yet, because I could
not get past the past, I played scared. So
even if I was hitting the right notes, they
didnt sound right. Those performances
were the sonic equivalent of Barney Fife
law enforcement.
Today, when I blunder during a live
performance, I try to leave my errors
behind me like a John Woo film
cars and buildings exploding in the
background as I slowly walk away with
my Wayfarers pointed straight ahead,
never looking back. Id rather be strong
and wrong than timid and technically
right. This isnt just my personal battle
crythis is a universal truth set in
stone four decades ago by the two Jims:
Hendrix and Page.
Google Best Guitar Solos Ever and
Worst Guitar Solos Ever and youll
find Jimmy and Jimi on both lists. Pages
Heartbreaker solo gets referenced
on both all the time. Its an epic
performance, but youll never convince
me Pages fingers were doing exactly
what he wanted them to do for every
note of his herky-jerky, dweedly-dweedly
guitar wizardry.
The same could be said for the Black
Dog bridge. Page plays it differently
every timea little rushy/draggy/wonky,
its the sonic equivalent of watching a
cat fall off a ledge, then right itself at the
last millisecond to land safely on its feet.
These examples of Pages playing remain
timeless in more ways than one.
Some argue Page made a lot of
mistakes on those classic records, but
when it comes to recordings, Page, like a
lot of other legendary musicians, played
like Jackson Pollock painted. Colors
splattered chaotically can carry a lot of

emotional weight in their randomness
and slop. Page heard several takes of those
songs and chose the versions that got his
message across best. The unwritten rule
remains that once artists sign off on their
work, terms like mistake are irrelevant.
Its either art you like or dont; any
rule breaking is applied artistic license.
Artistic license is that empowering phrase
that makes a GCFB% quartal cluster
sweet like monkey meat. Great news if
youre an artistnot so great if youre a
musician working on somebody elses art.
If your job is to play music for
somebody elses project, then, technically,
its a mistake whenever you veer away
from what the leader wants. Thats why
Hendrix was fired from his first gig before
the second set and why, later on, Little
Richard and Ike Turner canned him midtour. He was discharged for playing like
Hendrix. Jimi was an artist who couldnt
compromise his work, so him playing
with Little Richard was a bit like hiring
Picasso to paint your kitchen eggshell
white. (Taking nothing away from the
fabulous L.R., but Tutti Frutti is not
Castles Made of Sand.) The world is
lucky Jimi followed his muse rather than
tamed it to fit in as a sideman, though
being a sideman can be creative and
rewarding work.
Professionally speaking, Im a
sideman.Most of my work is attempting
to play what other people want for their
music.I try to avoid mistakes so people
will continue hiring me, but I dont get
too rattled when my fingers make me
sound like Im playing with my toes as
they stumble a fret up or down from
where I want them.
The advice of Joe Pass helped me
become a bit more Zen about those color
tones. Pass said, If you hit a wrong
note, then make it right by what you
play afterwards. On guitar, youre never
more than one fret away from something
that will work. An errant note can easily
become a glissando into the melody,
making that slip the coolest thing played

in the entire song.
As musicians, we spend a lot of time
learning patterns, which makes our
playing grow stale. Eric Johnson said,
My best songs come from making a lot
of mistakes and playing a lot of garbage.
What some people call mistakes are
really just a scenic route to new musical
territory. Playing what you didnt mean
to play is an opportunity for something
awesome thats never happened before.
In a homogeneous world where the
majority of recordings are quantized and
autotuned, the unexpected is a gift.
In music and in life, missteps are often
the best part. When I was in college and
my girlfriend told me she was pregnant,
I thought, Colossal mistake, my life is
ruined. Turns out, the whole parenthood
gig was the best thing that ever happened
to me. There are endless examples of
wrong turns leading us right where we
need to be. (This is the part where I repeat
the title to really drive home the message.)
Miles Davis said, Do not fear mistakes.
There are none. That totally takes the
pressure off. Enjoy the stumble.
JOHN BOHLINGER
is a Nashville musician who has

led the band on NBCs Nashville
Star and served as musical director
of the CMT Music Awards for the
last six years.
Premier Guitar ISSN 1945-077x (print) and ISSN 1945-0788 (online) is published monthly by Gearhead Communications, LLC. Principal office: 3 Research Center, Marion, IA 52302. Periodicals postage
paid at Marion, IA 52302 and at Additional Mailing Offices. 2016 Gearhead Communications, LLC. All rights reserved. Reproduction in whole or in part without written permission is prohibited.
Premier Guitar are registered trademarks of Gearhead Communications, LLC. Subscribers: If the Postal Service alerts us that your magazine is undeliverable, we have no further obligation unless we
receive a corrected address. U.S. Subscriptions: $24.95 for one year. Call for Canada, Mexico and foreign subscription rates. Postmaster: Send address changes to Premier Guitar, 3 Research Center,
Marion, IA 52302. Customer Service and subscriptions please call 877-704-4327 or email lois@premierguitar.com. Printed in USA. Volume 21 Issue 4 April 2016
Photo courtesy of Sony Music
Take the advice

of Miles Davis,
the crown prince
of cool, and keep
looking forward.
YOUR GEAR. YOUR STORY.

From vintage guitars and used effects pedals to the latest boutique amps and
must-have accessories Reverb.com has the gear you need to bring your
sound and your story to life.
BUY & SELL NEW,

USED, & VINTAGE GEAR
ALL TRANSACTIONS BACKED

BY REVERB PROTECTION
NEW GEAR SHOWCASE
IN THE MARKET FOR SOME NEW TONE TOYS?

HERE'S A HEADSTART FOR THE LATEST GEAR IN 2016.
NEW GEAR SHOWCASE
D'ANGELICO
EX-SS Deluxe
Tone, sweet tone. The smallest of all the
DAngelico semi-hollows, the 15-inch
EX-SS Deluxe boasts punchy tone while
remaining impressively lightweight.
Featuring our new Seymour Duncan
DA-59 pickups and a six-way switch for
maximum tonal variety, the SS Deluxe
is a beacon of tone. With only a post
behind the bridge, the SS is nearly fully
hollow, making way for the guitars
organic sound. Its gold Grover locking
tuners, gold Stairstep tailpiece, and
Skyscraper truss rod cover all stand out
to define DAngelicos Art Deco aesthetic
against its Midnight Matte finish, offered
only in the Deluxe Collection. Truly
a versatile instrument, the SS Deluxe
shines in any genre, clean or overdriven,
and at moderate or stage volumes.
Street price: $1,999.99
dangelicoguitars.com
FIND US ON FACEBOOK
WEB 1
Special Promotional Section
NEW GEAR SHOWCASE
FISHMAN
TriplePlay FC-1 Controller

Control your synths and other modules directly
with the TriplePlay FC-1 Controller. Use your
favorite MIDI synths and sound modules
without the need for a computer. Insert the
TriplePlay USB receiver into the USB host port.
Incoming MIDI data is passed wirelessly from
your guitar to the conventional 5-Pin Din output
for use with any MIDI-equipped hardware.
Three programmable switches default to patch
selection, hold, and tuner. LCD display shows
currently loaded hardware synth patch.
Street price: $199.95
fishman.com
FIND US ON FACEBOOK
FISHMAN
Fluence Signature Series Pickup Sets for Greg Koch, Stephen Carpenter and Devin Townsend
Three of the worlds most expressive,
creative and daring players have joined the
Fluence Revolution, choosing Fluence as
the voice for their electric guitars!
Fishman R&D has collaborated with each
artist to deliver the spirit and essence of
their individual tone.
Each set of Fluence Signature pickups
incorporates two unique voices that
these playershave been searching for,
and may have achieved across multiple
instruments, but are now available at the
flick of a switch.
fishman.com
FIND US ON FACEBOOK
Special Promotional Section WEB 2
NEW GEAR SHOWCASE
SCHECTER GUITARS
CUSTOM SHOP
USA Production Solo Special

For those who know Schecter, you are
probably familiar with our iconic Solo
body shape. So, weve decided to add to
the collection, our USA Production Solo
Special! Coming built with a mahogany
body and neck, high mass long tenon 22
fret set-neck, and TonePros AVT wraparound bridge this guitar is sure to peak
your curiosity. And not only is it built to
withstand playing and travel from the
most discerning players, but you can
also easily dial in your tone and look by
choosing either our V90 or V100 Schecter
pickups, and one of our select custom
finishes. All our USA Production guitars
are built to order, and often you can
choose from an array of finishes, select
fretboard woods, and inlay options. Talk to
your local Schecter dealer or email us as
Tech@schecterguitars.com for more info!
Street price: $2,299
schecterguitars.com/custom/configurator
FIND US ON FACEBOOK
WEB 3
NEW GEAR SHOWCASE
SCHECTER GUITARS CUSTOM SHOP

Michael Anthony "Rat Rod"
Over the last year, we have come
together to create what Mike considers
to be, the perfect bass. From our custom
high-mass brass bridge, to our Custom
Shop wound pickups, this bass packs a
punch. Each finish hand distressed, so
no two are alike. Watch our video where
we sat with Mike and talked about it all,
from basses to cars! (Look out for his
Diamond Series versions soon!)
schecterguitars.com
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
BUY IT NOW
FIND US ON FACEBOOK
SCHECTER GUITARS CUSTOM SHOP

Apocalypse Pickup Set
Aggressive both visually and sonically our

Apocalypse pickups are not to be taken
lightly. With a unique tri-field design and
dual flanking ceramic 8s, these pickups are
tight, loud, and robust so that your sound
can cut through with definition and balance,
no matter the circumstances. Available in
6/7/8 strings set and trem versions as well,
there is a set for every guitar. Clear and
black smoke bobbins available.
Street price: $289
schecterguitars.com
HEAR SOUND CLIPS
PLAY VIDEOS
NEW GEAR SHOWCASE
GIBSON ACOUSTIC
L-00 Standard
The legendary Gibson L-00, a small
body with a full J-45 sound. Developed
in the 30s, the L-00 was for years
an industry standard. The 2016 L-00
Standard captures the heritage of those
exemplary early models. So perfectly
balanced that the L-00 has unparalleled
projection not found in comparable
small body guitars. Specd just like the
iconic J-45 including mother-of-pearl
Gibson inlay, black Graph Tech nut, and
LR Baggs VTC pickup.
gibson.com
WEB 5
NEW GEAR SHOWCASE
CELESTION
Neo Creamback
With a neodymium magnet, the Neo Creamback

is every ounce a Classic Celestion, delivering the
authentic Creamback tone, while preserving the
benefit of neodymiums much lighter weight.
You get the low end punch, warm, vocal
midrange and sweet highs the Creamback is
famous for: push it hard and enjoy the race-car
growl that sets pulses racing. But pick up a cab
thats loaded with Neo Creambacks and youll
see what makes this speaker truly different.
Street price: $169
MSRP: $255
celestion.com
BUY IT NOW
FIND US ON FACEBOOK
MAD HATTER GUITAR PRODUCTS

Terminator
Mad Hatter Guitar Products is pleased to announce its next

generation in Solderless Solutions with the Terminator.
The Terminator is the most flexibility system ever!
Each Terminator system comes complete with Mad Hatter
Guitar Product's exclusive CTS Universal Dual Value Goes
to Eleven Volume and Killer Tone Pots with 250k, 500k
and now 750k capabilities in each pot, Switchcraft toggle
switches and output jacks, CLR and OakGrisby selector
switches and our Bourns Yin-Yang Push/Pull Pots.
Street price: $59.99 $99.99
madhatterguitarproducts.com
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
EARTHQUAKER DEVICES
Sound Projector 25
The Sound Projector 25 is our debut amp

offering: a handmade 25-watt linear Class A
tube device. With its no nonsense volume,
treble and bass interface, its a perfect platform
for those who want a low wattage amp
without sacrificing full-spectrum tone. The
SP25 features 12AX7s up front, KT66s in back
(supports other power tubes), custom Heyboer
transformers, Jupiter Condenser caps, and
switchable gain boost. Powerful, handmade
2x12 speaker cabinet comes replete with
Celestion V30s.
Street price: $1,850 (head);
$2,450 (head & cabinet)
earthquakerdevices.com
BUY IT NOW
FIND US ON FACEBOOK
BUY IT NOW
FIND US ON FACEBOOK
EARTHQUAKER DEVICES
Spatial Delivery
The Spatial Delivery is an oddball, voltagecontrolled envelope filter allowing you to step
outside the universe of funk while reinforcing
your secret love affair with auto-wah. It has 3
modes- Up Sweep, Down Sweep, and Sample
and Hold. With the Range, Resonance and
Filter controls, you can achieve subtle and
tame or super-emphasized filter sweeps.
Whereas in Sample and Hold mode, the filter
is controlled by random voltage and the Range
controls the speed.
Street price: $195
PLAY VIDEOS
WEB 7
NEW GEAR SHOWCASE
EARTHQUAKER DEVICES
Avalanche Run
The Avalanche Run is our first product built

on a high powered DSP platform weve been
developing for over a year! While reminiscent
of our Dispatch Master, the style of delay and
reverb is quite different. The delay has a tape
quality with bucket brigade sensibilities, while
the adjustable reverb has more of a deep, platelike cavernous tone. Features include reverse
delay and swell reverb modes, tap tempo, trails/
true-bypass modes, 100% wet, and many more!
Street price: $295
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
EARTHQUAKER DEVICES
Spires
The Spires is a monstrous two-channel dual-fuzz

device that shows no sonic mercy! The green
channel features a cranked fuzz inspired by the
Rosac Nu-Fuzz, while the red channel is a silicon
version of our now discontinued Dream Crusher.
The wide range tone control changes character
from big and warm to sizzling and blown out.
It also features a very usable and dynamic Fuzz
control and has tons of output volume, just like
the original.
Street price: $195
NEW GEAR SHOWCASE
OVATION GUITARS
Elite TX - 1868TX-GO
Heres where Ovation artistry runs
deep. The Elite series builds upon our
philosophy of constructing unique
instruments for visionary players. With
striking silhouettes and understated
finishes, Elite series guitars make a
statement all their own, but theyre
astute and reliable in any performance
situation. Their message is clear and
manifest: Youre here to shift the musical
landscape. Youre here to inspire.
This Elite TX features Ovations Super
Shallow Bowl, which is ergonomically
designed for comfort in any playing
position. A deluxe AA solid-spruce top
and Ovations legendary lightweight, yet
high-strength bracing give this guitar
tremendous sonic power. An ultrathin finish allows the soundboard to
resonate freely, and soundports on the
bass-string side of Ovations sculpted
cutaway composite body enhance
lower-frequency projection. Shaped
to offer the fast feel of an electric
guitar, the slim, hard-rock maple neck
delivers superior sustain, while the
OP-Pro preamp and OCP-1K pickup
produce uncompromising plugged-in
performance.
Street price: $799
ovationguitars.com
FIND US ON FACEBOOK
WEB 9
NEW GEAR SHOWCASE
OVATION GUITARS
Elite Plus - C2078AXP-AF
The Elite Plus features AAA grade spruce top,

LX scalloped bracing, Okume Feather Veneer,
deluxe ebony fretboard and bridge, a five piece
mahogany-maple neck, and abalone body/
fretboard inlays.
The upper-bout soundholes, featuring exotic
hardwoods, and contoured body improves
soundboard efficiency and is designed for
comfort in any playing position.
The OP-Pro Studio preamp includes a
compressor with a " output jack that connects
to virtually any sound system, stage amp, or
recording console.
MAP: $1,119
ovationguitars.com
FIND US ON FACEBOOK
OVATION GUITARS
Legend Plus - C2079AXP-KOAB

The Legend Plus features AAA grade spruce
top, LX scalloped bracing, Figured Koa Veneer,
deluxe ebony fretboard and bridge, mahoganymaple neck, and abalone body/fretboard inlays.
The center soundhole, featuring laser-cut
oak-leaf and abalone rosette, and the contoured
body, maximize output and is designed for
comfort in any playing position.
The OP-Pro Studio preamp includes a
compressor with dual XLR and " output jacks
that connect to virtually any sound system,
stage amp, or recording console.
MAP: $1,119
ovationguitars.com
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
FANE USA
Ascension F70
"FANES NEW ASCENSION RANGE OF 12" speakers was

developed with input from Southern California amp designer
Steven Fryette, and aims to capture the punchy, bold, yet
harmonically complex and responsive performance that people
love in the classic late-60s and early-70s speakers from this
under-appreciated British maker. The Fane sound became
legendary due to their use in certain Hiwatt guitar cabinets of
the era, and Fanes new models provide added versatility for
the contemporary player." (Guitar Player, March 2016)
PLAY VIDEOS
WEB 11
BUY IT NOW
The Fane Ascension F70 offers a stunningly detailed top-end,

rich mid-range and warm low-end with an intricate threedimensional vintage crunch. The beauty of the F70 is that you
need not even change your amplifier's setting to appreciate its
ability to articulate delicate passages or manage pummeling
abuse with ease. Whether your application is a head and
cab or an open back combo, the F70 adds a welcome new
dimension to existing rigs.
Street price: $199
FaneUSA.com
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
FRYETTE AMPLIFICATION
Pittbull UltraLead Head
The Fryette Pittbull Ultra-Lead is a powerful,

versatile channel switching amplifier suited
for players of any style. Uncompromising
personality makes it the choice of world-class
players from all genres of music. The UltraLead's KT88 power section provides stunning
clarity and definition whether playing ultraclean or maximum gain.
The FatBottom 212 low-profile cabinets
feature Fane F70G speakers and mono/stereo
input capability. Front mounted speakers
produce a tight, focused low end and extended
projection.
Street price: $3,799 (Ultra-Lead head);
$999 (FatBottom 212 F70G)
fryette.com
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
BUY IT NOW
FIND US ON FACEBOOK
FRYETTE AMPLIFICATION
Deliverance II
The Deliverance II Series D60 and D120

amplifiers beautifully accentuate the inherent
qualities of any instrument. The preamp section
has a broad dynamic range, which accounts for
its extra touch-sensitivity and excellent guitar
volume response. The new integrated effects
loop and foot-switchable More/Less Gain Stage
provides the perfect platform for pedals.
Deliverance 412 cabinets feature Fane F70G
speakers and our patented V-BRACE Technology
producing an old-school feel while
maintaining excellent low-end response.
Street price: $1,999 (D60); $2,499 (D120);
$1,299 (412 cab)
fryette.com
NEW GEAR SHOWCASE
DIGITECH
Trio+
The TRIO+ is a simple-to-use guitar

pedal that listens to the way you play
and automatically generates bass and
drum parts that match your song. Just
plug your guitar into the TRIO+, press
the Band footswitch to teach the TRIO+
your chords and rhythm, then press the
Band footswitch again to start playing
with your own personal band! Bass and
drum levels can be adjusted for the
perfect mix using the TRIO+'s Bass and
Drums knobs.
Pushing the Band Creator paradigm
further, the TRIO+ also allows you to
loop and custom sequence your looped
guitar parts to create full songs on the
fly. You can also apply built-in effects
to your guitar signal by enabling the
TRIO+'s Guitar FX button, or connect
your favorite effects to the TRIO+'s FX
Send and FX Return jacks.
digitech.com
PLAY VIDEOS
WEB 13
BUY IT NOW
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
NEW GEAR SHOWCASE
DOD
Looking Glass
Step Through the Looking Glass Into a
New World of Overdrive.
Dial in the ideal reflection of your
sound with a set of powerful, yet simple
controls. You can keep things simple and
use the Looking Glass for tone shaping,
glassy boost and light overdrive, or go
further down the rabbit hole into the
raw, psychedelic sounds of a vintage
amp pushed to the brink of failure.
Featuring a new hybrid of Class-A
discrete FET design, the Looking Glass
asymmetrical clipping is so responsive
that it can go from one end of the
spectrum to the other with not only a
flick of a switch, but with pick attack
alone. Its true bypass, which allows
your guitar tone to remain pristine even
when the it is off and the power supply
input makes it pedalboard friendly. The
Looking Glass is collaboration between
DOD and the boutique pedal company
SHOE Pedals.
digitech.com
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
RANDALL AMPLIFIERS
EOD88
"Weve created the EOD88 in the spirit of heavy musics early

pioneers. The days when primordial metal bellowed forth
from the cavernous caves of basements, clubs and eventually
arenas all over the world. A touch of modern is added with 3
gain modes, KT88 power design and a built in fuzz circuit. If
your music rattles the very fabric of space and time, then the
EOD88 is your interdimensional war machine.
BUY IT NOW
WEB 15
FIND US ON FACEBOOK
All tube all tube 12AX7/KT88 delivering 88 Watts

3 switchable gain modes
Built in fuzz circuit
Discrete class A instrument level loop
Footswitch included
Limited Edition RED covering."
NEW GEAR SHOWCASE
RANDALL AMPLIFIERS
KH103
"For Metal fans, this is it! Grammy Award winner Kirk

Hammetts Metallica tone, all in one amplifier, the KH103. It
features three independent channels tone sculpted by (9)
12AX7 and powered by (4) 6L6 pushing 120 watts of tube
power. It also offers 3 stage gain voicing, tube driven boost,
dual MIDI-switchable master volumes, dual MIDI-switchable
series/parallel loops totaling seven MIDI-assignable functions
for each channel. Includes a 3 button MIDI footswitch.
120 watts (all tube)

3 channels
3 gain voicing modes per channel Boost
Dual master volume
2 tube drive FX loops
MIDI Switchable: channels, loops, master volumes,
boost, voicing
(9) 12AX7 + 4 6L6
RF3 3 button MIDI footswitch included"
BUY IT NOW
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
WASHBURN GUITARS
PX-SOLAR160C
The PX-Solar Series is the signature line
of Swedish guitarist and producer Ola
Englund (The Haunted, Feared, former
Six Feet Under...). The PX-SOLAR160C
is a sleek looking shred machine for
those who don't need a whammy bar.
All 24 frets of its ebony fretboard are
accessible thanks to its full access
maple neck. The alder body is fitted
with exclusive Duncan Solar Pickups
designed to Olas specifications and
Grover 18:1 tuners get you and keep
you in tune quickly and accurately. The
PX-SOLAR160 is also available in Matte
White with chrome hardware and left
handed versions.
Street price: $649
washburn.com
BUY IT NOW
WEB 17
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
WASHBURN GUITARS
HD10SCE
"The HD10SCE is a dreadnought

cutaway acoustic guitar. It features a
solid spruce top for superior tone that
improves with age, mahogany back,
sides and neck, a rosewood fingerboard
and bridge, diecast tuners for quick,
easy and accurate tuning, a Washburn
tortoise pickguard and a custom rosette.
The cutaway makes it easy to reach
the uppermost frets. With its built in
premium Fishman 301T Tuner/Preamp,
you'll never have to carry a tuner with
you and it's plug-in ready.
The HD10SCE is the perfect guitar
for strumming, picking some blues or
bluegrass flatpicking. It's the perfect
performance instrument thanks to the
premium Fishman electronics. This
preamp provides the most natural
amplified acoustic tone and features
volume, bass and treble controls and a
phase switch for feedback control."
Street price: $339
washburn.com
BUY IT NOW
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
GRETSCH GUITARS
G6136T-BLK Players Edition

Black Falcon with
String-Thru Bigsby
The seductively dark G6136T-BLK
Players Edition Black Falcon with
String-Thru Bigsby offers all the classic
Falcon elements with all-new Players
Edition upgrades.
Players Edition features deliver huge
sound and maximum performance. High
Sensitive FilterTron pickups provide
pristine highs, stout lows and balanced
harmonics for powerful, versatile tone.
Controls now include a No-Load master
tone and master volume with treble
bleed circuitallowing infinite tonal
variations while the Squeezebox
paper-in-oil caps add smooth vintage
shimmer. ML bracing offers increased
projection and big body punch from the
thinner 2.25" body. The all new StringThru Bigsby allows for quicker string
changes and increased sound transfer
while locking Grover Imperial tuning
keys and TUSQ XL nut provide maximum
tuning stability.
With powerful sound, ultimate tuning
stability and maximum comfort from
tailpiece to tuning keys, the Gretsch
G6136T-BLK Players Edition Black
Falcon with String-Thru Bigsby will
become your mainstay guitar every song,
every night.
gretschguitars.com
PLAY VIDEOS
WEB 19
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
MOJOTONE
MT Pilot, Deacon and Hatteras

A line of handmade amplifiers designed
to transcend musical genres and
playing styles while adhering to a strict
standard of originality and elegance in
both circuitry and aesthetics. This new
line from Mojotone consists of three
amplifiers designed by modern musicians
for modern musicians. The MT Pilot,
Deacon and Hatteras are all made by real
human hands in the United States and
come with Mojotone's Transferable FiveYear Limited Warranty.
Street price: Starting at $1,895
mojotoneamps.com
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
MOJOTONE
Quiet Coil Strat Pickups

Quiet Coil strat pickups are passive and
only use the same parts and materials found
in original vintage strat pickups. Mojotone
designed their Quiet Coils to retain all of the
clarity and chime that made strat pickups
famous, while eliminating the unwanted
hum. Quiet Coils are currently available in
two modelsfind classic Hendrix sound with
the '67s or scream like SRV with the '58s. No
batteries, no stacked coils, no PCBs, no hum.
Street price: Starting at $79.95
mojotoneamps.com
NEW GEAR SHOWCASE
CORT
LUXE
Developed in conjunction with legendary

guitarist Frank Gambale, this is a true
signature model in that the artist had a
great deal of input on each detail of the
guitar. Ideal for high-speed soloing, this
innovative acoustic-electric guitar also
features custom wooden rosette and
custom fingerboard inlay designed by
Frank Gambale himself. This is a truly
unique acoustic guitar as envisioned by
a true guitar legend. Features Concert
size body, Art Deco Styled design, solid
Adirondack Spruce top with Adirondack
bracing, Blackwood back & sides and
Ebony fingerboard & bridge.
cortguitars.com
BUY IT NOW
WEB 21
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
CORT
GA5F-MD
The new Grand Regal Series from Cort is
based on the popular Grand Auditorium
body shape that sits right in between the
dreadnaught and concert-size shapes for
a full but balanced sound. The 45mm nut
width also makes it ideal for fingerstyle
playing. Offered in various models with
solid Sitka spruce top with mahogany
back and sides, solid European spruce
top with Madagascar rosewood back
and sides and solid red cedar top with
blackwood back and sides, the Grand
Regal Series offers variety of choices to
suit virtually any musical style and taste.
cortguitars.com
BUY IT NOW
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
ESP GUITAR COMPANY

E-II HORIZON FR-II
The ESP E-II Horizon FR-II is a neckthru, 25.5" Scale mahogany body shred
machine thats made at ESP's factory
in Tokyo, Japan. It offers EMG 57/66
Metalworks active pickups, a Floyd Rose
Original tremolo, 3-pc Maple neck, 24fret ebony fingerboard, Gotoh locking
tuners and other high-end details. It also
classes things up with a quilted maple
top available in both Tiger Eye and SeeThru Black Sunburst finishes.
espguitars.com
BUY IT NOW
WEB 23
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
TAKAMINE GUITARS
LTD2016 Decoy
The LTD-2016 Decoy is a beautiful guitar that

expresses the more than fifty years of guitar
making art at the Takamine factory in Sakashita,
Japan. This striking instrument features flame
maple on its arched top, back, and sides. The
green-blue burst finish recalls the Kiso river that
runs through the valley below the Takamine
factory. The LTD-2016 guitars are built in limited
quantity with a combination of design and
features that will never be duplicated.
esptakamine.com
FIND US ON FACEBOOK
TAKAMINE GUITARS
EF360S TT
Vintage tone is yours from the first note with

the EF360S TT. The pre-aged properties of the
"Thermal Spruce Top" along with the solid
rosewood back and sides deliver the lowend horsepower of a classic dreadnought.
Grained ivoroid binding, faux tortoise shell pick
guard, classic butterbean tuners, and 'T' logo
accentuate simple elegance. With the stealth
TLD-2 electronics, you have an acoustic guitar
with a sound that can deliver the goods to any
sized audience.
esptakamine.com
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
GUILD GUITARS
Starfire II ST
Introducing the Starfire II ST, a
hollowbody guitar with a graceful
single Florentine cutaway and extra thin
mahogany body. The Starfire II ST comes
equipped with dual LB-1 Little Bucker
pickups, replicas of Guilds original
smaller size humbucking pickups. These
pickups, which have a footprint that
falls in between a full size humbucker
and mini-bucker, define the Starfire IIs
uniquely-Guild sound. Other premium
features include a mahogany neck,
rosewood fingerboard, elegant ivory
white body binding, and a beautiful
high gloss natural finish. This model
features a Tune-O-Matic bridge and
stopbar tailpiece for increased sustain
and stability. The Starfire II is a welcome
addition to the Starfire family, offering
Guilds classic vibe and vintage tone.
Street price: $799
guildguitars.com
PLAY VIDEOS
WEB 25
BUY IT NOW
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
GUILD GUITARS
OM-240E
This mid-sized orchestra shaped

acoustic is equally suited for strumming
and fingerpicking, and produces a sweet,
balanced tone. The perfect choice
for the versatile musician, the OM240E features a solid Sitka spruce top,
mahogany sides, and arched mahogany
back. Guilds signature arched back
design allows for great volume and
projection, long sustain, and a lush, full
sound. The OM-240E features Guilds
AP-1 pickup, an Indian rosewood
fingerboard and bridge, bone nut and
saddle, pearloid rosette, period-correct
tortoiseshell pickguard, and a matte
polyurethane finish. This model also
includes Guilds new lightweight deluxe
gig bag. Available in Natural.
Street price: $399
guildguitars.com
BUY IT NOW
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
JHS PEDALS
The JHS AT (Andy Timmons Signature Drive)

"In 2013 Andy Timmons purchased
an Angry Charlie from a guitar shop
in Texas, and it became his main dirt
channel soon after. Having a chat with
him at Winter NAMM 2015 we set out to
tweak it a bit to his personal tastes and
needs so that it could fit even better into
his live rig. The rest is history and the
JHS Pedals AT, AKA The @, was born.
The AT has four knobs and a three
position toggle. Volume controls the
overall output level of the effect. EQ
is a low pass filter that naturally allows
you to darken and brighten the tone of
the pedal. Drive adjusts the amount of
gain/distortion that you desire. Air is
another low pass filter, but it is focused
only on the high treble frequencies. This
allows for The AT to perform perfectly
with virtually any amplifier."
Street price: $219
jhspedals.com
BUY IT NOW
WEB 27
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
PANAMA GUITARS
Fuego 15W All-Tube Amplifier

The Fuego 15 is a 15-watt all-tube amplifier
designed to rival boutique amplifiers, at a
very affordable price. Featuring (2) completely
independent foot-switchable channels, a "dirty"
channel with (2) voicing modes, from classic
blues to searing modern high-gain; a "clean"
channel delivering classic chime to modern
clean and crunch. Featuring a unique tone
stack, a shared top boost bright mode, and
a transparent effects loop. All enclosed in a
hardwood cabinet handcrafted in Panama.
LOGO TYPE

panamaguitars.com
LOCK-UP
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
BUY IT NOW
FIND US ON FACEBOOK
GOODSELL AMPLIFIERS
Mark IV Series Custom Amplifiers
Goodsell's Custom Mark IV Series amps feature
a cathode-follower 3-way tone stack, offering
more control over Goodell's sumptuous tubedriven sonics. Available with reverb and awardwinning bias-vary tremolo. Configurations
include 1x12 combo shown here; 2x10, 2x12
and 1x15 combos; and head-only versions built
to order. Call Richard Goodsell today to discuss
your next custom build.
superseventeen.com
NEW GEAR SHOWCASE
CE DISTRIBUTION
Apex Tube Matching
Apex Tube Matching is
performed entirely in-house
on our brand new custombuilt tube matching system
using our custom-designed
software testing and matching
methodology. What this means
is we are not matching your
tubes on inferior matching
hardware or using outdated
equipment. Rather, we are using
state-of-the-art equipment
designed and built to our
specifications using our years
of experience in the music
industry. Our systems are highly
robust and extremely accurate,
measuring current and voltage
to provide the best possible
matching for our tubes. These
systems are a result of many,
many years of experience and an
incredible amount of planning,
design, prototyping and testing,
resulting in the best tube
matching available in the entire
industry. We know you'll find
our tube matching exceeds your
expectations in every way!
Street price: TBD
apexmatching.com
PLAY VIDEOS
WEB 29
NEW GEAR SHOWCASE
JENSEN SPEAKERS
Nighthawk
Jensen Musical Instrument
Speakers is pleased to announce
the latest addition to the Jensen
Jet series, the 12" Nighthawk. The
Nighthawks sound is warm, smooth
and open with strong, throaty note
definition which is complemented
by crisp, clear highs. It has the
perfect combination of growl,
power and tone.
The Nighthawk is the first Jensen
speaker with a 1.75" voice coil.
With its 50 ounce ceramic magnet
and specially designed frame and
cone, the Nighthawk delivers 75
watts of rich tone.
This new Jensen speaker once
again demonstrates Jensens
tradition of giving players what they
are seeking in tone. Watch for more
Jensen Jet series speaker designs
on the horizon.
jensentone.com
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
PRS GUITARS
SE 277
Beveled maple top with a flamed maple veneer,

mahogany back, 27.7" scale length, 22 fret maple
neck, rosewood fretboard, PRS designed platestyle bridge (string through). The Semi-Hollow
comes with soapbar pickups and a single f-hole.
The solid body comes with Tone Furnace treble
and bass pickups. Both versions come with volume
and tone controls, 3-way toggle pickup switch and
a gig bag. Tuned B to B.
Street price: $749
prsguitars.com
PLAY VIDEOS
FIND US ON FACEBOOK
PRS GUITARS
SE Acoustics
The range of PRS SE acoustic models from the

all-mahogany A10E to the spruce-topped A20E
(mahogany back/sides), A30E (rosewood back/sides)
and the SE Alex Lifeson Thinline (dao back/sides). All
models feature a 15.5" cutaway body with solid tops
and PRS hybrid X bracing, mahogany necks, rosewood
fretboards, PRS adjustable truss rod, bone nut and
saddle and soundhole-mounted electronics and
under-saddle pickup. Hardshell case included.
Street price: $599 $799
prsguitars.com
PLAY VIDEOS
WEB 31
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
PRS GUITARS
CE 24
The CE was introduced in 1988 and offered PRS

design and quality with the added snap of
traditional bolt-on guitars. Returning after
nearly a decade the CE 24 is back and better
than ever. Figured Maple top, mahogany back,
24-fret, 25" scale length maple neck with
rosewood fretboard, PRS-designed locking
tuners, PRS-designed tremolo, Pattern Thin
neck, PRS 85/15 treble/bass humbuckers,
volume, push-pull tone and 3-way toggle.
prsguitars.com
PLAY VIDEOS
FIND US ON FACEBOOK
PRS GUITARS
S2 Standard Satins
Not only does the super thin satin nitro finish

enhance the vintage vibe of these guitars, it also
allows the warm, balanced resonance of the allmahogany body to really shine. The satin finish
gives a great worn-in feel on the neck. All three
models feature a bevel-cut mahogany body, 25"
scale, 22 fret, Pattern Regular mahogany neck,
rosewood fingerboard, dot inlays, S2 locking tuners,
nickel hardware and come with a gig-bag.
Street price: $999 $1,049
prsguitars.com
PLAY VIDEOS
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
TV JONES
Starwood Series Tele

Tele pickup with T-Armond Flair
The NEW TV Jones Tele Pickup captures the vintage vibe
of a T-Armond with the classic tone of a traditional Tele
Pickup. The bridge is phat and sassy, while the neck is
bold and harmonic. We incorporated our custom USAmade T-Armond Alnico magnets and magnet wire into
a traditional Tele pickup set. The stock size allows for a
direct drop-in replacement to any standard Tele pickup
currently installed on your guitar. We recommend
standard 250K pots.
Street price: $245 (per set); $120 (bridge); $125 (neck)
tvjones.com
HEAR SOUND CLIPS
WEB 33
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
TV JONES
Spectra Sonic Standard

Exceptional playability, great value and our
incredible tone.
Designed as a player's guitar, the Spectra
Sonic Standard is a toned-down version
of our Spectra Sonic Supreme - and after
plugging it in for the first time, we realized
we'd hit a home run. The first model is
now in the hands of Aerosmith's Joe Perry.
The Spectra Sonic Standard ships with a
hardshell case made by TKL.
Street price: $1,785 (with Tailpiece);
$1,950 (with Bigsby)
tvjones.com
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
TV JONES
Brian Setzer Signature Pickup

Brian Setzer Clarity with a punchy low-end
The TV Jones Brian Setzer Signature Pickup
features a proprietary design, and employs
special alloy pole screws that highlight the
response of the magnet. This design provides
more clarity while producing the punchiest lowend mid response in our Classic line.
Street price: $147.50 (chrome or nickel);
$152.50 (gold)
tvjones.com
NEW GEAR SHOWCASE
FRACTAL AUDIO SYSTEMS

AX8 Amp Modeler + Multi-Fx
The AX8 is an all-in-one Amp Modeler and Multi-Effects floor

unit. It features many of the same leading-edge technologies
utilized in Fractal's flagship Axe-Fx II processoroffered here
in a floor unit at a fantastic price. Quantum Amp Modeling
gives the AX8 222+ exquisite models with the nuanced tone
and feel of real tube amps: sparkling cleans, elusive edge-ofbreakup tones, and everything from warm, touch-sensitive
overdrive to face-melting distortion. Ultra-Res Speaker
Simulations include 130+ Factory cabs, plus 512 User Cab
memories for entries from Fractal's celebrated Cab Packs.
BUY IT NOW
WEB 35
FIND US ON FACEBOOK
Add to this a stunning selection of effects featuring Fractal's

state-of-the-art algorithms: G3 drive pedals, HD reverbs,
compressors, delays, EQs, choruses, phasers, flangers, rotary,
tremolos, pitch shifting, wah, synth, and more. The AX8 has an
ultra-high-quality signal path plus the power and flexibility
that makes Fractal Audio Systems the industry standard for
today's most discriminating professional guitarists.
fractalaudio.com
NEW GEAR SHOWCASE
DWARFCRAFT DEVICES
Twin Stags
Twin Stags is a double tremolo with an

incredible range of speed. From "is it on?" slow
up to "ring mod" fast. It also features expression
pedal control for both trem rates, internally
modulated trem speeds, and control voltage in
and out for Eurorack synthesizer integration.
Traditional sounds are easy to dial in and tweak,
as are intense expeditions into new sound.
Street price: $250
dwarfcraft.com
HEAR SOUND CLIPS
PLAY VIDEOS
FIND US ON FACEBOOK
HEAR SOUND CLIPS
FIND US ON FACEBOOK
DWARFCRAFT DEVICES
The Necromancer
The Necromancer is a work horse fuzz made in

response to customer demand. It begins with
a superfuzz style circuit, and ends with a three
band EQ designed to provide "too much" bass
and treble at the end of the dial. The mids EQ
knob also mitigates the deep scoop provided
with the mids toggle. Classic rock buzz,
doom metal roar, and new noise are all in The
Necromancer for you to enjoy.
Street price: $175
dwarfcraft.com
NEW GEAR SHOWCASE
SINGULAR SOUND
BeatBuddy Mini
From the makers of the award-winning
BeatBuddy, comes the newest product:
the BeatBuddy Mini. Bring the drummer
right into your home with the BeatBuddy
Minieffortlessly insert fills, transition
from verse to chorus, add accent hits,
throw in drum breaks, and more, to
create an unprecedented live drummer
effectall with the simple ease of a
guitar pedal format.
BeatBuddy Mini enables full, handsfree, creative control of the beat. This new,
smaller version of the critically-acclaimed
BeatBuddy has many of the original
products features and functionality, but is
only half the price ($149).
No programming is necessary. Just cue
your drummer and start jamming.
Street price: $149
mybeatbuddy.com
PLAY VIDEOS
WEB 37
BUY IT NOW
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
DREAM STUDIO GUITARS

Twang ECHO
The Dream Studios TWANG has been one of

our most popular models and has spawned
manysignature models such as The VooDoo
Glow SkullsEddie Casillas Signature models
the Voodoo & Hawthorne Heights JT Woodruffs
signature Skellacaster and now we bring you
one of our most requested models, the TWANG
ECHO. Its Semi Hollow Swamp Ash Body paired
up with Seymour Duncan Pick ups will help
give you every tone you have ever dreamed of.
dreamstudioguitars.com
HEAR SOUND CLIPS
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
DREAM STUDIO GUITARS

Maverick Bass
Maverick bass starts off as a solid piece of

Swamp Ash that is whittled down to it's vintage
offset shape, with generous belly cuts and
forearm relief. Add in a Hard Maple 34" Scale
Neck that is bolted up to the Maverick Body
and you realize that you are getting a serious
players' machine. The satin finish on the neck,
the 21 jumbo frets; it is begging to lay down
that back beat for you.
dreamstudioguitars.com
NEW GEAR SHOWCASE
ENGL AMPLIFICATION
Artist Edition E651A
In collaboration with none other than

guitar legend Doug Aldrich, ENGL built a
special amp in 2005, based on the highly
successful ENGL Ritchie Blackmore
Signature E650. The concept was
clear: simple handling with maximum
performance. Some alterations were
made, including a change to EL34
tubes and after some coming and going
between Germany and the USA the
perfect version in terms of sound and
dynamics was designed.
engl-amps.com
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
BLUGUITAR
BluGuitar Amp1
BluGuitars revolutionary Amp1 is a 100-watt

guitar amp weighing under 3 lbs. With nano-tube
technology it will surpass all your expectations
delivering the highest tonal integrity.
AMP1 delivers a wide tonal palette, from
jazz to metal, with professional quality. Thomas
Blug's dream was to put the immense power
and character of vintage tube amplifiers into
one small package that would fit into any glove
compartment or gigbagwithout compromising
on the tones. Mission accomplished!
bluguitar.com
WEB 39
NEW GEAR SHOWCASE
ENGL AMPLIFICATION
RockMaster & MetalMaster Series

What could be more exciting for a Metal player to play a
dedicated amp build for hard riffs, screaming leads and
fat rhythms? Check out the new ENGL METAL MASTER.
Experience the punch and dynamics and the jaw dropping
overdrive / distortion. No matter if 7 string guitars or
dropped tuning, the METAL MASTER delivers. Get all the
ranges of overdrive from 70s Hard Rock, 80s Metal to
2015 Ultra Low riffing.
Perfect EQ layout, pure all tube dynamics, Digital
Reverb, FX Loop and the Power Soak for all kinds of
Overdrive nuances in a Hardn Heavy design. This amp is
a true METAL MASTER!
What else would you need to step in the world of ROCK than
two well-dressed channels of Clean and Lead Tones? The
New ENGL ROCK MASTER delivers more. The built in Power
Soak offers all colors of pure tube excitement and extends
the tone range for each channel. Warm compressed clean
tones, smooth crunch fatrhythm and lead- or even fuzz
orientated sounds all ina handy format.The perfect matched
EQ section including the Mid Boost plus modern features
likeabuilt in digital reverb, the switchable FX Loop and
the frequency compensated line out is the perfect base to
master the sound of ROCK.
Street price: $999.99 (heads); $1,099.99 (combos)
engl-amps.com
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
THORPYFX
Peacekeeper
The PEACEKEEPER is ThorpyFxs take on

a low gain overdrive designed to suit
all guitars and all amps, delivering the
sweetest on-the-edge to crunch tones
around. Hyperbole aside, this pedal has
some very cunning tricks up its sleeve,
combining a post gain active Treble
and Bass circuit with a pre-gain Mids/
Presence control.
Street price: $305
thorpyfx.com
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
THORPYFX
Warthog
The WARTHOG was designed to be the distortion to beat

all others; however it ended up being so much more. With
an ability to go from crystal clean boost through to heavy
distortion the WARTHOG has sonic characteristics that
match the military prowess of its namesake.
These pedals follow the Premier Gear Award winning
GUNSHOT and MUFFROOM CLOUD and have all the
impeccable parts and build quality you would expect from
a ThorpyFx pedal.
Street price: $290
thorpyfx.com
WEB 41
NEW GEAR SHOWCASE
METROPOULOS AMPLIFICATION
Metropoulos Metro-Plex
The Metropoulos Amplification MetroPlex delivers the iconic plexi tones
you crave while offering the versatility
that you demand. The Metro-Plex's
uncompromising master volume offers
zero tonal sacrifice from a whisper to
a scream. It features a switchable high
voltage FET boost. You can select your
mode from '68 Superlead, modified
'68 Superlead and '66 45/100. From
Hendrix to EVH, iconic plexi tones are
available at the flip of a switch.
metro-plex.net
PLAY VIDEOS
FIND US ON FACEBOOK
BUY IT NOW
FIND US ON FACEBOOK
BOURNS
Sean Silas Signature Guitar Potentiometer

Bourns Sean Silas Signature Series guitar
potentiometers are developed to suit his rock/
metal playing style and that of other guitarists
in this genre. The two initial potentiometers are
precision guitar volume controls that feature a
custom audio taper for highly accurate volume
setting, and use specialized lubricants for a
smooth, viscous rotational torque. The knurled
shaft option is suited for press-fit knobs, and the
plain shaft is designed for knobs with set screws.
Street price: For pricing and availability,
please contact a Bourns distributor or reseller.
Bourns.com/ProAudio
NEW GEAR SHOWCASE
CHEMISTRY DESIGN WERKS

Holeyboard M3 Series
New! Introducing the Holeyboard M3 series: Lighter, faster,

stronger, better. The M3 series as all of the features that has
made the Holeyboard a better pedalboard. It avoids the need
for sticky hook and loop that doesn't hold up. We use zip ties,
quick to change, holds them fast, keeps them tight, damage
free. Two levels makes reaching the back row easy, no more
toe dancing, and the moveable Top Deck gives you maximum
flexibility to fit your needs. All power supplies fit easily
under the Top Deck as well. Three integrated handles make it
easy to get on an off stage quickly and the patented curved

deck follows the arc of your foot for intuitive and easy pedal
switching. Designed, built, obsessively tested at gigs and
refined here in St. Paul. Now available with a our new Great
American Hard Case.
Street price: $169
chemistrydesignwerks.com
Better. By people.
PLAY
Y VIDEOS
VIDE
WEB 43
BUY IT NOW
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
RED ROOSTER GUITARS

'52 Rodster RRH Racing
Red Rooster Guitars Custom Rodster '52 is

the Hot Rod you always wanted with custom
leather interior. A 3 speed tranny and stainless
steel bridge with brass saddles mated with
Lollar tone engines for the sweetest exhaust
notes ready to be unleashed. Light weight Pine
body custom painted and rock Maple neck with
medium jumbo frets and 9.5 radius V to C shape
with a bone nut and staggered tuning machines.
Plug in ready!
Street price: Starting at $2,899.99
redroosterguitars.com
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
BARTOLINI INC & DANA B GOODS

b-axis series J-bass pickups
Bartolini b-axis series are next generation

pickups for jazz-style basses. The new
design draws on Bartolinis oldest designs
to make a pickup that is highly responsive to
the players style by mirroring the natural,
complex asymmetric response of fine acoustic
instruments. b-axis features fully encapsulated
coils with exposed, offset Alnico V poles for a
huge, punchy tone with precise articulation. 4
and 5 string split-coil hum-cancelling standard
jazz bass version will be available this spring
Street price: $240 (set)
bartolini.net
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
TECH 21
VT Bass 500
Not too big, not too small, even Goldilocks
would say the VT Bass 500 is just right. This
6.5-lb., 500-Watt head features an all-analog
SansAmp pre-amp. Key to its flexibility, the
unique Character control sweeps through
decades of the most distinctive bass amp
tones on the planet. Get thick, girthy tones in a
compact, all-metal enclosure. An optional B112VT cabinet is available to deliver the low end
right to your rear end.
Street price: $499
tech21nyc.com
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
TECH 21
dUg Pinnick Signature Ultra Bass 1000

Just like dUg Pinnick himself, there is an unconventional structure to the design of his Signature
Ultra Bass 1000. The intent is to use both channels mixed or the Bottom channel by itself. The
Top channel handles distorted guitar amp tones and the Bottom provides a clean (yes, clean!)
pre-amp and compressor for more conventional bass amp sounds. Mixed together, you get dUg.
For uncontrollable smiles and endless groove, get yours today.
tech21nyc.com
PLAY VIDEOS
WEB 45
BUY IT NOW
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
MALEKKO HEAVY INDUSTRY

Sneak Attack & Lil' Buddy
Sneak Attack is a digitally controlled analog VCA

pedal that can also be manually triggered or
used in a tremolo mode. The core of the pedal
is an Attack/Decay envelope generator with
separate length and curve controls for both the
attack and decay segments. The envelope can
be triggered or cycled in several ways using
the input signal, built in footswitch, Lil' Buddy
footswitch or external clock/click track. Lil
Buddy also adds tap tempo control.
Street price: $189 and $35 (sold separately)
malekkoheavyindustry.com
FIND US ON FACEBOOK
RICE CUSTOM GUITARS

Osprey Guitars
The newly formed Rice Custom Osprey

lineup is the ultimate expression of
everything learned from hundreds of
custom builds for discriminating players.
Solid and chambered guitars that
have personality, a unique voice, and
expressiveness reminiscent of the finest
acoustic instruments. From the uninhibited
punch of the Solid, to the organic shimmer
of the Deluxe, the twang of the T, and the
astounding versatility of the Standard, there
is an Osprey to help every player soar.
Street price: From $3,000
ricecustomguitars.com/
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
SHADOW GUITARS
JM 600 MCE
Shadow's line of all solid wood acoustic
guitars offers exceptional quality and
value. The JM 600 cutaway dreadnought
features a German Spruce top with solid
Mahogany back and sides for warm,
balanced tone. The Indian Rosewood
fingerboard, bone saddle and nut adds
clarity to the balance and looks as good
as it sounds.
The JM 600 MCE features the
Microsonic HD-VT pickup tucked
discreetly into the sound hole offering an
outstanding dynamic range to reproduce
the subtleties and nuances of this
finely crafted guitar. Cleartone strings
and Shadow's 18:1 MB machine heads
complete this outstanding package.
Shadow has a long history of building
exceptional products featuring time
proven German craftsmanship and
attention to detail. The JM 600 calls on
decades of guitar building experience
and rewards the musician with a fine
instrument of uncompromising standards
and value.
Enter to win a Shadow JM 600 MCE at
shadow-electronics.com
Street price: $699
us.shadow-electronics.com
FIND US ON FACEBOOK
WEB 47
NEW GEAR SHOWCASE
MODTONE
Dirty Duo
The Dirty Duo offers two individual foot

switchable overdrive circuits for a variety of great
tones. Overdrive one has a serious gain on tap
with a +/- switch to add bottom end or boost mids
and can stack with over drive two for a boost or
added gain. Overdrive 2 has a TL082 low noise
OP Amp for enhanced processing with overdrive
1. Overdrive two is also equipped with mosfet
clipping for smooth tonal saturation.
modtone.net
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
QUEST-TONE AMPLIFICATION
Versalux
The Versalux Amplifier is our do-all amp for

the working musician. It is at home on stage,
or in the studio. With its master volume, 25
watt output, interactive two-knob reverb,
effects loop and lightweight 37 lb platform,
the Versalux is a powerful but practical
workhorse. Purists and pedal heads alike
are loving what the Versalux does for their
sound. The Quest for tone ends here.
QuestToneAmps.com
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
TETON GUITARS
Arm Rest Guitar
Boom! Finally, high quality, great
sounding, comfortable arm rest guitars
that you can afford. All six new Teton
Guitar Arm Rest models feature solid,
rarefied sitka spruce soundboards
which helps the guitar stand out and
cut through acoustic mixes. Fantastic
Rosewood back and sides are set off by
the Flame Maple binding and scalloped
arm rest. Pure Comfort.
Usually found on custom models,
these Arm Rest guitars start at the
exceptional value of $799 MSRP and
come in Auditorium, Dreadnought and
Grand Concert body shapes. Cutaway
models come equipped with Fishman
electronics.
Come visit Teton Guitars on our
YouTube channel and hear the tone
and projection from these comfortable
guitars. Then hop on over to your
independent music dealer to play them
for yourself.
MSRP: $799.99
tetonguitars.com
PLAY VIDEOS
WEB 49
BUY IT NOW
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
LEE OSKAR HARMONICAS

Lee Oskar Harmonica System
A Songwriter/Guitarist's New Best Friend.
Harmonicas are perfect for composing melodies and hook lines...
theyre not just for Folk and Blues. The Lee Oskar Harmonica System
allows you to play many musical genres.
4 different tunings available in all keys.
Major Diatonic - Folk, Country, Blues, Rock/Pop
Melody Maker - R&B, Country, Latin, Reggae
Natural Minor - Minor Blues, Latin, Reggae, Funk, Hip Hop
Harmonic Minor - Yiddish, Eastern European, Reggae, Tango, Asian
leeoskar.com
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK
PLAY VIDEOS
FIND US ON FACEBOOK
ARTINGER CUSTOM GUITARS

Artinger Convertible
The Artinger Convertible is the perfect blend

of two distinct guitars, a chambered solidbody
and a semi-hollow. It features a figured maple
or spruce top, 25" scale ebony fingerboard,
medium frets, removable side port, 2 Electric
City/Artinger Liberator humbuckers with master
volume, master tone and 2 series/split/parallel
switches, and choice of bindings and color.
artingerguitar.com
NEW GEAR SHOWCASE
REDPLATE AMPS
BlackLine
The BlackLine features an early '60's "Blackface" inspired

clean channel and a lead channel that is the product of 10
years of extensive development to give the player maximum
bloom and sustain. The independent tone controls and
midrange boost of the lead channel does creamy fusion tones
with ease, and the adjustable stacklift boost lets you rock too.
Operation could not be easierset the clean channel and
adjust the master for the room size, then set the lead channel
controls to your favorite crunch tones. With the included
footswitch you can add midboost for creamy fusion or add
HEAR SOUND CLIPS
WEB 51
PLAY VIDEOS
boost for rock, turn on both for endless sustain. The active
master volume means no attenuator is needed even for small
rooms and a fully buffered tube effects loop lets you place
your time based effects where they belong, after the preamp.
Another RedPlate amp that truly sings!
Street price: $2,699 (head); $2,899 (combo)
redplateamps.com
BUY IT NOW
FIND US ON FACEBOOK
NEW GEAR SHOWCASE
PRA AUDIO SYSTEMS
WiC Wireless System for Guitar
Introducing WiC (Wireless instrument

Connection), a high fidelity wireless system
for guitar and bass. Designed for serious
musicians with high demands for tone, quality
and performance.
High Resolution 24-bit/48kbps Audio
Automatic Channel Selection
Long-lasting Rechargeable Batteries
praaudio.com
PLAY VIDEOS
BUY IT NOW
FIND US ON FACEBOOK

Premier Guitar April 2016

Caricato da

Informazioni sul documento

Copyright

Formati disponibili

Condividi questo documento

Condividi o incorpora il documento

Opzioni di condivisione

Hai trovato utile questo documento?

Questo contenuto è inappropriato?

Copyright:

Formati disponibili

Premier Guitar April 2016

Caricato da

Copyright:

Formati disponibili

NEW NAMM GEAR DEFTONES WOLFMOTHER

GUITAR & BASS REVIEWS

FENDER / WARWICK / ROLAND / ECHOPARK / BERGANTINO / & MORE!

ORIGINAL ROUNDBACK | ORIGINAL OPTIMIZED ELECTRONICS | ORIGINAL MULTI-SOUND HOLE

SWEETWATER IS YOUR PREMIER ONE-STOP SHOP

0 INTEREST FOR 24 MONTHS

On purchases of select manufacturers products made with your Sweetwater

Ernie Ball Music Man

Deco Tape Saturation

Sweetwater always exceeds my expectations in sales, customer

Hector from Kissimmee, FL

Visit our exclusive

for detailed hi-res images

FREE PRO ADVICE

Were here to help! Call today!

FREE 2-YEAR WARRANTY**

Total Confidence Coverage Warranty

FAST, FREE SHIPPING

On most orders, with no minimum purchase!

diSCoVer The legend

Photo by Ross Halfin

TEAR UP THE BUCKET LIST.

Publisher Jon Levy

PREMIER GUITAR (USPS 025-017)

Volume 21, Issue 4

Dynamic Dirt Doubler

Wide Range Harmonic Tremolo

POSTMASTER: Please send address changes to:

6 PREMIERGUITAR APRIL 2016

Burn Your Woodshed: Gambling & the Creativity Paradox

Every hour were

8 PREMIERGUITAR APRIL 2016

The perfect addition to the family.

A Musical Icon Turns 100

That a musician I loved all my

Add Pat Metheny to that list of

I read your February editorial with

10 PREMIERGUITAR APRIL 2016

that Im not alone in abhorring

craft. It would be such a waste and

Hi Dennis. Thanks so much for

I would love to see

CONTENTS April 2016

Stephen Carpenter and

Photo by Debi Del Grande

Williams unites with

George Clinton and

The roots ambassador and slide master

12 PREMIERGUITAR APRIL 2016

We bring you the most

Todays technology lets

136 Fender Jimi Hendrix Strat

141 Echopark F-1 Fuzz

We went so far out there with

Tyyster Pelti 12-String

157 Radial Headload Load Box

9 NEW FANO STANDARDS

(front to back) WMD Devices

GUITAR & BASS REVIEWS

FENDER / WARWICK / ROLAND / ECHOPARK / BERGANTINO / & MORE!

14 PREMIERGUITAR APRIL 2016

CONTENTS April 2016

NEW NAMM GEAR DEFTONES WOLFMOTHER

A Lesson from Luther