Premier Guitar March 2014 PDF

ROLLING STONES GEAR • MOGWAI • PRESTON REED • KLON'S BILL FINNEGAN
MARCH 2014
MARCH 2014
QUEENS OF THE STONE AGE • JOE BONAMASSA

KELLER WILLIAMS • YEAH YEAH YEAHS • THE CULT
DWEEZIL ZAPPA • J MASCIS • & MORE
GUITAR & BASS

REVIEWS GALORE!
TAYLOR / AMPEG
SOURCE AUDIO / SILVERTONE
G&L / ANALOG ALIEN
RAINGER FX / FENDER
MAGNATONE / BOSS
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©2014 TAYLOR GUITARS
IN ELEMENTARY SCHOOL NANCY STUTTERED SEVERELY. IT WAS THE KIND OF DISABILITY THAT
CAUSED ANXIETY ALMOST EVERY SINGLE TIME SHE OPENED HER MOUTH. BUT WHEN NANCY’S
7TH GRADE TEACHER INTRODUCED HER TO GUITAR, SHE DEVELOPED SOMETHING MUCH MORE
THAN MUSICAL TALENT — SHE DEVELOPED CONFIDENCE. SO, KNOWING FULL WELL THAT THE STAGE
IS NO PLACE FOR A STUTTERER, SHE MADE THE CHOICE TO STEP ONTO IT ANYWAY. AND WHEN SHE
BEGAN TO SING SOMETHING ASTONISHING HAPPENED: HER STUTTER COMPLETELY DISAPPEARED.
SINCE THEN NANCY HAS WRITTEN OVER 100 DIFFERENT SONGS, AND PERFORMED IN FRONT OF
AUDIENCES OF MORE THAN 500 PEOPLE. IT’S THE KIND OF STORY THAT REMINDS US THAT WHETHER
YOU’RE A GUITAR PLAYER, OR A GUITAR BUILDER, THE WORLD NEEDS MORE PEOPLE LIKE NANCY.
FOR MORE ABOUT NANCY AND OTHER STORIES THAT INSPIRE US, visit taylorguitars.com
TM
Publisher Jon Levy
EDITORIAL
Chief Content Officer Shawn Hammond
Managing Editor Tessa Jeffers
Senior Editor Andy Ellis
Senior Editor Joe Gore
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
Photo Editor Kristen Berry
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
Bourgeois Third Page Square Premier Guitar 1/23/14 8:09 AM Page 1 GEARHEAD COMMUNICATIONS, LLC
Chairman Peter F. Sprague
President Patricia A. Sprague
Managing Director Gary Ciocci
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8 PREMIER GUITAR MARCH 2014
TUNING UP
The Bluetooth Bastardizer™

—the Hi-Tech Pedal for Neanderthals
BY SHAWN HAMMOND @PG_shawnh
I
’m an inept circuit dope who couldn’t even make my distortion-pedal kit work right in
high-school electronics class, so there’s no way I could invent a crappy effect, let alone a
new recipe to rival iconic pedals like the Big Muff, Phase 90, Memory Man, or DigiTech
Whammy. But I’d like to propose a pedal idea for those of us who prefer the simplicity of a
guitar running into a pedalboard and tube amp, yet want to dish out something different.
Best of all, it’s doable with technology found in an $80 aftermarket car stereo.
Every waking moment of every day, most of us walk around with a device that has the potential to
transform our songs and performances without abandoning our guitar-pedalboard-amp rig. The device?
Well, it’s really two. One part is a Bluetooth-equipped smartphone. You don’t need a fancy new app,
either. Your phone’s most essential component—its microphone—and a barebones audio-recording app
(e.g., the iPhone’s stock Voice Memo app) are all you need to unlock these new sonic realms.
The other part is a relatively simple digital stompbox—we’ll call it the Bluetooth Bastardizer™—that
you can put between any pedal and use to augment your guitar signal with audio samples captured by,
and streaming from, your nearby Bluetooth-enabled phone. I want to be able to load sound samples cap-
tured with my iPhone into iTunes, and then pair my phone with a pedal that can stream snippets of life
through my guitar rig just like a Bluetooth car stereo or portable speaker system. Could there be an easier
way to add a cinematic dimension to your songs? Incriminating quotes from drunk friends or your kid’s
adorable (or shocking) utterances—the possibilities are endless.
If you think this sounds silly, ponder all the songs with a sound sample that’s as integral to the tune as
the chords, melodies, and lyrics. Even the most guitar-centric bands dabble in it. The backward car horns
in Van Halen’s “Runnin’ with the Devil” are almost as memorable as Eddie’s playing. The tolling in AC/
DC’s “Hell’s Bells” adds a deliciously ominous touch. Metallica’s “One” harrows draft-age metal fans with
its machine-gun samples from Johnny Get Your Gun. Living Colour’s raging “Cult of Personality” pounds
its point home with JFK, FDR, and Malcolm X speech excerpts. And the Ramones’ “We’re a Happy
Family” masterfully paints a picture of disjointed domesticity with a chaotic blend of dinner-table bicker-
ing, a blaring radio, a shrieking baby, and an incessantly barking dog.
The Bastardizer would be pretty simple, too: It needs a play/pause footswitch, forward and backward
footswitches for scrolling through the audio samples (setlists could be stored as playlists), and an LCD
readout for displaying song or sample names. For me, a mono input and output would be okay—I’d be
fine with the samples being colored by all my other effects and cranked amp. But if some enterprising
pedal builder wants to market the Bastardizer to a wider audience, they should probably offer stereo I/Os
that could be switched to operate as a wet-dry pair. You’d also need a mix knob for controlling the vol-
ume of the sample relative to the pristine guitar signal being passed to the next device in the signal chain.
And, just for the hell of it, I’d have a microphone and record switch so you could sample and warp stuff
happening at your gig—perhaps the audience or your bandmates (à la David Torn).
If you’re a big-picture player, you’ll love being able to use the samples as-is or morph them into obliv-
ion with your other effects. Either way, the beauty of the Bastardizer is its simplicity and convenience:
Three footswitches, a knob or two, a display, two or four 1/4" jacks, and the ability to easily turn every-
day encounters—and your existing rig—into a whole hell of a lot of fun. Any takers?
Shawn Hammond
Editor in Chief
shawn@premierguitar.com
premierguitar.com
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FEEDBACK LOOP
bands. I’ve played in front of Socialize
25,000 people and I’ve played
in front of two. Peter had some
with Us!
really solid advice in his column.
I would only add this
as a view from a different
perspective. I use stage fright as “@premierguitar
a motivational tool. I find that it @SilvertoneGtrs It’s the
helps to make myself just slightly cheesiness that makes the
nervous before a gig. The key is vintage work.”
to not let it get out of control. —RedStickGuitarBR,
If I’m psyched up a little bit and @RedStick_git
find myself just the tiniest bit on
edge, I think it makes me just a “@DoyleAbominator
little sharper and more aware of @themisfits
the various stimuli a performer @premierguitar
has to deal with when delivering Great interview
a stellar performance. In fact, [Doyle Wolfgang von
when I think back to all the gigs Frankenstein Rig
on which I fell flat on my face, Rundown]! Although it
the common factor was that I made my fingers
Daddy’s Girls Gone Too Soon was a bit overconfident. If I’m in hurt hearing about
I was out of town on business I love Paul Kossoff ’s playing. He the “I got this” mode, chances all the cuts!”
for a week and my wife sent me was truly about the emotion. are my delivery will be a little —Stephanie Shamblin,
this photo. My daughter’s 2nd I didn’t come to really like sub par. I usually start putting @UndeadStephanie
birthday was spent reading in my Free until I became a guitarist myself through the performance
chair! Thanks for an outstanding myself, and although Paul’s in my mind a day or two before “@revhortonheat is in this
publication. solos are sort of simple, the and try to anticipate anything month’s @premierguitar
—Jared Hissa, feeling he put into them is what that might go wrong. That so, you know, it’s a
via Facebook makes them so hard to emulate. in itself helps to increase my mandatory buy for
Paul was a true innovator. A tension. Then, about an hour everyone who plays guitar
@premierguitar my kiddo true legend and treasure lost or two before the gig, I just try or has a soul.”
enjoying my January issue at in time. It’s too bad he doesn’t to relax, enjoy the moment, —Fifth Fret,
the doctor this morning. #rock get the credit he deserves. and step onstage anticipating @5thFret1
#startthemearly He’ll always be in my “Top 5” the euphoria that only live
—Travis Clark, @travistateclark, guitarists. R.I.P. Paul Kossoff. performance can bring. So Elliot,
via Twitter —Robert, it’s okay to be a little nervous,
via premierguitar.com but don’t let fear keep you from
channeling your inner rock star. “I admire the ingenuity
Seeking That Edge The audience wants you to do [“Unwound: Fishman
I just wanted to write in well, so give them something by Rethinks the Electric
response to Peter Thorn’s great which they can be awed. Guitar Pickup,”
article “Dealing with Stage —Johnny Mau, February 2014], but
Fright” [Tone Tips, February San Jose, California it’s not for me. Plus it
2014], which answered sounds like witchcraft.
questions submitted by Keep those If somebody could tell
subscriber Elliot James. I’m a comments coming! me if it weighs the
longtime pro from San Jose, Please send your suggestions, same as a duck I would
having spent 35-plus years as a gripes, comments, and good words appreciate it.”
frontman/guitarist for various directly to info@premierguitar.com. —Chad Akin
premierguitar.com
CONTENTS March 2014
ARTISTS
57 31 45 74 94
Mogwai Rolling Stones Markneukirchen, Builder Profile: Pro Pedalboards
The Glasgow quintet Gear Excerpt Germany Bill Finnegan From Bonamassa to
enters its third decade Andy Babiuk’s new A tour through an The Klon mastermind Dweezil, these 10
with a post-rock roar book about the Stones’ historic instrument- discusses its origins, the stomp stations will feed
and stunning creativity. iconic instruments. making region. hype, and the future. the need for new tones.
67 140 “I like pretty much everything under

Preston Reed Reader the sun in the way of electric guitars,
A flattop hero returns Pedalboards and over the years I’ve owned a bunch
to solo acoustic guitar Guitarists from around
with a mind-blowing the globe show us their of very different ones.”
new album. stomping grounds.
—Bill Finnegan, p. 78
REVIEWS
109 Magnatone Super Fifty-Nine
113 Boss ME-80
116 Taylor 814ce
119 Ampeg V-4B and SVT-212AV
123 Rainger FX Air Traffic Controller
126 Silvertone Model 1423
129 Source Audio OFD microModeler
132 G&L LB-100
134 Fender Custom ’68 Princeton Reverb
137 Analog Alien Rumble Seat
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On the Cover: ROLLING STONES GEAR • MOGWAI • PRESTON REED • KLON'S BILL FINNEGAN
MARCH 2014
Yeah Yeah Yeahs guitarist
MARCH 2014
Nick Zinner’s pedalboard
CONTENTS March 2014 QUEENS OF THE STONE AGE • JOE BONAMASSA

KELLER WILLIAMS • YEAH YEAH YEAHS • THE CULT
GUITAR & BASS

REVIEWS GALORE!
TAYLOR / AMPEG
G&L / ANALOG ALIEN
RAINGER FX / FENDER
MAGNATONE / BOSS
20
premierguitar.com
News Bits +
KEITH
URBAN
Rig Rundown
22 Gear Radar
24 Opening Notes
162 Media Reviews
164 Staff Picks
“Many superstars 172 Next Month in PG
have bassists for
174 Esoterica Electrica
musical directors,
as do some of
176 Last Call
the biggest
TV shows.” GEAR
—Victor Brodén, p. 84 28 Rig Rundowns
38 Bottom Feeder
40 Vintage Vault
42 Modern Builder Vault
54 Guitar Tracks
62 Tone Tips
HOW-TO
64 Acoustic Soundboard
72 Guitar Shop 101
82 Bass Bench
84 On Bass
86 Mod Garage
88 Ask Amp Man
92 State of the Stomp
Photo by Rosario Lopez
premierguitar.com
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Your guide to the latest stories, reviews, videos, and lessons on PremierGuitar.com
FEATURED
Something to Say
Fans were shocked when Against Me!’s Laura Jane Grace (formerly known as Tom Gabel) revealed in
2012 that she was transitioning to female. The band’s new album title, Transgender Dysphoria Blues,
is a direct nod to this journey, and the music is just as heavy. Grace and guitarist James Bowman
recount the saga behind this groundbreaking release, their band’s first since Grace became a woman. LESSONS
WEIGH IN! Access all of our lessons
online, for free, with
This month’s survey question was one of the hardest to answer:
streaming audio and
Which pro guitarist has the raddest pedalboard? downloadable, printable
Of course, this inspired endless interpretation and no definitive notation PDFs.
winner, but we sure had fun reading all the answers. There
were droves of players not reflected in the results below who DIGGING DEEPER
received nods, but we only tallied players who received more Recycling Licks
than five votes. Head online to PG’s Facebook page to partake By Aurelien Budynek
in the conversation. You might discover a few players whose BEYOND BLUES
boards you never considered. Danny Gatton’s
Organ Blues
By Levi Clay
THE EDGE: 17 %
ELECTRIC ÉTUDES
Nels Cline: 13 % David Gilmour: 8 % Clapton’s Cream Years
Dweezil Zappa: 12 % Omar Rodríguez- By Jamie Humphries
Steve Vai: 12 % LÓpez: 6 % JAZZ BOOT CAMP

Mike Einziger: 10 % John Frusciante: 6 % Soloing with Triads
Vernon Reid: 10 % Nick Reinhart: 6 % By Chip Henderson
premierguitar.com
NEWS BITS
DEPARTURES
Warren Haynes and Derek Trucks
to Leave Allman Brothers
GUITARDOM’S Guitarists Warren Haynes and Derek
TOP TWEETS Trucks announced that this will be their
last year in the Allman Brothers Band.
“Honestly, the cowbell isn’t According to a joint statement from the
really all that loud on duo, “We will be forever grateful for the
‘Don’t Fear The Reaper.’” opportunity and the experience, and for
@jasonisbell the love, enthusiasm, and support of the
incredible fans. We are both preparing to
“Happiness is a new guitar dig even deeper into our various creative
pedalboard (-:” and musical endeavors and, as a result, 2014 will be our final year as part of the band.”
@StevenWilsonHQ “I’ve always said that if I were to join a band that I grew up listening to the ABB would be at the
top of that list,” says Haynes. “The original version of the band was a huge influence on me, and
I’m sure that the countless hours I spent listening to and studying that music helped shape me as a
musician. As proud as I am of being a member of such a legendary band, I’m even more proud of the
music that we’ve made together and of being a part of carrying their original vision into the future.
As someone who’s been fortunate enough to juggle a lot of musical projects and opportunities I
look forward to maintaining a vigorous schedule which will include many more years of touring and
recording with Gov’t Mule in addition to my solo projects and to enjoying more family time as well.
Being part of the ABB has opened a lot of doors for me and that’s something I don’t take for granted
“Gibson no longer nor do I take for granted the friendship and musical relationships I have with each of the members.
manufactures mandolins. The 45th Anniversary of the ABB is a milestone amidst too many highlights to count and I’m looking
The four horsemen are forward to an amazing year creating music that only the Allman Brothers Band can create.”
drawing nigh.” “I got the call to join the Allman Brothers while on tour with my own band at the age of 19,”
@TheClaycook recalls Trucks. “It was out of the blue and felt surreal. I leapt at the chance. This was the music that
I had cut my teeth on, and it was the distinctive sound of Duane’s guitar that inspired me to pick up
“Gene Simmons & Paul the instrument in the first place. While I’ve shared many magical moments onstage with the Allman
Stanley just dropped puck Brothers Band in the last decade plus, I feel that my solo project and the Tedeschi Trucks Band is where
at @mnwild game (in my future and creative energy lies. The Tedeschi Trucks Band tour schedule keeps growing, and I feel
LA). Seems fitting, since the time has finally come to focus on a single project, which will allow me to spend that rare time off
the Wild are using a lotta the road with my family and children. It’s a difficult decision to make, and I don’t make it lightly.”
fill-in guys too.” Both guitarists will finish out all remaining 2014 Allman Brothers Band dates, including their annual
@ChrisRstrib Beacon Theater run in New York City, the Wanee Festival in April, and the Lockn’ Festival this fall.
allmanbrothersband.com
“Adam Jones and I rocking
out in my room as young
axe slingers: Note KISS COMPETITION Guitarists can choose to register in one of the
poster for inspiration.” Lee Ritenour and Yamaha Team Up for following categories: rock, blues, jazz/fusion,
@tmorello Six String Theory Competition acoustic, classical/flamenco, or country. Rhythm
Grammy-winning guitarist/producer Lee section players (bass, drums, and keyboards)
Ritenour hosts the fourth annual Six String will compete in any contemporary music style.
Theory Competition for guitar, bass, piano/ The four grand prize winners will perform at a
keyboards, and drums. Registration opens on venue at the 2014 Montreux Jazz Festival and
January 15th and runs through May 15th, the guitar grand prize winner will perform with
2014. Each applicant will submit two YouTube Lee Ritenour at the “Legends of Guitar” concert
videos of themselves to a panel of all-star judges in Montreux. Other prizes include four Berklee
that includes Nathan East, Dave Weckl, John College of Music scholarships, the opportunity
Patitucci, Simon Phillips, and others. to record on Ritenour’s forthcoming 2014
premierguitar.com
INTRODUCING THE WALRUS AUDIO
DESCENT REVERB
Concord album, Yamaha instruments and

endorsements, professional mentoring
with Lee Ritenour, Crown of the
Continent Guitar Workshop scholarships,
and more.
sixstringtheory.com
ACQUISITION
Yamaha Acquires Line 6
Yamaha Corporation and Line 6, Inc.
announced a definitive agreement for
Yamaha to acquire Line 6, a leading
manufacturer of innovative solutions
for musicians. The acquisition expands
Yamaha’s portfolio of modeling guitar
processing products as well as pro-audio
equipment, and offers new and exciting
opportunities for accelerated growth for
both companies.
Line 6 products have been at the
cutting edge of digital audio development
for musicians and audio professionals
since the company pioneered the digital
modeling guitar amplifier in 1996. Line
6 continues to deliver innovation and
excellence across its industry-leading
portfolio, including POD multi-effect
processors, digital effects, guitar amplifiers,
modeling guitars, a range of professional
instrument and microphone digital
wireless systems, digital live sound mixers,
speakers, as well as iOS interfaces.
Under the terms of the agreement,
Yamaha will operate Line 6 as a wholly
owned subsidiary to fully realize the
compelling opportunities for the two
brands, with Line 6’s operations continuing
as before and its management team
remaining in place.
“For over 30 years of developing products,
and even further back to my earliest
memories as a developing musician, Yamaha
has been the brand for which I have always
had the most respect,” said Line 6 cofounder
and Chief Strategy Officer Marcus Ryle.
“Yamaha has consistently set the standard in
our industry for quality and innovation, and
I am very proud for Line 6 to now be a part
of this incredible legacy.”
line6.com
premierguitar.com PREMIER GUITAR MARCH 2014 21

GEAR RADAR
New products on the horizon.
4
1
1 2 3 4 5
GRETSCH CORT OXYGEN AUDIO LOVEPEDAL TC ELECTRONIC
G9212 Honey Jeff Berlin Ozone Series Bonetender Fuzz Ditto X2
Dipper Special Signature This new Canadian Lovepedal’s take on a The updated version of
Square Neck Rithimic Bass company utilizes a classic 3-transistor fuzz TC’s dedicated looping
Resonator Launched at the 2014 proprietary copper ground circuit brandishes two pedal includes a 2-button
The Roots Collection Honey NAMM show, the bass plane circuit designed to knobs—gain and level— setup allowing for Loop
Dipper is built around sports a pair of Bartolini deliver pure tone. Their with a pugnacious attitude FX, stereo input and
an all-new Ampli-Sonic Jeff Berlin custom soapbar 18-watt, 2-channel amp is that harkens to a tone output, five minutes of
resonator cone, a bell pickups, a Babicz FCH4 all tube (5879, 3–12AX7, rocked by Jeff Beck, Mick looping time, and the
brass body, a mahogany bridge, and passive 2–EL84, 5AR4) and Ronson, and Jimmy Page. ability to store loops and
neck with a rosewood electronics. handbuilt with point-to- Street $159.95 backing tracks.
fretboard, and Grover Sta- MSRP $1,400 point construction. lovepedal.com Street $179.99
Tite diecast tuners. cortguitars.com MSRP $2,150 (head); tcelectronic.com
MSRP $899 $2,450 (1x12 combo)
gretschguitars.com oxygenamps.com
premierguitar.com
7
8
10
6 9
6 7 8 9 10
PRS MARSHALL LOGIDY ZEXCOIL TAKAMINE
SE Zach Myers AMPLIFICATION EPSi Underwound LTD2014
Signature Model Handwired This DSP-powered S-style Pickups Inspired by Japan’s snow
The Shinedown guitarist 2245THW stompbox allows digitally Using Zex’s patented, grouse, this beautiful
updated his signature This exact replica of the savvy guitarists to use noise-free, one-coil-per- acoustic features a solid
model with a maple- 30-watt “Bluesbreaker” impulse responses to string tonal recipe, the Sitka spruce top, solid
capped chambered head runs off a pair of create their own reverb Underwound pups are flame maple back and
mahogany body, a single KT66 tubes, four ECC83 patches. It also has a high designed to be more sides, and Tak’s dual-
f-hole, and PRS SE preamp tubes (one is used impedance input and a compatible with the channel CT4-DX preamp
245 pickups. for tremolo), and a GZ34 zero latency dry path. conventional 250k Ω and Palathetic under-
Street $679 rectifier tube. Street $199.95 control potentiometers saddle pickup.
prsguitars.com Street $3,299.99 logidy.com found in most MSRP $5,099.99
marshallamps.com S-style guitars. takamine.com
MSRP $99 (one pickup);
$285 (S-style set)
zexcoil.com

OPENING NOTES
Brad Paisley
November 23, 2013
Palace of Auburn Hills
Auburn Hills, MI
Photo by Ken Settle
Dishing out the twang on the last

night of his Beat This Summer
Tour, Brad Paisley digs into one
of his many Crook guitars: a
2010 paisley-finished Tele-style
axe packed with an APC T300N
in the neck and a Peter Florance
Voodoo TE50 in the bridge.
premierguitar.com
OPENING NOTES
Anna Calvi
December 10, 2013
La [2] de Apolo
Barcelona, Spain
Photo by Rosario Lopez
Anna Calvi delivers a set of

haunting melodies to an entranced
Barcelona crowd with the help
of her all-stock Gretsch G5265
Jet Baritone.

OPENING NOTES
John Mayer
December 6, 2013
Frank Erwin Center
Austin, TX
Photo by Drew DeGennaro
John Mayer gets busy in Texas

with one of his signature Martin
models: a 00-45SC John Mayer
12-fret outfitted with a Fishman
Matrix pickup system.
premierguitar.com
RIG RUNDOWNS
KEITH URBAN FACTOID

Urban uses the
rough side of his
Herco picks to add
some “scratch” to
In a way, Keith Urban his attack.
is just like other
gearheads who like
GUITARS
to tinker with their Clockwise from Left:
setups. As you’ll see Anytime Urban wants
in the video (online to get that classic,
twangy Tele sound, he
at premierguitar. reaches for this custom
com), very few Danocaster made
of his guitars are by Nashville luthier
Dan Strain. Simply for
stock. In a quest esthetics, Urban chose
to find that magic to remove the pickguard.
combination, he’s The Voodoo pickups give
the guitar a bright snap
always switching on tunes such as “Who
out necks, pickups, Wouldn’t Wanna Be Me?”
pickguards, and Originally, this Strat
began as a Robert Cray
more. In our newest signature hardtail Strat.
Rig Rundown, guitar Joe Glaser modified
tech Chris Miller it with a mirrored
pickguard and a
walks us through Cabronita Tele neck.
Urban’s current rig The electronics include
for the Light the Fuse a Clapton mid-boost
circuit along with a pair
tour. Though this of DiMarzio pickups: an
stage setup is scaled Area 67 in the bridge
back from previous and an Injector in the
middle position.
outings, it contains This Fender Cabronita
some axes and amps Tele’s original neck
most people only was donated to one of
Urban’s Strats and now
dream about. the guitar sports a meaty
replacement neck. The
original pickups were
swapped out for a pair
of Lindy Fralin P-90s,
but the guitar still has
Fender’s Greasebucket
tone circuit, which is
accessed via a push-
button volume pot.
This 1952 Gibson Les
Paul goldtop is tuned to
dropped-D and capoed
at the first fret for
“Stupid Boy.” Nashville
guitar guru Joe Glaser
created a custom bridge
that’s compensated for
improved intonation
and tailored to Urban’s
heavy-handed picking
and palm-muting
technique.
premierguitar.com
EFFECTS
Since our last Rig
Rundown, Urban has
scaled down his pedal
stash considerably. He
now only uses a single
drawer of effects that
includes a Wampler
Ego Compressor, Visual
Sound VS-XO Dual
Overdrive, Xotic BB
Preamp MP, Xotic BB
Preamp, Ibanez TS808
Tube Screamer, Mesa/
Boogie Flux-Drive, and
an XTS Custom Pedals
Atomic Overdrive.
According to Urban’s
tech, Chris Miller, about
80 percent of his lead
tone is the Flux-Drive
with the other pedals
floating in and out,
depending on the song.
A Fractal Audio Axe-Fx
II handles all of Urban’s
delays, reverbs, and
modulation effects.
Each pedal is routed
through an RJM Effect
Gizmo, and Miller
controls the entire rig
via a Liquid Foot 12+
MIDI controller.
AMPS
On this latest run, Urban
brings out a quartet of
holy grail amps. First,
he has a pair of high-
power Fender Tweed
Twins (a ’59 and a ’60)
that run in conjunction
with an early model
Dumble Overdrive
Special combo he
purchased from Dan’s
Chelsea Guitars in New
York City. The backup
for the Dumble is,
yes, another Dumble.
This one is a newer
Overdrive Special that
Urban purchased from
a friend. Originally, it
was voiced for someone
looking for more
low end, but Urban
is able to dial it in to
make it work for his
setup. He runs various
combinations of these
amps through four one-
off White Engineering
2x12 cabs with partially
open backs.

Introducing the new
J-29 Rosewood. Play
one today at your
Gibson dealer and
experience the new
American Legend.
www.gibson.com
The J-29 Rosewood
If you’ve ever wondered what instruments
and gear the Stones have used to make their
iconic music over the years, Andy Babiuk’s
photo-rich Rolling Stones Gear reveals all.
W
hen a band’s career careens Babiuk obtained first-hand accounts from on the music of the Stones and wonder
past the 50-year mark, it’s various engineers, road managers, and how they did what they did.”
hard to imagine how much producers. Still, for him the definitive In this exclusive excerpt from
gear it took to get them there. Not for proof is in the photos. “I always say that Rolling Stones Gear, we look at three
author Andy Babiuk. He’s made a name the best information is photographic snapshots of Stones history: Brian
for himself by tackling the herculean evidence,” he says. “You can pinpoint Jones’ first “real” guitar, the story of
task of documenting and detailing all the things. If you know guitars and the the “Satisfaction” sessions, and finally a
gear used by some of the world’s most history of instruments, you can realize unique Gibson SG that Keith Richards
iconic bands. His latest book, Rolling and see what’s there.” used in the early ’70s. —Jason Shadrick
Stones Gear: All the Stones’ Instruments Babiuk’s book offers nearly 6,000
from Stage to Studio, is an exhaustive 650- photos—many of them previously Visit premierguitar.com to read an
page opus detailing nearly every piece of unpublished. The motivation behind this interview with Babiuk where he discusses
musical equipment the Stones used when project was both personal and ambitious: how the book came together, which
performing or cutting records. Babiuk wanted to leave a document for member of the Stones was the most
In his quest to discover what the future generations. “Fifty or 75 years helpful, and some inside stories that
Stones made music with over the years, from now some kid is going to stumble didn’t make the cut.

1962 ROLLING STONES GEAR
Brian Jones’ Harmony Stratotone Mars H46 model was a semi-

hollow flattop single-cutaway with a bolt-on neck, two basic
Harmony pickups, a white pickguard, and a sunburst finish. It was
a budget model in the Harmony range, with a cheap plywood body
and a maple neck with a maple fingerboard stained black to emulate
more expensive ebony.
The 1962 Harmony catalog description of the Stratotone
Mars H46 read: “Provides outstanding value in its price class.
Hollow ’tone chamber’ construction. Ebonized maple fingerboard.
Straightline hardwood neck with built-in steel reinforcing rod.
Finely finished in warm sunburst effect showing the grain of
the wood. White celluloid bindings. Adjustable bridge. Hinged
tailpiece. Twin built-in pickups, each with tone and volume
Located in central London’s Charing Cross Road and control. 3-position selector switch permits playing forward pickup
Shaftesbury Avenue area, Ivor Arbiter’s Sound City was the for rhythm, bridge pickup for takeoff or solo, or both pickups at
store where Jones purchased his Harmony Stratotone Mars once, for maximum tone variation. $85.00. Carrying case, $10.00.”
electric guitar.
Harmony produced the Stratotone H46 from 1958 through 1966.
premierguitar.com
ROLLING STONES GEAR
1962
Right: Jones wailing on his new Harmony electric.
Below: Jones’ Harmony Stratotone Mars H46—the first

“real” electric guitar he played with the Rolling Stones.

premierguitar.com
ROLLING STONES GEAR
1965
The Gibson Firebird came in four
variations with different pickup and
tailpiece configurations. The Firebird I,
II and III had nickel-plated hardware,
while the deluxe VII model’s was gold-
plated. The 24 3/4"-scale Firebird VII
was built with solid mahogany wings
affixed to its neck-through body, which
was made by laminating narrow strips of
walnut between five layers of mahogany.
It also had a bound ebony fretboard with
white pearl block inlays, Kluson banjo-
style tuners, an adjustable Tune-o-matic
bridge, and Gibson’s Deluxe Vibrola
system. The Firebird VII was fitted
with three of Gibson’s newly designed Facing Page: On May 12 and 13,
mini-humbucking pickups with gold- 1965, Keith Richards used his
plated covers and a 3-way toggle switch Gibson “reverse” Firebird VII
to record “Satisfaction” at RCA
mounted on a laminated white pickguard Studios in Hollywood, California.
with four gold top-hat knobs and a top- When producer Andrew Loog
mounted input jack. Oldham was recently shown this
One additional item Gibson presented to the Stones was an effects box called a Maestro photo and asked if he remembered
anything about the “Satisfaction”
FZ-1 Fuzz-Tone. The Fuzz-Tone was invented by Nashville studio engineer Glen Snoddy. Firebird, he replied, “Oh darling,
In the summer of 1960, Snoddy was working on a recording for Marty Robbins with I couldn’t tell you anything about
session guitarist Grady Martin. During the recording of the Robbins’ song “Don’t Worry,” the guitar, but I can tell you where
Martin’s Danelectro 6-string bass guitar was plugged into a Langevin tube amp module that he bought that shirt. It was in
London at De Voss.”
malfunctioned and started to distort. The novel effect was left on Martin’s guitar for the lead
break and when the single was released, it became a No. 1 hit. Below: A Maestro FZ-1 like the one
Snoddy immediately realized the commercial potential of this studio mishap and set out Richards used on “Satisfaction.”
to build a device that could reproduce this sound. “Later, when I found out what it was, I set
about trying to develop that sound using transistors,” Snoddy recalled. “We fooled around
with it and got the sound like we wanted. I drove up to Chicago and presented it to Mr.
Berlin, the boss at the Gibson company, and he heard that it
was something different. So, they agreed to take it and put it
out as a commercial product.”
Gibson introduced the Fuzz-Tone FZ-1 pedal under the
Maestro brand in 1962 and produced more than 5,000
units, which were all sent to their dealers that first year.
Unfortunately, consumers didn’t understand the device, and
the Fuzz-Tone pedals sat idly on
dealers’ shelves. Gibson intended
the Fuzz-Tone to be used with
a bass guitar to emulate the
sound of a tenor or baritone
saxophone, and the company
even added the Fuzz-Tone circuit
to some of their bass guitars.
When Keith Richards used the
Maestro Fuzz-Tone on the soon-
to-be released “(I Can’t Get No)
Satisfaction,” he revolutionized
the gadget, making it a
mandatory piece of equipment
for nearly every lead guitarist.

1973 ROLLING STONES GEAR
Left: Richards played

his SG Custom for the
first time at the L.A.
Forum show. He often
used it for “Midnight
Rambler,” which he
played in standard
tuning with a capo on
the 7th fret.
Below: This is the

Gibson SG Custom
Richards played during
the Stones’ 1973 Pacific
tour. The guitar was
modded with an extra
toggle switch located
at the bottom of the
pickguard.
premierguitar.com
ROLLING STONES GEAR
1973
Two new electric guitars added to
Richards’ collection at this time were
used as well, the first being a white
Gibson SG Custom. A 24 3/4"-scale,
all-mahogany guitar, it had a set neck
with a bound ebony fretboard and
pearl block inlays, a triple-bound
headstock, diamond peghead inlay,
and an inlaid Gibson logo. It came
with gold-plated hardware and was
equipped with three “Patent Number”
humbucking pickups, two volume and
two tone knobs, a white pickguard, a
3-way toggle switch, a Tune-o-matic
bridge, and a Maestro Vibrola with a
lyre and logo on the coverplate.
The SG Custom was also rewired
with an additional non-factory toggle
switch mounted to the pickguard.
Richards used this SG at the L.A.
Forum show and during the subsequent
tour, particularly on “Midnight
Rambler,” which he played in standard tuning with a capo on the 7th fret. The guitar Richards playing another guitar
disappeared from his arsenal soon thereafter and now resides at a Hard Rock Cafe in Florida, introduced at the L.A. Forum
which acquired it from Marshall Chess. show, a custom electric 5-string
made by Ted Newman Jones III.
The second new guitar was a custom electric 5-string made by Ted Newman Jones III,
the first of several 5-strings he would construct for Richards. Built of solid mahogany with a
laminated rosewood top, the guitar resembled a smaller “non-reverse” Firebird. The bolt-on
maple neck had a dot-inlaid rosewood fretboard with only 19 frets, while the headstock had
two gold Schaller tuners on the bass side and three on the treble side. The guitar
was equipped with a black neck-position P-90 and a gold-plated bridge-position
Gibson humbucker with a black surround ring. It also had a chrome-plated Leo
Quan Badass bridge with individually adjustable saddles.

BOTTOM FEEDER
My $81 Les Paul Special

BY WILL RAY
I
With its dual ’m one of those guys who believe and wood glue and went to work. played and sounded absolutely great! I
pickups and that modern polyurethane finishes Here’s an old trick I learned from felt very lucky on this one.
master volume suck the sound right out of guitars. Hipshot owner Dave Borisoff for fix- Bottom Feeder Tip #2278: Always
and tone
controls, this A few months ago I was intrigued by this ing stripped-out screw holes: First, put keep plenty of wooden toothpicks and
Epiphone Les Epiphone Les Paul Special on eBay with a small dab of wood glue on the entire wood glue handy for the stripped-out
Paul Special what was called a “faded TV yellow” fin- length of a wooden toothpick, and then screw holes you may encounter for pick-
deviates from ish. It just looked very cool for its price poke it into the screw hole and break guards, tuners, bridges, necks, etc.
Gibson’s
range. The guitar sported a bolt-on neck, or snip off the toothpick just below the A week later the seller got back in touch,
classic 4-knob
configuration, two P-90 pickups, and a wraparound apologized, and then refunded me $25 via
but the Epi’s tailpiece. I won the auction for just $106 PayPal for my trouble. The total cost of
P-90 pickups, ($86 + $20 shipping). Now that’s Bottom
I’ll put this guitar the guitar was now $81.
wraparound
tailpiece, and TV
Feeder territory! up against any Les Paul So was it worth the effort? Absolutely!
yellow finish pay However, when I received it a week under $600. The faded And I tell you this: I’ll put this guitar up
homage to the later, it had been heavily damaged in against any Les Paul under $600. The faded
original model. shipping due to a terrible packing job by yellow satin finish really yellow satin finish really allows the guitar
Inset: This
the seller. Bummer! The neck was just allows the guitar to to breathe and ring out. The P-90 pickups
flopping around when I unpacked it. may be cheap, but they sound pretty darn
Epi Les Paul
Apparently, the bolt-on neck had sepa- breathe and ring out. good to my ears. The neck is perfect for
Special has a
bolt-on neck—a rated from the body, stripping out the bluesy string bending, the intonation is
significant screw holes on the back of the neck in top of the hole. Because the neck screw good, and it weighs only 5.5 pounds. It’s an
departure from the process. I immediately emailed the holes were rather large, I had to use three amazing guitar for $81. This Epiphone is
Gibson’s design.
seller, but he was out of town for a week or four toothpicks per hole so that each definitely a keeper for now, because it’s just
and unable to respond. screw had plenty of new wood to grab too much fun to play.
After thinking about it for an hour, onto. When I had finished all four holes,
I decided to take a whack at fixing the and with the glue still wet, I put the neck WILL RAY is a founding member
of the Hellecasters guitar-twang
guitar myself. What the hell, I figured, back on and carefully tightened the four trio. He also does guitar clinics
promoting his namesake G&L
it was a cheap guitar and I had nothing neck screws until each had a tight fit. signature model 6-string, and
to lose. Besides, nothing was broken or Then I strung it up with a set of .010s produces artists and bands at his
studio in Asheville, North Carolina.
cracked, just a few stripped screw holes. and adjusted the truss rod and bridge. You can contact Will on Facebook
and at willray.biz.
So I grabbed some wooden toothpicks The moment of truth had arrived. It
premierguitar.com
premierguitar.com
VINTAGE VAULT
1966 Fender Electric XII

BY DAVE ROGERS, LAUN BRAITHWAITE, AND TIM MULLALLY
T
he 12-string guitar was never as to begin work on their own 12-string value for one in excellent all-original
popular as the regular 6-string. model in late 1964, and the Electric XII condition is $4,000.
Although 12-strings were used by was introduced in June of 1965. While The amp in the background is a 1964
some folk and blues players of the 1930s, the guitar became an indispensable tool Fender Bassman. The original price was
notably Lead Belly, it was not until the folk for studio recordings (used on Cream’s $379.50. The current value for the amp
boom of the late 1950s that the instrument “Dance the Night Away” and Led is $2,500.
began to attract a larger following. Zeppelin’s “Stairway to Heaven”), it never Sources for this article include Fender:
The folk music trend inspired became a popular seller. The Electric XII The Sound Heard ’Round the World by
Gibson and Danelectro to make electric was dropped from the line by 1970. Richard R. Smith, Rickenbacker Electric
12-string guitars by the early ’60s, but The early 1966 example pictured this 12-String: The Story of the Guitars, the
tradition-bound folk artists ignored month has characteristics common to Music, and the Great Players by Tony Bacon,
these unconventional electric guitars. It other custom- color late ’65/early ’66 and Fender: The Golden Age 1946-1970 by
wasn’t until early 1964, when Beatles Electric XIIs. These include an offset Martin Kelly, Terry Foster, and Paul Kelly.
lead guitarist George Harrison received contoured alder body, a tortoiseshell Original price: 1966 Electric XII,
a new 360/12 from Rickenbacker, that pickguard (3-ply white on other custom $356 plus $59.50 for the case; 1964
the electric 12-string sound gained colors), a “hockey stick” headstock Fender Bassman, $379.50.
prominence. He immediately put it to matching the body’s color, six Fender “F” Current estimated market value:
use on such songs as “You Can’t Do tuners on each side, a 21-fret rosewood 1966 Electric XII, $4,000; 1964 Fender
That” and “Hard Day’s Night,” exposing fingerboard with pearl dot inlays (bound Bassman, $2,500.
the world to a chiming new sound akin with block inlays by mid ’66), two split
to a harpsichord. The electric 12-string pickups, a 4-way rotary switch, and
DAVE’S GUITAR SHOP
soon appeared on numerous other ’60s master volume and tone knobs. The Dave Rogers’ collection is tended by Laun Braithwaite
records by the Who, the Byrds, and the strings are loaded through the body over and Tim Mullally and is on display at:
Dave’s Guitar Shop
Beach Boys. a fully adjustable 12-saddle bridge. 1227 Third Street South
La Crosse, WI 54601
The popularity of the new “jingle The May 1966 list price was $356, davesguitar.com
jangle” folk-rock sound inspired Fender and its case cost $59.50. The current Photos by Mullally and text by Braithwaite.
Opposite page:
A sweet 1966
custom-color
Fender Electric XII
nestles against a
’64 Bassman and
spring-equipped,
all-tube Fender
Reverb unit. The
latter defined the
sound of surf-
rock guitar.
Left: Strings
load through
the body onto
the Electric XII’s
fully adjustable
bridge.

MODERN BUILDER VAULT
Russell Guitars
BY RICH OSWEILER
J
ames Russell got his start building guitars in about from real-world experiences of desiring
1979 out of necessity. As a huge fan of John changes and improvements in classic instruments.”
McLaughlin’s acoustic band Shakti, With that, Russell says his biggest challenge
he wanted a guitar similar to McLaughlin’s is just having enough hours in the day to build
Abe Wechter acoustic with a scalloped fretboard all the designs he wants to build. “I still have PRICING &
that would enable microtonal string bends. But around 20 designs on paper that haven't become AVAILABILITY
after asking several Southern California luthiers instruments yet, and I have several models that are James Russell’s guitars
to build the guitar he had in mind, Russell was in process and on the back burner.” are available through
turned down by all of them. That’s when he Asked what nuggets of advice he’d offer to direct order with
decided to build it himself and quickly found someone wanting to take the plunge into lutherie, the luthier, though
himself hooked on lutherie. And that first Russell says, “Understanding how to make a guitar he will occasionally
instrument is still going strong today. is relatively easy, but understanding the interaction have guitars available
Russell truly lives and breathes all things guitar. of all the materials that make up a guitar requires through Tradarama
Not only is he a full-time builder out of his one- years and years of working with those materials. Guitars and Mighty
man shop, he still finds time to regularly teach It’s easy to make a guitar-shaped object, but it is Fine Guitars. Russell-
guitar and perform. Oh, and he’s also one of Eric very difficult to make good guitars that sing.” made Schoenbergs
Schoenberg’s builders, producing handcrafted Russell also contends it really helps to be a player are available through
guitars inspired by prewar Martin flattops under in order to be able to hear and feel what makes Schoenberg Guitars in
the highly respected Schoenberg brand. a guitar great. “Another aspect I feel is critical is Tiburon, California. The
Checking out Russell’s website reveals that having the patience and ability to do intricate, long- luthier produces about
he doesn’t limit himself to one particular term projects. A guitar maker has to be driven or 10 Russell-branded
genre of guitar. Whether it’s an archtop, semi- the challenges will be insurmountable.” guitars a year and the
hollow, upright electric bass, flattop acoustic, “I put my heart and soul into every wait time for custom
or something else, “the wide range of my guitar instrument I make,” says the luthier. “My slogan orders is typically 12
models is due to my love of so many styles of is ‘Voice, Feel, Beauty.’ All three aspects are to 18 months. For each
music and my love of great instruments,” says essential for a guitar to be great and I strive for of his models, clients
Russell. “I’ve been an active performing guitarist excellence in all three. This is what is distinctive can request custom
for over 40 years and I love and play both acoustic about all Russell Guitars.” appointments such as
and electric music. Most of my models came russellguitars.com wood options, neck
carve, scale length,
electronics, and so on.
Filmore The price range for
The Filmore boasts a Russell Guitars varies
tempting blend of a Tele-
shaped body with a Les
anywhere from $3,500
Paul wood-and-electron- to $10,000, depending
ics recipe. It features Hon- on the model, woods,
duran mahogany for both
features, and options.
the body and set neck,
flamed maple for the top,
and Brazilian rosewood
for the fretboard. For
electronics, Russell
went with a pair of Peter
Florance’s Voodoo ’59
humbuckers.
premierguitar.com
Telemark
Russell offers a full menu
of wood, color, hardware,
and neck options for his
twang-machine model
called the Telemark. This
Telemark has a swamp-
ash body that’s finished
in persimmon burst and
joined with a Honduran
mahogany bolt-on neck
that’s dressed with a
Macassar ebony fretboard.
For electronics, Russell
packed this Telemark with
DiMarzio Area Ts.
Portland
The Portland is Russell’s electric semi-hollowbody offering,
and it’s an ergonomically rich and modern take on a 335-esque
body design with features including the “koi holes” in place
of traditional f-holes. The Portland shown here uses Honduran
mahogany for the sides, back, and neck, flamed redwood for the
top, and Macassar ebony for the fretboard. Russell loaded up this
Portland beauty with a set of Lindy Fralin Pure PAF pickups.
Waimea
If the name didn’t give it away, the Waimea was designed with slack
key in mind. Shown here is the first incarnation of the Waimea that was
built for guitarist Jeff Cook. It features highly figured koa for the back,
sides, and soundboard purfling, Madagascar rosewood for the binding
and bridge, master-grade German spruce for the top, and a Honduran
mahogany neck that’s capped with an African ebony fretboard.

Frank
“Not a pop star. An entertainer.”
The recurring theme throughtout Frank Turner’s fth album is change. Those
who have followed Turner’s career since he went solo in 2005 won’t be sur-
sur
Turner
prised. After 1,400 incendiary live shows and four acclaimed albums, last year
saw the musician previously known as a punk poet become (whisper it) a sort
of pop star. Turner’s rst single from the album, Recovery, sounds like a happy
song, but it’s clearly not. The album is about unexpected change and relation-
ships ending. Guitarist Ben Lloyd uses a Weber 10F150 in his Laney VC30.
& the sleeping souls Check out the band at www.frank-turner.com.

Check out the gear at www.tedweber.com
“Using Weber speakers, Ben’s tone on stage has hit

a new level of clarity and strength. Not only that, but they
can take the strain of our touring schedule with ease.
Neither of us would want him using anything else.”
--Frank Turner
“It’s love. My Webers are super

responsive, loud, have a huge
frequency spectrum and sound
fantastic. Night and day better
than stock speakers.”
--Ben Lloyd
PG’s German correspondent guides us through the storied town of
Markneukirchen in the heart of Germany’s “Music Corner,”
where centuries-old instrument-making traditions live on.
BY DIRK WACKER
G
erman lutherie has a 400-year history—
and more connections to the U.S.
than you might think. The best way
to dive into this legacy is to visit Germany’s
“Music Corner” region. The three small main
cities of Markneukirchen (aka “the music town”),
Erlbach, and Klingenthal are known collectively
as “Musicon Valley.” This musical hub lies in a
southern region of Saxony known as the Vogtland,
nestled in the mountains at the Czech border, near
Bavaria and Thuringia. It’s a quiet, rural area, its
stunning landscape dominated by lush forests and
wide-open meadows full of cows.
For 40 years the region was part of the German
Democratic Republic—the former East Germany.
Decades of GDR policies have left their mark on
downtown Markneukirchen, yet there are remnants
of the town’s former glory as one of Germany’s
richest cities. Breathtaking mansions display the
sophisticated charm of the past. There’s classic
German architecture on every corner, and a town
center with its mandatory beautiful church and
placid cobbled streets. Nearly every building
displays a sign indicating that musical instruments
are built within. If you’re a guitar nut or history
nut (or both!), it’s hard not to fall for this area’s
seductive charms.
My wife and I drove down to Markneukirchen
for a two-week hiking holiday, which quickly
morphed into a hike through the history of
Germany’s musical instrument industry. Here’s
what we found along the way.
The Golden Age LUTHIERS OF INTEREST
Farmers first settled the Markneukirchen
area in the 11th century. In the 17th Richard Jacob (Weissgerber)
century, Protestants fleeing religious Richard Jacob (1877-1960) is one of Markneukirchen’s brightest stars. After
persecution in neighbouring Bavaria settled learning to build zithers, he started making guitars in 1899, qualifying as a
here as well. These refugees included 12 master luthier in 1905. In 1921 he officially trademarked the Weissgerber name
violinmakers from the Graslica area. In and built approximately 3,700 guitars under this label, the last ones reportedly
1677 they established a violinmakers’ guild, in the year of his death. His son Martin Jacob took over the workshop and built
which still survives as the world’s oldest. guitars under the Weissgerber label, many with parts his father had created but
Markneukirchen developed quickly, and never finished. Martin Jacob’s death in 1991 marked the end of the Weissgerber
by its golden age (1850-1880), 80 percent era. Weissgerber guitars were often experimental, using uncommon woods,
of the world’s musical instruments were double tops, and radical bracing patterns. Richard Jacobs’ widow left the original
made in the region. The area was home workshop to the University of Leipzig when she died in 1989. For more info,
to more than a thousand luthiers during check out Weissgerber by Christof Hanusch, which explores the luthier's history
the GDR era, and today approximately (christofhanusch.com).
130 companies make instruments and www.richardjacob-weissgerber.de (German language only)
accessories here, including all orchestral
instruments other than pianos. Wenzel Rossmeisl (Roger Guitars)
When a group of violinmakers begins Wenzel Rossmeisl, Roger Rossmeisl’s father, opened a Markneukirchen workshop
making instruments, it’s only natural in 1948 as a branch supporting the company’s Berlin headquarters. The shop
for other companies to build on that produced everything in Markneukirchen, down to individual parts. Wenzel
economy, settling down nearby to make Rossmeisl employed five luthiers. One, master luthier Dieter Hense, is alive and
strings, bows, chin rests, and the like. well at 84, though he doesn’t build guitars anymore. I had the pleasure to speaking
These companies required resources such with him about Roger Guitars, and his memory is stunning.
as sheep gut for strings and lumber mills to “Wenzel Rossmeisl was not often in the shop,” recalls Hense. “He was usually
cut wood. Eventually an entire marketing/ on the road to bring the guitars to the Berlin headquarters, or trying to source and
export business emerged to handle the trade needed materials for the shop. I never saw him build a single guitar or part in
enormous output of instruments. By 1893 all those years—this was all up to us. Some of us worked in the shop, while others
a U.S. consular office was established here worked from their homes, making the famous German carve tops or other parts.”
to handle overseas exports. In 1951, Wenzel Rossmeisl was arrested at the Leipzig Trade Fair and jailed four
Significantly, the separation between years for offenses against the foreign exchange law. His property was seized—all
building instruments and trading them parts, pre-finished bodies, necks, tools, etc.—along with the possessions of two other
started early, resulting in a highly effective dispossessed companies. These assets were appropriated for the Musima company,
economic structure. Trading agencies which opened one year later. Because the seized parts were used for early Musima
bought instruments in large quantities models, you can find complete Roger guitars, minus the brand’s logo. Collectors refer
directly from builders and shipped them to these instruments as “stolen Rogers.”
worldwide. Of course, traders made a http://schlaggitarren.de/archtop/roger-guitars (English version)
lot of money—much more than the http://jazzgitarren.k-server.org/roger.html (English version)
builders. Most of the superb mansions
in Markneukirchen were built by trading Christian Friedrich (“Frederick”) Martin (“Martin Guitars”)
agency owners. A prime example is the C.F. Martin (1796-1873) is Markneukirchen’s most famous luthier. He was born in
superb Villa Merz, a mansion near the Markneukirchen on January, 31, 1796, and was building guitars by age 15, just like
Framus Museum that now houses a his father, Johann Georg Martin. At age 24 he went to Vienna to work for Johann
lutherie school, part of the University of Georg Stauffer, one of the most respected luthiers of the day. Talented young C.F
Applied Science Zwickau. The mansion worked his way up to a position as Stauffer’s foreman. His married a Viennese girl
was built for Curt Merz, owner of a very and left Stauffer to work for his father-in-law, who was also building instruments.
successful trading agency. After a son was born in 1825, the family returned to Markneukirchen, where C.F.
Instrument makers usually worked opened his own workshop—until emigrating to the U.S. in 1833 at age 37. He settled
independently in small workshops, in New York City—and the rest, as they say, is history!
After extensive research, Heidrun Eichler and historian Dr. Enrico Weller located the Markneukirchen site where C.F. Martin was born on
January 31st, 1796. It was a difficult search, because most of Markneukirchen burned down in a disastrous 1840 fire, and many records
were lost. The original house perished in 1840, and a modern house occupies its site near the town center. Markneukirchen plans to
erect a plaque here, honoring the town’s most famous native son.
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often in their homes. Farmers common in the Unites States. G.A. are still made this way in Markneukirchen.
would build instruments during Pfretzschner, an important trading Today you can see the original interior of the
the long, hard winters, when there house founded in 1834, bought Pretzschner trading agency in Markneukirchen’s
was no work to do in the fields. instruments from throughout the Musical Instrument Museum. In its heyday,
Trading agencies would market these music-corner area and shipped them Markneukirchen numbered 21 millionaires
instruments under their own labels, to his trading partner in the States. among its 12,000 inhabitants, and hundreds of
with the actual builders remaining The U.S. partner thought an Italian people worked in the instrument industry.
anonymous. Most of the instruments name would boost sales, so they But an 1890 economic crisis, two World
were exported to the United States, came up with the fantasy Morelli Wars, the Great Depression, and the autarchy
India, Brazil, Japan, and Australia. name. This was standard business politics of the Third Reich caused a drastic
Example: the Andreas Morelli violins practice, and instruments of all kinds decline in sales and employment. After WWII
the music corner was dominated by communism
and its ideals of abolishing personal property.
Mass production played an important role as
Markneukirchen businesses were reorganized
into collectives. Small- and medium-sized
If they ran out of rosewood or

ebony, builders used locally
sourced pear wood, staining
it dark and using it for bridges
and fretboards. It proved
to be a fine substitute with
rosewood-like qualities.
companies were merged into craftsmen´s
cooperatives and nationally owned companies.
Thankfully, the state didn’t completely
neglect the musical instrument industry—the
East German regime appreciated the quality
and value of these instruments. A government-
run trading agency imposed annual production
rates that instrument makers were required
to meet. Compromising situations occurred
when materials grew scarce and workers had to
improvise. This knack for making something
out of nothing is now known as “the Art of the
East.” Wood substitution is one example: If they
ran out of rosewood or ebony, builders used
locally sourced pear wood, staining it dark and
using it for bridges and fretboards. It proved to
be a fine substitute with rosewood-like qualities.
Finished instruments were given to the state
agency in return for fixed wages, and then
exported for hard currency, even to so-called
“class enemy countries” like the United States
and former West Germany. The profits bolstered
East Germany’s ramshackle national budget.
Naturally, only the best instruments were chosen
for export, leaving only lower quality instruments
within the country. (Still, many excellently
crafted instruments of that era found their way
premierguitar.com
back to the eastern part of Germany, and family, for example, which are high-quality acoustic instruments,
some guitars have become quite collectible.) world-renowned for their fine both classical and steel-string, such
At its peak, the Musima factory had as many acoustic guitars. as those from Armin and Mario
as 1,200 employees who produced up to 360 Gropp (www.gropp-gitarren.de), a
guitars per day, as well as recorders, violins, The Guitars typical father-and-son workshop in
zithers, and other instruments. Interestingly, Despite all the guitars that have Breitenfeld. They build classic guitars
many employees continued to work from their been made in Markneukirchen, and historical instruments of utmost
homes or small workshops, even though they it’s not a town full of music shops craftsmanship in the spirit of Richard
were exclusively affiliated with nationally owned or vintage stores—most guitars Jacob and his Weissgerber guitars.
companies. are purchased directly from the In recent years the industrially
builders. Most current guitars are made Musima and Sinfonia
After the Wall
When the GDR was abolished in 1990,
large companies were denationalized. Some,
like Musima, did not survive. Some workers
grabbed the bull by the horns, went into
business for themselves, and continue to work
as successful luthiers. Karl-Heinz Neudel is
one such builder. Neudel is usually overbooked
Photo courtesy of Karl-Heinz Neudel
with repair and modification work for vintage

German archtop guitars, and he also builds
guitars under his own label.
Mass instrument production no longer
exists in Markneukirchen—today the Far East
dominates that field. But historic companies
still handcraft fine instruments—the Gropp

Right: The POINTS OF INTEREST
Musical
Instrument
Museum in
Markneukirchen,
Germany, houses
more than 3,000
instruments,
including
many eccentric
stringed
instruments built
in the region Musical Instrument Museum Markneukirchen
centuries ago.
Founded in 1883, the museum is now housed in a gorgeous 1784 building called
Far Right: The Paulus Schlössel. Its collection boasts more than 3,100 musical instruments from
beautiful Musical all over the world. Curator Heidrun Eichler’s role an authority on Markneukirchen
Instrument instruments is reflected in the collection she’s assembled. It includes the world’s
Museum in largest tuba and accordion, as well as an historic trading station in its original
Markneurkirchen
is housed in this state. Guitar and bass highlights include a 300-year-old double bass and early
1784 building. guitars from Stauffer, Antonio Torres, Richard Jacob (Weissgerber), Martin, and
many gorgeous and eccentric Markneukirchen guitars.
Bottom: Tours www.museum-markneukirchen.de (English version available.)
are available
of Warwick's
cutting-edge
facility based in
Markneukirchen.
Framus Instrument Museum

Markneukirchen
Opened in 2007, the Framus museum
is located near the lutherie school in
a building called Villa Brehmer that
was completely reconstructed after
standing empty for a decade. Rainfall
Warwick factory and custom shop and vacancy damaged the building, but
Hans-Peter Wilfer was just 24 in 1982 when he founded Warwick in former Hans-Peter Wilfer, founder and owner
Western Germany. In 1994, after German reunification, he relocated the company’s of the Warwick company, bought it and
headquarters to Markneukirchen. The futuristic Warwick quarters are located in established the museum. Wilfer is the
town’s industrial zone, just a stone’s throw from the former Musima building. Its son of Fred Wilfer, founder and owner
lobby features a large showroom of Warwick and Framus guitars and basses. The of the Framus, which produced guitars
facility relies on solar and wind power and is 100 percent carbon-neutral. The Big from 1946 through the company’s
Kahunas of the factory tour are the custom shop wood supply, the ultra-modern, 1970s bankruptcy. (Some models were
fully automatic fretting machine, and of course, the paint department. reissued in 1995 under the Warwick
I met Wilfer in his office to chat about his family’s history and connections to umbrella.) Framus was Europe’s biggest
Markneukirchen. Wilfer has fond childhood memories of the Framus factory and guitar company in the 1960s. The
was in his early 20s when it closed, but he happily started his own bass company museum displays over 200 instruments
thereafter. Wilfer chose Markneukirchen as his place of business because of its from the Framus era, including guitars,
affordable living and industrial zone, but he also has family ties to the area. “My basses, banjos, lap steels, pedal
father was born and raised right across the Czech border in Schönbach [present- steels, amps, and accessories. Museum
day Luby],” Wilfer shares. “I live directly in Markneukirchen with my family and I director Andreas Egelkraut is a walking
really like to live here. My kids were born here and they’re real Markneukirchen encyclopaedia for all things Framus.
natives—it’s a good and joyful place to live and work.” www.framus-vintage.de
www.warwick.de (English version available.) (English version available.)
premierguitar.com
instruments of the GDR era have become
collectible because of their history
and charm. Not all of these are great
instruments—many are from often budget
and student lines—but some are fantastic-
sounding, great-looking guitars. (GDR-
era Sinfonias and Musimas are among my
best-sounding guitars.)
Sinfonia Acoustic Guitars

Sinfonia instruments were built from 1961
through 1984. Instruments from 1961
to 1972 sport “PGH Sinfonia” labels,
while post-1972 instruments have “VEB
Sinfonia Markneukirchen” labels. In 1984
Sinfonia became a part of Musima.
Sinfonia instruments were usually
made by anonymous builders in their
homes. While some models look simple,
with unremarkable decoration, they
often use tone woods that were unusual
for their time. (I would never part with
my 1962 Sinfonia classical, with its
cherry back, sides, and neck, spruce top,
and rosewood fretboard, all finished in
spirit lacquer.)
At its peak, the Musima

factory had as many as
1,200 employees who
produced up to 360
guitars per day.
Musima Guitars
Musima’s most admired guitars are their
archtops, which have a great reputation
among players. Musima began building
them in the mid 1950s, using original
Roger parts out of Wenzel Rossmeisl’s
workshop. (Rossmeisl’s property was
seized after the GDR government jailed
him for supposed trading crimes.) From
there, they developed their own models:
Record, Spezial, Solist, Primus, and the
export models Ambassador and Atlas.
Musima also made cheap archtops, though
you can identify higher-quality models by The old Musima buildings still exist, but they aren’t a pretty sight. After the factory
their “German carve” solid tops, a typical closed in the early ’90s, the city of Markneukirchen bought the ruins with the intention
Roger feature to which Rossmeisl held a of demolishing them, but sold them to the Harmona company, who wanted to move their
patent. (A German carve top is flat near accordion production from Klingenthal to Markneukirchen. They haven’t decided whether
to restore the old buildings or tear them down to build a new factory, so the Musima
the edges where it meets sides, but slopes buildings lie silent. You can only view them from the outside, but here are exclusive
upward closer to its center.) These guitars interior photographs of the abandoned factory.
premierguitar.com
were available with and without pickups
(sometimes discretely embedded in the
end of the fretboard), and in both fully
hollow and semi-acoustic models. Well-
known Musima builders include Armin
Weller and Karl-Heinz Neudel, who
made most of the high-end and custom
instruments during the GDR era.
A real insider’s tip is the Musima
Nashville steel-string line, designed and
built by Neudel. Some custom shop
models were built by a single master
luthier who used only the best available
woods and added fancy embellishments.
Musima also built a Strat-style guitar
called Lead Star. Nicknamed “the Strat of
the East,” it was a fairly faithful Fender
copy, but with GDR-produced parts such
as a brass inertia block. These are sought- There were many other gifted Markneukirchen is a special place
after instruments because of their quality luthiers during this era. For more info, with a quaint and charming atmosphere.
and retro look. Other Musima electric visit the Musical Instrument Museum Guitar fans might squeeze a visit into their
models include the Elektrina, Elgita, Markneukirchen’s online forum at http:// European holiday plans, right between the
Elektra, Etherna, Deluxe, plus some www.museum-markneukirchen.de/ Black Forest and Oktoberfest. If you have
radical metal guitar designs and several forum/. (It’s in German, but English the opportunity to visit the music corner,
bass guitar models. postings are common and welcome.) don't miss these must-see attractions!
Guitar Envy?
Feed Your Obsession Here.
Make Full Compass Your Source For Low Prices On The Best Gear.
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PG_110513_FCS-Guitar-Envy-HALF.indd 1 PREMIER GUITAR MARCH
11/5/13 9:19 53
2014 AM
GUITAR TRACKS
Getting Down to Mixing

BY MITCH GALLAGHER
O
Fig. 1. Ground ver the past few installments of rhythm instruments (guitars, keyboards, 1
Zero, with the “Guitar Tracks” we’ve cleaned and so on) to create a pumping rhythm
mixer “zeroed”
up our tracks, organized them, track. After that they drop in the lead
out and no plug-
ins, panning, and prepared them for mixing. Now it’s vocal, fills, solos, and ear candy.
or processing time to get started making those tracks Sometimes this approach works
applied. into a finished mix. great. However, I often use a different
I like to begin my mixes by pulling one: After the kick and the bass, I bring
Fig. 2. Balance
the kick drum
all of the faders in the song down to up the lead vocal (if it’s a vocal song)
and the bass. silence, except for the master output fader or the lead melody instrument (if it’s
and any submix buses, which are set to an instrumental). The vocal or melody 2
Fig. 3. Balance “0 dB.” All pan controls are centered. instrument is the focus, so I want to
the lead vocal
No plug-ins are inserted. Any EQs or ensure it’s heard clearly, and is balanced
or melody
instrument compressors built into the DAW mixer and supported by the low-end foundation
against the kick are set to a neutral setting and bypassed. of the kick and bass.
drum and bass. We’ll call this Ground Zero.
I save the mix file at this point. My Filling Out the Mix
Fig. 4. Build the
remainder of the
naming convention is usually something Next, I begin to fill in the rest of the 3
rhythm section like “name of the song, followed by the drums and rhythm section around the
around the three day’s date.” As I mix, I save regularly. kick, bass, and vocal. I may do some
focus tracks, and Whenever I make a significant change broad EQ sculpting as I go, ensuring that
then start adding
to the mix or I’ve done work that I don’t those three tracks remain focused. I also
the solos and
ear candy. want to lose if the computer loses power begin panning tracks to leave a nice hole
4
or something, I save again, adding a in the center for the three focus tracks
letter to the name: “Song Mix 3-12-13a,” to live in. With this process, I find that
“Song Mix 3-12-13b,” and so on. This I approach EQ differently. Yes, I use EQ
leaves a trail I can work back through if to enhance tracks, but I also use EQ to
necessary. If there’s ever a problem with a create an opening through which the
file, I can recover quickly. vocal can work, and to prevent various Another Ending
rhythm section tracks from fighting with With this month’s column we also reach
Starting the Mix the kick and bass. another endpoint—this is my final
That last bit of housekeeping out of the I also begin using ambience (reverbs) “Guitar Tracks” column for now. For
way, I start mixing. Different engineers and delays to create depth. A wetter track nearly four years it’s been my pleasure
have different mixing processes, so I drops back, while a drier one comes to work with the great people at Premier
recommend experimenting with various forward. You can use EQ similarly: Guitar to bring you these columns. I
approaches. Here’s one that’s worked Brighter tracks comes forward, while hope you’ve picked up a few useful tips
for me: reducing a track’s high end makes it sit on making better recordings and mixes. I
back into the mix. can tell you that it’s been a blast to write
• Raise the kick drum fader to a Once things are blending and working them, and to hear from so many of you!
comfortable level. I look for the together, I bring in the ear candy and Thank you very much for your interest
master meter to read somewhere solos, again creating openings where and support. “Guitar Tracks” may be
around -15 dB. those featured items can “speak.” As I taking a breather, but you’ll still see my
• Raise the bass guitar (or other add these parts, I tweak levels, adjust EQ, work in the pages of PG. Until next time,
primary bass instrument) to where it apply compression to get dynamics under I wish you great recordings!
meshes well with the kick drum. control, add effects, and generally dial
• I may do minor EQ work to get the things in. Finally, I start working with MITCH GALLAGHER’S latest book
is Guitar Tone: Pursuing the
kick and bass to thump well together. automation as necessary to bring tracks in Ultimate Guitar Sound. A former
and out of the spotlight. Editor in Chief of EQ magazine,
Mitch teaches music business
At this point, some engineers would build Next time you’re making a mix, try this and audio recording at Indiana
the rest of the drum kit around the kick approach. It’s certainly not the only one University/Purdue University,
and serves as Sweetwater's
and bass, and then mix the rest of the that works, but it does the job for me. Editorial Director.
premierguitar.com
Why you fell in love with us in the first place.
D-28 Authentic 1937

martinguitar.com
BY ADAM PERLMUTTER
F
ew bands have the staying full-length debut, Mogwai Young Team, through Rave Tapes, the band’s eighth
power of Mogwai, the post- which established the group as a serious and most recent full-length effort, and
rock group formed two decades instrumental music quintet that could be their second on Sub Pop. The album
ago in Glasgow, Scotland. The mostly both loud and introspective. O’Hare was was written in the band members’ home
instrumental group, which borrows swapped out for keyboardist Barry Burns, studios and recorded in their Castle of
its name from creatures in the movie who appeared on Mogwai’s sophomore Doom studio in Glasgow with producer
Gremlins, came together in 1995 album, Come on Die Young (1999), and Paul Savage, who also worked with
when three friends—guitarists Stuart has been with the group ever since. Mogwai on their first record and on 2011’s
Braithwaite and Dominic Aitchison (now Mogwai’s third album, Rock Action Hardcore Will Never Die, But You Will.
the band’s bassist), along with drummer (2001), added synthesizers and other While electronics play a prominent
Martin Bulloch—set out to create some electronic elements to the mix. The group role on Rave Tapes, they don’t detract
intense guitar music. The trio enlisted had arrived at a sound that was large from the many bright guitar moments,
an additional guitarist, John Cummings, and cinematic—as heard in the 2006 from the improvised modal shredding on
and in 1996 released the self-pressed film Zidane: A 21st Century Portrait, for “Simon Ferocious” to the gritty arpeggios
single “Tuner”/“Lower,” an oddball in which Mogwai wrote the soundtrack. In of “Hexon Bogon” to the straightforward,
the Mogwai catalog on account of its 2012 band also contributed brooding, plaintive melodic work on “No Medicine
prominent vocals. wordless music to Les Revenants, a French for Regret.”
Mogwai added Teenage Fanclub television series. Braithwaite and Cummings spoke to
drummer Brendan O’Hare to its Electronic sounds have remained a us about their process, their tools, and
lineup and in 1997 came out with a Mogwai fixture, appearing on every album their penchant for loudness.

STUART BRAITHWAITE’S GEAR
GUITARS
1967 Fender Coronado
1980s Fender Telecaster with
added Seymour Duncan mini-humbucker
and kill switch
"No matter the Your music sounds so sophisticated. What necessarily modeled on what was heard
context, a guitar sort of formal training do you have? on actual rave tapes of the era.
amp turned up AMPS
Stuart Braithwaite: I did a music
loud sounds a Silverface Fender Super Reverb
lot better than course at college—more rock than Talk about your compositional process.
and Twin Reverb
one set at a classical—focusing on playing guitar and SB: Everyone in our band apart from
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low volume, recording. It’s been very helpful in the [drummer] Martin [Bulloch] comes up
even when fundamental things it taught me about with ideas on his own, and then we all have
playing quiet EFFECTS
music.” —Stuart music theory and production, as well as a listen together to shape the pieces. All
music business things like copyright and of our approaches vary. Mine are so often Boss DD-20 Giga Delay
Braithwaite (at
far right) ownership—knowledge that has served quite sketchy. [Laughs.] Some of the others, Boss RC-20XL Loop Station
me well in the band. like Barry’s, tend to be highly detailed, with Boss RV-5 Reverb
John Cummings: I don’t have any formal ideas that are more fully fleshed out. Boss SL-20 Slicer
music training, but our keyboardist, JC: It’s a bit difficult to describe. Often Boss RE-20 Space Echo
Barry [Burns], is essentially a classically I play for five minutes to see if I can Boss TR-2 Tremolo
trained pianist. He studied at the Royal come up with a kernel of an idea that Danelectro Fab Tone
Academy of Music [in Glasgow]. the band can work with to create a Electro-Harmonix Big Muff
full arrangement. It’s really not too Electro-Harmonix V256 Vocoder
What inspired the title Rave Tapes? methodical or formulaic. Pro Co Rat2
SB: This probably dates us—we’re in our MXR Carbon Copy
Photo by Tamara Lee / Atlasicons.com
late 30s. The title is a reference to the How does improvisation figure in your MXR Micro Flanger
cassettes of rave music that people used to recordings and performances? Sonuus Wahoo
swap when we were teenagers. SB: I’ve always been into improvisation.
JC: The title isn’t too philosophical. We It’s how I learned to play the guitar, and STRINGS & PICKS
were thinking about what crazy times throughout the years it has always helped Dunlop Nickel Wound (10 Medium)
those were, and it seemed like a great keep things fresh. It probably happens Dunlop Tortex picks (.60 mm)
title for a record, though the music isn’t more on our recordings than live these
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days. A lot of my guitar parts on the new
record were improvised—mainly through
ill preparation! [Laughs.] Every single note
on “Simon Ferocious,” for instance, was
made up on the spot, and it worked out
quite well.
JC: Not so much for me. I might
improvise a bit during sessions when
recording a rough part, but there’s not
really too much of a jamming aspect to my
style. Even in some of our longer pieces, I
pretty much play each part the same way
every time.
Recording has evolved considerably

since you started out. Has digital
technology impacted your writing
process?
SB: It’s made it easier in some ways. Early
on, of course, we weren’t able to record
on our phones at home—we used cassette
4-tracks, which were obviously much less
flexible than the software we use today.
Using Logic and Native Instruments on
my iMac, it’s easy for me to record demos
on my own that sound almost as good as
the finished products will.
JC: It’s indeed easier for us these days to
work things out on our own in advance.
The accessibility and availability of
equipment is obviously nice, and it’s just
much more efficient to record and edit
music. But just as we did with 4-tracks, we
still make compositions by layering sound
upon sound, so the writing process itself
hasn’t really changed.
Talk about the axes and amps you used

on the record.
SB: I mostly used a ’67 Coronado, a great
and underrated Fender thinline—that and
my main Telecaster. I’m not entirely sure
what year it is—it was made sometime in
the early ’80s. It has a Seymour Duncan
mini-humbucker added in the middle, and
an on-off switch that I sometimes use to
make a sort of harsh, stuttering sound. I
plugged into a bunch of amps including
some nice Fender silverfaces like the Super
and Twin Reverbs, as well as my Orange.
JC: I mostly played a mid-’90s Telecaster
Custom, a 1985 Les Paul, and a 1965
Fender XII, plugged into the Marshall
Super Bass I’ve had since I was a

teenager, as well as a Joe Satriani at lower volumes. Some great bands—
signature model. Sonic Youth, My Bloody Valentine, and
Spacemen 3—have tended to agree!
What about the effects?
SB: In the studio we had so many There’s awesome howling feedback on
different pedals—quite a lot of Boss, “Hexon Bogon” and elsewhere on the
Electro-Harmonix, and more boutique record. Do you also play live in the
things for distortions and for delays— studio, or do you create these sounds
that it’s hard to remember what I used. through electronic effects?
One thing that sticks out, though, is SB: I kept it simple: I turned up the guitar
a really cool pedal called the [Sonuus] loud—really loud. With a Marshall and a
Wahoo, an analog filter that I used for a Rat distortion, it’s hard not to feed back!
lot of the sweepy sounds. JC: Yes, even in the studio we tend to
JC: I also used mostly distortion and play very loud. We have to be mindful of
delay, through various Boss, Electro- the placement of our guitars relative to
Harmonix, MXR, and boutique pedals. the amps, so that we only get feedback
when it’s wanted.
There’s a bit of modular synth on
the new record. Are there any special What is the source and meaning of the
JOHN CUMMINGS’S GEAR considerations you keep in mind narration on “Repelish”?
when playing alongside electronic SB: The original recording was a
instruments? Christian radio show from the early ’80s.
GUITARS SB: If there are, I’m not overly conscious Due to licensing obstacles, we weren’t
Mid-’90s Fender Telecaster Custom and of them. In terms of timbre, guitar and able to use it, so we got a friend to
Custom Teles with EMG pickups synth are quite an easy fit—they tend to re-record it for the album.
1960s Fender Jaguar complement each other quite well, so I JC: We just thought it was pretty
1985 Gibson Les Paul don’t really need to adjust my playing at all. entertaining—it wasn’t an intellectual
1965 Fender XII JC: Just don’t play the wrong notes! decision or anything. It was nice to add
An out-of-tune guitar is much more some levity to the proceedings.
AMPS noticeable when heard next to a synth.
1970s Marshall Super Bass
How have you evolved as a musician
and Joe Satriani JCM900
What about tips for sharing space with since the band started?
a second guitarist? SB: I’ve definitely gotten better at what
SB: The best thing is to try not to play I do. I might have neglected every other
EFFECTS the same exact part unless you’re really aspect of music other than what the
Boss DD-7 Delay
trying to reinforce an idea. It’s best to band does, but in Mogwai, I think I’ve
Boss BF-3 Flanger
augment rather than copy, which is improved tenfold.
Boss OS-2 Overdrive something that John and I do naturally. JC: I actually understand more of what
Death By Audio Fuzz Gun JC: Yes—just try not to step on the people are saying when they talk about
Death By Audio Interstellar other guy’s toes, and really try to listen music. I am definitely more conversant in
Overdrive Deluxe  to each other. theory and harmony than when I started
Dunlop M159 Tremolo playing in the group, something that
Electro-Harmonix Holy Stain You’re known to play very loud in happened out of necessity.
MXR Carbon Copy Delay concert. What’s the appeal of volume?
MXR KFK-1 Ten Band Equalizer SB: No matter the context, a guitar amp What’s kept the band together for so
MXR Script Phase 90 turned up loud sounds a lot better than many years?
Way Huge Aqua Puss Delay one set at a low volume, even when SB: We’ve always gotten on quite well,
Photo by Tamara Lee / Atlasicons.com
Way Huge Fat Sandwich playing quiet music. It’s important for us and after almost 20 years of playing
Way Huge Pork Loin that our music be a physical experience, together, we’re actually still interested
Way Huge Swollen Pickle as well as an aural one. in music! Luckily, audiences have also
JC: We want the experience of listening maintained an interest in our music.
STRINGS & PICKS to our music to be a powerful sensation JC: And it’s nice to now be playing for
Dunlop Nickel Wound (10 Medium) that envelops the listener, and this is people who might not have even been
Dunlop Tortex picks (.88 mm) something that generally can’t be enjoyed born when the band started.
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TONE TIPS
Don’t Let New Gear Stunt Your Creativity

BY PETER THORN
T
Dedicated time here’s so much great musical gear to explore the factory presets before you even
with resources out there, but with each new think about learning to program them. New
such as third-
party instruction piece of gear comes a new time gear costs not only money, but also time.
guides can commitment. From the simplest effect
help you avoid pedal to the most complex recording A Time to be Creative
frustration and and editing software, you often have to The time to be creative is not when
maintain your
invest serious learning time before you you’re learning a complex piece of gear
creative spark.
can make the most of these tools. This or software. Does the following scenario
can be frustrating when you’d rather be sound familiar?
practicing guitar or writing a new song. A guitarist decides to set up home
studio. He or she gets a new computer,
Make the Most of What You Have studio monitors, a recording interface,
First off, it’s important to get the most and the latest and greatest recording
out of the gear you already own. We’re software. After a several long days
all familiar with the acronym GAS (Gear of setup and software installation,
Acquisition Syndrome), and how easy it our guitarist, ready to record a new
is to get caught up in the cycle of buying masterpiece, excitedly boots everything
and selling the latest and greatest toys and up. But problems begin immediately:
tools. YouTube demos create gear lust. “Hmm, how do I make a new project?” courses like the ones at protoolstraining.
com can supercharge your knowledge. If
Today’s multi-effects can demand an incredible amount you allow yourself time to learn before
attempting to get creative, you’ll be ready
of time simply to explore the factory presets before to track your ideas quickly and effort-
you even think about learning to program the units. lessly when inspiration strikes.
The same goes for complex guitar
Guitar forums are full of folks (myself “How do I arm a track for recording and effects units like the Axe-Fx II, which can
included) going on and on about some bus a signal to it?” “Where’s the manual?” have steep learning curves. I recommend
new piece of gear that floats their boat. And so on. getting in deep with the manual and
Online shopping makes it easy to pull This story usually ends in frustration. learning as much as possible before
the trigger on the latest pedal or amp. The problem is, it’s really tough for us taking the unit to a rehearsal or gig.
Temptation is everywhere! But sometimes humans to simultaneously be creative Learning to program, tweak presets, and
it’s best to take a deep breath, look at and master new skills. I believe creativity assign foot controllers should be done
what you already have, and ask yourself if requires us to be in a certain headspace, one at home, not at band practice or shows.
you’re maximizing your gear. where you’re not thinking too much. There’s Your band and audience will appreciate
My first professional guitar-effects no getting around the fact that something you more if you aren’t paging through
switching system was a modest, six-space as complex as a software recording program menu screens when you’re supposed to be
rack affair. It had a few pedals on a pedal demands serious learning. The same goes playing inspiring licks!
drawer and a Voodoo Lab GCX loop for rack gear, like the incredibly powerful Instead, compartmentalize your time.
switcher. A single Rocktron Replifex rack Axe-Fx II or Kemper Profiler. Set aside times to practice, write, or play,
unit provided time-based effects like reverb times to tweak your gear, and times to learn
and delay. I did quite a few tours and My Suggestion complex new gear or software. Attempting
sessions with that rig and knew it inside out. When learning recording software, allot all those things at once just doesn’t work.
I could program it quickly and I felt like I time to consume the manual and other Until next month, happy rocking!
was getting the most from every item in the tutorial material before diving in head-
rack. It wasn’t fancy, but it worked great, first. Make good use of any demo songs PETER THORN
is an L.A.-based guitarist, currently
and I spent more time playing and less time that come with the program. Using a touring with Melissa Etheridge.
tweaking because my options were limited. piece of music you have no connection to His solo album, Guitar Nerd, is
available through iTunes and
These days guitar pedals include more allows you to be in a learning, analytical cdbaby.com. Read more about his
and more features. Today’s multi-effects can headspace. Consider getting a third-party career at peterthorn.com.
demand an incredible amount of time just book on your software. Also, online
premierguitar.com
Brett Tuggle
and Collings Guitars
Brett Tuggle and his Collings D1 A on tour with Fleetwood Mac
Serious Guitars | www.CollingsGuitars.com | (512) 288-7770

ACOUSTIC SOUNDBOARD
Keep an Open Mind When Guitar Shopping

BY TEJA GERKEN
one. So accordingly, our first stop was the sound just doesn’t tend to work so well
nearest Taylor dealer, Bananas at Large in for the contemporary fingerstyle I mostly
San Rafael, California. One of their sales play. And I tend to think of these guitars
guys, Rik Elswit, is a friend of mine, so as being ideal for fingerpicking the blues,
we made sure he’d be there. not necessarily a singer-songwriter who
Here’s a tip: If you already have a plays with a fairly light touch.
connection with someone at a store, A week later, Marla called. She’d found
try to go during their shift since it will her dream guitar at Tall Toad Music in
most likely make for a more comfortable Petaluma, California, a shop I actually used
shopping experience. Rik set out a to work at. The guitar turned out to be a
selection of Taylors for Marla and she limited edition Gibson L-2 Blues Tribute,
played them all. There were some really which is a 14-fret small-body guitar with an
nice guitars in the bunch, but for one Adirondack spruce top and Indian rosewood
L
This month ike many other guitarists who are reason or another, none of them spoke to back and sides. Even though it’s completely
we follow Bay perceived as being serious about her the way she thought they would. different from what Marla thought she
Area singer/
their instrument, I’m often asked Though this discovery led to some wanted—it has a chunky neck, a much
songwriter Marla
Van Hoose Beck to recommend makes and models. I’m disappointment, it also meant that the rougher, midrangey voice, no cutaway, no
on her search happy to offer suggestions, but I recently door was suddenly wide open to other electronics (adding those will be our next
for the perfect had an experience that reminded me how possibilities, at least within the primary project), and a considerably higher price, it
small-body important it is to keep an open mind parameters of a small-bodied guitar. really suits her well—both in terms of being
acoustic.
when shopping for an acoustic guitar. Marla was pretty sure she preferred a a great fit for her size and being a great
A friend of mine—Bay Area singer- shorter scale after playing both long- match for accompanying her vocals.
songwriter Marla Van Hoose Beck—was scale and short-scale instruments, so Allowing herself to look past what she
ready for a new flattop. She had taken that helped us refine the search. We also thought she wanted was a very important
a break from performing when her discussed different wood options, but first step for Marla. To develop a clear
daughter was born six years ago, and she agreed that physical fit was going to be picture of what she wanted to hear and
wanted something more inspiring and the first criterion. how the guitar should feel, she asked lots of
stageworthy than the entry-level axe she’d Much to my surprise, Marla’s questions in the shopping process, and the
been playing. I started by asking Marla to favorite guitar that day was a Martin answers she found helped her communicate
think about the same questions I always 00-28VS. It’s indeed a great instrument, with the sales people at the various shops.
pose when someone wants to upgrade but with its 12-fret design, slotted Even though she’d set a budget, she allowed
their instrument: What don’t you like headstock, and wide neck, it was about herself to make an adjustment once she
about your current guitar? What features as removed from the Taylors she’d realized the guitars she really liked cost a bit
do you definitely want to have on your expressed interest in as you can get. The more. If spending more money had been
new guitar? Where will you play the new guitar was also almost twice as much as out of the question, we would have devoted
guitar? How much money can you spend? her original budget allowed. more time to hone in on other options
Determining what you don’t like about Over the next couple of weeks, Marla within her original range.
the guitar you already have is an important played a lot of guitars. She ultimately Marla had few preconceived notions
step. It’s hard to define “better” when became interested in Gibsons after about who typically played the models
you’re not sure what you’d like to improve playing an LG-2 at Schoenberg Guitars she was looking at, and this actually
on. In Marla’s case, she felt that her old in Tiburon, California, where we went turned out to be an advantage. With
guitar was hard to play. She said she with the intention of looking at more some guidance she was able to choose the
wanted her new guitar to have a pickup Martins. They had a Martin 00-18V that guitar that was right for her.
so she could plug in at the local open I thought would be the perfect guitar for
mic, and she liked the idea of a cutaway. Marla, but she didn’t care for it. And this TEJA GERKEN is a San Francisco
Getting a new guitar was also going to be is where I had to adjust what I thought Bay Area-based fingerstyle
guitarist, teacher, and guitar
a bit of a mid-life reward to herself. would be the right guitar for her. journalist who writes for a variety
You see, while I hear small-body
of publications. tejagerken.com
Marla had already tried a Taylor 314,
was wowed by its playability, and was Gibson acoustics sounding great in the
basically ready to just go out and buy hands of other players all the time, the
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expanding
acoustic realms
Percussive fingerstyle master
Preston Reed—who inspired such
latter-day flattop heroes as Andy McKee
and Kaki King—returns to solo acoustic
guitar with a mind-blowing new album.
BY TEJA GERKEN
O
ne of the most influential solo guitarists of the last two
decades, Preston Reed has wowed audiences the world over
with his percussive, fretting-hand-over-the-top-of-the-neck
technique and directly informed such contemporary acoustic players
as Kaki King (who studied with Reed at the Swannanoa Gathering
music camp before her debut album) and Andy McKee. Tunes
like “Ladies’ Night,” “Tractor Pull,” “Metal,” and “Blasting Cap”
are required YouTube viewings, and you really can’t discuss today’s
fingerstyle guitar scene without including Reed.
A New York state native, Reed spent many years in the fertile
Minneapolis guitar scene before settling in Scotland in 2000. But
before achieving acclaim with his notoriously percussive style, Reed
honed his craft as a fairly traditional fingerpicker, putting out five
albums (starting with 1979’s Acoustic Guitar) before debuting his
now-famous techniques on the MCA Records release Instrument
Landing in 1989. But while being signed to a major-label meant a
growing mainstream audience, it also made Reed feel like he’d lost
control over his work. After 1992’s Border Towns, he set out on his
own again, independently releasing Metal—the album that would
define him as a solo guitar force to be reckoned with—in 1995.
In the decade that followed, Reed was highly visible: He toured
relentlessly, represented Ovation guitars at NAMM shows and clinics
(for many years his axe of choice was a custom Adamas Longneck
model), released an instructional video (The Guitar of Preston Reed:
Expanding the Realm of Acoustic Playing from Homespun Tapes), and
appeared in many magazine ads.
The last few years have seen Reed touring less in the U.S. and
more in the rest of the world (in 2013 alone, his itinerary included
China, Mexico, South Africa, France, and Poland). He expanded his
shows to include a range of guitars, including electrics, classicals, and
12-strings, and his 2007 album, Spirit, even featured straight-ahead
solo tunes played with a distinct jazz vibe on an electric archtop.
But now Reed has returned to the style he’s best known for—and
with a vengeance. His latest album, In Here out There, highlights new
compositions and a few old favorites that demonstrate a high level of
maturity and confidence. Put simply, Reed has never sounded better.

FACTOID
Reed’s first gig was
Rather than trying to break new supporting poet
ground, In Here out There seems like a Allen Ginsberg at
the Smithsonian
continuation of what you’re best known Institute.
for doing.
It really is. The new ground I broke was
really with the two previous albums.
It was high time for me to get back to
playing acoustic, because it had been 12
years since I’d made an all-acoustic record
with my integrative percussion guitar
playing being the main thing.
Did you re-record some of your earlier

tunes mostly to make them available
again, or did you want to add some
new twists?
I have a long-term agenda of getting my
stuff back from a major label that basically
put albums I’d written, produced, and
performed into a vault. I’ve tried to get
them back, but they won’t—because major
labels just never do that. The next best
thing was to just re-record them.
Another agenda is pushing forward
with my integrative percussion
guitar playing. There are some new
compositions, like “Border Reivers,”
which is in 5/8 time—it’s the first time
I’d ever played in 5/8. And then there’s
“Moonlight Race,” which is in 7/8. I
think seven is just about my favorite time
signature to play in. And then there is
“Delayed Train,” which is sort of a remake
of a tune called “Train,” but using digital
delay, which somehow really enhances it.
What tunings are you using?

I’m still playing the tunings I’ve pretty much
always used. On the baritone guitar, the
tuning I use a lot is B%–F–C–F–F–C [Ed.
note: The same tuning on a standard-scale
guitar would be a whole-step higher: C–G–D–
G–G–D.]. That tuning really works well for
my style, because it’s really a power chord
with a IV on the bottom, so it becomes
really easy to write tunes where the tune is
in the key of the power chord, and then you
can develop it by suddenly showing the big
IV sound with the bottom end.
A variation of it that I use a lot is
YOUTUBE IT
Preston Reed demonstrates his renowned two-handed tapping
B%–F–C–F–G–C, where you’re tuning the technique on “Funkin’ at the Junction” from his new album, In Here
second string up. Then there’s a beautiful out There.
YouTube search term: Preston Reed Funkin’ at the Junction
tuning that “Far Horizon” and other tunes
of mine are in, and that’s where you take
premierguitar.com
If you want to make a rocking, grooving tune … before you even get into developing a melody
or a harmonic progression, the very first thing you want to pay attention to is the rhythm.
the tuning I just told you about, but you drop But in the late ’80s, I started to feel bored textures and sounds out of it. With the excep-
the low string down one half-step to B. with just doing the fingerpicking. I was watch- tion of Michael Hedges and maybe flamenco
ing what Michael Hedges, Eddie Van Halen, people, that percussive aspect of the guitar
What are your main guitars now? Jeff Healey, and Stanley Jordan were doing, and was being completely ignored. The only thing
They’re made by Mark Bailey at Bailey Guitars I think it gave me an itch to make my mark guitarists were focused on was the sound of the
in the U.K. I met him when I first came with something. I said to myself, “How can I strings, and that just seemed tragically limiting.
to Scotland and played at the Kirkmichael play drums and guitar at the same time?” I had I knew I was not going to be able to do an
International Guitar Festival. He lived nearby always noticed that the acoustic guitar makes integrated drum rhythm while playing the guitar
all those years, and three years ago it was just these awesome drum sounds, and depending normally, because both hands are already busy
time to retire the Ovation. It was becoming on where you hit it—just as with any other fretting and picking strings, so I went, “What
unreliable—the electronics were getting old— drum—you get all these different timbres and would happen if, instead of trying to add drums
but there were things about it that I really liked.
So I went to him and said, “If I gave you a
design for an acoustic guitar, would you build
it?” He said “sure,” so I brought him all the
dimensions and the characteristics that I loved
You can’t be different if you’re playing what everyone else is. Visit reverendguitars.com to start your journey to becoming an individual.
about the Ovation.
Which parts of the Ovation design did you

want to retain?
The neck and the way it balanced, and I wanted
the body to sort of taper so that I could keep it
close to me in the places that I wanted it to be.
The result is this wonderful guitar I’m playing
now, which is the prototype for the Preston Reed
Signature Baritone. I also wanted to get a normal
guitar, so he built me a standard-sized jumbo using
the same kind of design specifications, but a little
bit smaller. I used both of them on the album, and
I tour with both of them. They have very different
characteristics: The jumbo is great for playing
funky tunes—it has a very punchy midrange, and
I love it for tunes like “Funkin’ at the Junction.”
The baritone is kind of a gentler, more beautiful-
sounding guitar. But sometimes you don’t want so
much emotion—you want more aggressive punch.
What’s the scale of the baritone?

It’s 28.35 inches.
What woods do the two new Bailey guitars use?

The baritone has a cedar top and mahogany
back and sides. The jumbo has a spruce top and
mahogany back and sides.
How did you originally get into the two-

handed tapping approach?
I started off playing a lot of 12-string, and I was
quite influenced by Leo Kottke, John Fahey, and
Jorma Kaukonen. Those three were the core of
my early guitar influences. Learning how they
played gave me a really good foundation in a
wonderful and powerful guitar style that I love
and still use a lot in my compositions.

to guitar playing, I started off play- started to play bass lines with my
ing a drum beat on the guitar, left hand. Then I was able to use the PRESTON REED’S GEAR
pretending I was a drummer, and upper strings with my right hand to
then negotiated the strings into do some syncopated strumming. GUITARS
that?” Part of it might be that I’m Bailey Guitars Preston Reed Signature Baritone
left-handed but have always played When you write a tune, do you Bailey Guitars Preston Reed Signature Jumbo
right-handed, but for some reason immediately go to a two-handed
my left hand just really took to play- technique as you develop the
AMPS
ing above the neck. It made it easier piece, or do you come up with a
Sunrise pickup and custom internal
to play percussion on the neck and musical idea first and then figure
microphone blended to mono
upper bout, and I almost instantly out how to play it?
via an internal L.R. Baggs
Dual Source preamp
D-Tar Solstice preamp
STRINGS
Custom Ernie Ball
Phosphor Bronze
Everlast set, gauged .013, .017,
.026, .036, .046, .058
I just let myself drift and experiment. My favorite

kind of composition is a blend of different
techniques, only one of which is going to be the
hammer-ons and pull-offs over the top of the
neck. It works best to have compositions that have
different sections to them, like in “Moonlight Races.”
It starts off with fingerpicking and then goes off into
percussive stuff and drums, and then it goes into the
No Porous Pot Metal Castings integrated percussive, two-hands-over-the-neck stuff.
No “Loose-o-Matic” Shake, Rattle, Sag or Buzz I’m really glad to have had the foundation of
more traditional fingerpicking, so when I started
playing over the neck it gave me another sound I
could employ to make the composition more var-
ied and interesting.
What tips do you have for players who wants to

explore a similar style?
What’s important is to be really aware of what
kind of a tune it is. If you want to make a rocking,
grooving tune, then the most important thing
to pay attention to first is the groove. Before you
even get into developing a melody or a harmonic
progression, the very first thing you want to pay
attention to is the rhythm. When I’m writing a
tune like that, the first thing I look for is a bass line
and a combination of bass and percussion that feels
really good. It’s like building a house—you create
the foundation before you build the house.
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ARTISAN HANDCRAFTED EFFECTS

GUITAR SHOP 101
How to Install a Soundhole Pickup

STORY AND PHOTOS BY JOHN LEVAN
A
Fig. 1. The magnetic soundhole pickup 1 2
L.R. Baggs M1
makes a nice alternative to
Active is one of
several modern installing an under-saddle pickup
magnetic in your acoustic guitar. Today’s soundhole
soundhole pickups perform and sound much better
pickups that than in decades past, so if you’ve written
offer handy
features and
them off based on their old rep, it’s worth
superior keeping an open mind and doing some
performance research on modern options.
compared to One of my clients wanted a pickup
older designs.
installed in his 2004 Martin D-28 that
Fig. 2. Removing would not acoustically change its tone.
the endpin. Since under-saddle pickups can and do 4
affect a guitar’s acoustic properties, I
Fig. 3. Using suggested a soundhole pickup.
an endpin
jack reamer
After discussing different models,
from Stewart- we decided on a L.R. Baggs M1 Active
MacDonald pickup (Fig. 1). Because the M1 has a 3
(stewmac.com) built-in preamp, you can plug your guitar
to enlarge the
directly into a P.A. or acoustic amp and
endpin hole.
control your level with an onboard volume
Fig. 4. Install the dial. Powered by a lithium watch battery,
rear nut and lock the M1 Active is a dual-coil humbucker
washer before designed so that one coil senses the strings
mounting the
jack from inside
and the other responds to the guitar’s endpin flush to the body and use a drill clean and accurate. This is the best tool
the body. physical resonance. Six adjustable pole bit to remove the remaining section. I’ve found for this type of project.
pieces let you balance the output of each Luckily, the endpin on this D-28 came After reaming the endpin hole,
string—a handy feature that’s lacking in out easily, so I didn’t have to use pliers or vacuum out any sawdust and debris from
many older soundhole pickups. a drill. inside the guitar. It’s always good to keep
Tip: Before you purchase a pickup, Reaming the endpin hole. Now the guitar’s interior clean.
measure your guitar’s soundhole and check I was ready to bore out the hole to Installing the endpin jack. Before
the manufacturer’s specs to confirm that accommodate the endpin jack that comes you install an endpin jack like this one,
the pickup fits your guitar. Soundholes are prewired to the M1 Active harness. I used be sure to test the hole to be sure the jack
typically 4” in diameter, but they can vary. an endpin jack reamer from Stewart- fits correctly. The jack should be snug,
My client wanted to use an endpin MacDonald (stewmac.com). This tapered but not so tight that you have to force it
jack. To install it, I knew I’d first need to tool attaches to a drill and has a stepped into the hole. If the hole feels too small,
bore out the endpin hole. This operation ream configuration that provides a very ream it out a bit more. Be patient and go
has to be done carefully, so let’s look clean, precise bore. It will bore a hole slowly—never be in a hurry when drilling
at each step. (While these instructions from 15/32" up to 1/2" in diameter. holes into a guitar!
specifically reference the Baggs pickup, the In the past, guitar techs would use The next step is to install the rear nut
procedure for installing other soundhole a spade bit and hope the hole was and lock washer (Fig. 4) before mounting
pickups is essentially the same.) symmetrical and didn’t tear up the finish. the jack into the hole from inside the body.
Removing the endpin. Because this Spade bits can slip and cause damage, and To help with this tricky operation, insert
D-28 had its original endpin, I began by it’s difficult to keep them perfectly straight a Phillip’s head screwdriver through the
removing it from the body. In most cases, as you drill, so the endpin hole can end hole from the outside to help guide the
you can simply twist the endpin out with up crooked. With this reamer, you don’t jack into place. Slide the jack along the
your fingers (Fig. 2). But if the endpin is have to worry about damaging the finish screwdriver shank until you can grab the
glued in, you may have to carefully use or tearing up wood around the hole. Also jack from the outside and pull it into place.
a pair of pliers to remove it. In extreme it’s easy to keep the reamer straight as you Once it’s in place, check how much
cases, you might have to cut off the slowly drill (Fig. 3), so the hole ends up of the jack protrudes from the hole. Add
premierguitar.com
5 6 After positioning the pickup in the Fig. 5. After
soundhole—advanced slightly toward the adding the
external washer
neck—I gently tightened the brackets
and nut, check
until they were snug (Fig. 8). the available
Tip: When you install a magnetic threads as the
soundhole pickup, double-check that it’s jack protrudes
truly secure. You don’t want it to fall into out of the
endpin hole.
the body while you’re performing. That said, Will they
to avoid marring the finish or crushing accommodate
the soundhole wood, don’t overtighten the the screw-on
mounting brackets. strap-button
collar?
Adjusting the pole pieces. This is
7 8 the last step, one that lets you tweak a Fig. 6. The strap-
modern mag pickup to your playing button collar
style—something you can’t really do with should be flush
an under-saddle pickup. with the end of
the jack.
The M1 Active typically ships with
the 2nd-string pole piece removed, but Fig. 7. The
included in the packaging. (This is endpin jack
because the B string tends to be much comes prewired
to a harness that
louder than the rest.) I recommend not
plugs into the
installing it unless you really need it M1-Active.
to balance the volume. The rest of the
pole pieces are easy to adjust using the Fig. 8. Gently
9 included 3/32" hex key. tighten the
pickup mounting
First, make sure that the volume brackets until
control is turned up all the way. To adjust they’re snug.
the volume for each string, simply turn Don’t overdo it!
your hex key clockwise to lower the
Fig. 9. Adjusting
pole piece or turn your hex key counter-
the pole pieces
clockwise to raise it. Only raise the pole with a hex
pieces a little at a time, and then test the wrench.
volume by playing through an amplifier.
the external washer and nut (Fig. 5), a lot of damage and aggravation if you It’s not necessary to raise them a lot—
and then make sure there are enough need to replace the endpin jack. This type only about one full turn.
accessible threads to grip the screw-on of jack is designed to be tightened and I usually lower the 6th-string pole piece
strap-button collar. It should be flush loosened from the outside of the guitar. flush to the top of the pickup, then adjust
with the end of the jack (Fig. 6). Adding adhesive interferes with the process the rest of them to match sonically (not
With the external washer, nut, and and can cause problems down the road. physically). You’ll probably find that the
strap-button collar installed, the jack Installing the soundhole pickup. pole piece for the 3rd string is closest to
should be tight and not wiggle. If the Before mounting the M1 Active, I the strings. Once all the strings have equal
jack is still loose, reach inside the guitar, inserted the 3.5mm plug at the other volume, you’re ready to perform or record
remove the jack, and add a few turns to end of the endpin jack harness into the with your new soundhole pickup.
the interior nut and lock washer. Once pickup’s output jack (Fig. 7).
the jack lines up correctly and is flush Two brackets on either side of the JOHN LEVAN has written five
guitar repair books, all published
to the strap-button collar, remove the pickup secure it in the soundhole. To by Mel Bay. His bestseller, Guitar
Care, Setup & Maintenance, is
collar and tighten the outer nut. Finally, make it easier to slide the pickup into a detailed guide with a forward
reinstall the collar. the soundhole without damaging the by Bob Taylor. LeVan welcomes
questions about his PG column
I don’t recommend adding any glue finish, I loosened these brackets by or books. Drop an email to
guitarservices@aol.com.
or adhesive to the threads. This can cause turning their screws counterclockwise.

© Klon LLC, Photo by Nolan Yee
premierguitar.com
The reclusive builder of the famed Klon Centaur overdrive,
discusses its origins, his more affordable new KTR design,
and how one pedal can inspire so much adoration and disdain.
WRITTEN BY WEST WARREN | PHOTOGRAPHY BY NOLAN YEE
I
f you’ve spent any amount of time on guitar-gear forums, as when the amp was working harder. Although it didn’t occur
you know they can often devolve into pretty abrasive to him at the time, a pedal that would give him the sound of a
battles of opinion. Even when a thread starts out with the cranked amp is exactly what he needed.
best of intentions, it’s not uncommon for it to morph into the Finnegan recalls that, in 1990, guitarists began chasing
online equivalent of a mythical Hydra. Forum administrators after out-of-production Ibanez Tube Screamers in droves. He’d
attempt to clean things up and lock out the more abusive heard about a guy who was selling two TS9s, and—hoping
commenters, but once they cut off one of the creature’s heads, one of the little green pedals would help make his Twin sound
two more appear. like it was at 6 when it was only at 4—he went to check them
Of all the forum topics that can inspire such heated debate, out. It immediately became clear that Tube Screamers were not
few inspire more passion, awe, and vitriol than a guitar pedal for him.
named after a different sort of mythological creature. Launched “[The TS9] compressed the transient response of the
in 1994 at the front end of the modern-day boutique-pedal original signal a lot, had a midrange character I didn’t like, and
boom, the Klon Centaur overdrive was immediately met with subtracted a noticeable amount of bass response from the signal
critical acclaim. So much so that it’s ironic how much the as well,” he explains. The same seller also had a TS808 that he
pedal named after the half-human, half-horse creatures from wasn’t selling. And, though Finnegan thought it sounded a little
Greek legend has since developed such a complex mythology better than the TS9s, he still felt it had the aforementioned
of its own. And the fact that this seemingly mundane, 3-knob shortcomings. What he really wanted was a big, open sound,
stompbox is used by such high-profile players as Jeff Beck, with a hint of tube clipping—a sound that would make you
John Mayer, Joe Perry, Nels Cline, and Matt Schofield only unaware a pedal was involved.
compounds matters. Never mind the fact that the majority of That’s when Finnegan starting looking into creating a new
the circuit comes encased in epoxy. design that would meet those criteria. He recruited a friend
We recently spoke to Klon’s Bill Finnegan about the origins who’d just graduated from MIT with an electrical engineering
of the Centaur, his new KTR design—which made a (naturally) degree. Though both had day jobs, for the next couple of years
limited debut in October of 2012—and how an overdrive pedal they got together once a week and tried to push the ball down
can fetch more than $1,000 on the used market and inspire the field. Within the first year, they’d developed prototypes
such emotionally charged reactions. that were much closer to what Finnegan wanted than a Tube
Screamer, and various guitarists in the Boston area encouraged
Birth of a Centaur them to go into production so they could buy their own. But
In the 1980s, Bill Finnegan played in a band where he plugged Finnegan felt the circuit could still be improved, so he and his
his Telecaster straight into a Twin Reverb turned up as loud partner kept working.
as the soundman would permit. In bigger Boston-area clubs, Eventually, the MIT friend bought a house in the suburbs
the Twin’s volume would be at 6 or sometimes even 7, but in and the distance made it harder to work together. Finnegan
smaller places Finnegan could usually turn it up to only 3 1/2 later partnered with the late Fred Fenning (who tragically
or 4. The latter still sounded good, but not as harmonically rich passed away in a plane crash in the mid ’90s)—another MIT

grad whom Finnegan says was brilliant
and very determined. Although Fenning
had never designed an audio circuit and
had no real interest in music, he was
exceptionally good at finding ways to
give the circuit what Finnegan thought
it needed at any given time. Finnegan
says Fenning deserves a lot of credit for
the circuit in both the Centaur and its
successor, the KTR.
The entire design process took four
and a half years, and when the pedal
debuted at the end of ’94 Finnegan was
soon very busy trying to keep up with the
demand—building, testing, and shipping
the pedals as a single-man outfit.
Evolution of the Legend

From that point on, demand for Centaur
pedals grew. Finnegan says he typically This is Centaur #001, built by Bill Finnegan in January 1995 and kept (never sold) by
worked 55–60 hours per week in effort him. “This was actually the 19th unit I built—I had orders for 18 and I needed the money
to pay a Klon invoice or two, so I numbered those eighteen 002-019 and built this one a
to keep turnaround times as short as
week or so later.”
possible, though he was hindered by
the fact that the circuit was very labor inflated price used specimens were John Perotti, and I spent almost two
intensive and time consuming. He also fetching because of the 12- to 14-week years listening to different surface-mount
says it was more expensive to build than turnaround time for a new one. It capacitors in various places in the circuit
most other pedals due to the fact that gradually became clear to Finnegan that before I felt this had been achieved.” Lastly,
everything from its cast enclosure to its the situation was unsustainable. he wanted the new unit to be visually
knobs, pots, and sheet-metal bottom were “I was going to have to kill it before unique—a tall order, given that the unit
custom crafted. Finnegan estimates the it could kill me,” Finnegan recalls. In would be housed in a standard enclosure.
aggregate cost of a Centaur as seven to 2008, he began working on a ground-up The one new feature Finnegan wanted
eight times that of a pedal built with off- redesign that had to meet the following to incorporate was a switch that enabled
the-shelf parts. criteria: It had to be straightforward the player to choose the buffered output
“For the last seven years or so of to build, so that any good contract of the original Centaur or a true-bypass
Centaur production, the retail price manufacturing firm would be able to do output. “Without the buffer there is a
was $329,” says Finnegan, “and to be the job easily and well. It had to be rugged very noticeable degradation of the signal
honest, my profit margin was not very and reliable. It had to be a design with due to the capacitance inherent in guitar
sensible—no real business person would no hookup wires whatsoever, and with a cables,” says Finnegan, “but some people
have considered, for more than a moment, modular footswitch assembly so that faulty prefer it, so I wanted to provide that
doing what I was doing for the return I was footswitches could be replaced in a few option in the new unit.” He quickly adds,
receiving. Also, given that I live in Boston, minutes. It had to be considerably smaller “My good friend Paul Cochrane—of Tim
it was impossible for me to hire people than the Centaur. Except for the all- and Timmy [pedals] fame—was the guy
and expand: Real estate here is in short important clipping diodes, it had to have who designed the switching circuitry, so a
supply and very expensive, so there was no surface-mount components, which take tip of the hat to Paul.”
possibility of my renting commercial space up less space on a board than traditional It took a long, long time to finish the
to set up an actual shop.” through-hole components. Finnegan also KTR. And though Finnegan says it was
Finnegan built Centaurs—around wanted to prove—to himself and to those much more difficult than he expected,
8,000 in total—by hand, on a cheap who said it couldn’t be done—that, with he feels it has achieved all of his design
folding card table in a succession of small careful component selection and smart objectives. “It sounds the same as the
apartments for 15 years. In addition board layout, he could design a successor Centaur, takes up considerably less space
to the modest returns from his efforts, that would sound exactly the same as on a pedalboard, is less expensive, and it’s
Finnegan says he felt immense stress the Centaur. distinctive aesthetically—it’s got the Klon
as he tried to oblige those who wanted “This turned out to be quite a thing going on.” He laughs, “Whatever
a Centaur but didn’t want to pay the challenge,” Finnegan says. “My assistant, the Klon thing is.”
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You obviously have high expectations In your opinion, do the pedals work to me that—if and when she needed me
from your designs, though you’re also better with single-coils or humbuckers? to—I could build a Centaur and give it to
perplexed by the reactions it inspires. Neither. I don’t have any overall her to sell on eBay and use the proceeds to
What do you want people to see preference for single-coil guitars or keep going. This has worked really nicely,
in Klon? humbucker guitars myself. I like pretty and I’ll continue to do it for as long as my
What I want people to expect from much everything under the sun in the old Centaur parts last. Since I discontinued
me and from Klon are designs that are way of electric guitars, and over the years the Centaur, a lot of people have asked
exceptional in the literal sense of the I’ve owned a bunch of very different me whether I’d consider building one
term—designs that are conceptually ones. Each of them has its own particular for them—sometimes offering me pretty
sound and well executed. Designs that are thing going on, and when I was working substantial amounts of money—but I’m
unique and not to be expected from any on the design of the circuit I was always not going to do that. The only Centaurs I
other designer, no matter how talented. thinking about how it could be more build anymore are the ones I build for her,
effective in preserving and accentuating and I don’t make or collect a single cent
When you were designing the Centaur, the essence of whatever instrument it was from them.
did you begin with any assumptions receiving the signal of.
about players who’d be interested in it? Do you think Centaurs will retain
I was working from the assumption What can you tell us about Centaur their high value now that the KTR is
that there were a lot of guitar players units that occasionally turn up on eBay available?
with really good guitars and really good with the claim that they are “new, with Yes, in general I think they will. They’re
amps who were looking for an overdrive full warranty”—are they fakes? collectible and—with the one small
pedal that—whether it was adding dirt I have a very close friend who is a single exception I just mentioned—no more
or not itself—wouldn’t mess up what mom and whose job doesn’t pay all that will be built, unless I’m very mistaken.
they already had and liked. Given the well. Every now and then she needs a little For almost everyone, the KTR is a much
popularity of the Centaur and now the help, financially. I’m aware of what the more sensible option now: It sounds
KTR, I would say that this has been used units are selling for, so at some point the same, it’s much smaller, it’s way the
borne out. after I discontinued the Centaur it occurred hell less expensive—$269 retail—and
you don’t have to worry about losing
something that’s worth $1,000 or $1,500
or $2,000 if it’s stolen. On the other
hand, the Centaur has something of its
own that people really like and are willing
to pay serious money for. The design has
achieved a certain status—I would use the
analogy of old, custom-colored Marshalls.
I have two small-box, 50-watt Marshall
Lead heads—model 1987s: One is a
black-Tolex, aluminum-panel head from
1970, and the other is a red-Tolex, plexi-
panel head from 1969. They have the
same circuitry and sound almost identical,
but of course the red one is worth way
more than the black one. I like cool,
distinctive things as much as the next
guy, so I’m not in a position to criticize
someone for being willing to pay more
than I myself would, or more than most
“These two photos show my testing jig for Centaur boards, with one of my experimental people would, if they want it that much.
boards on it,” Bill Finnegan shares. “The experimental boards have sockets for every
component in the circuit, which enables me to listen to any particular component and
then swap it out for a substitute while keep everything else the same. This experimental What are the demographics of the
board is the one I used for developing the KTR. Unlike the Centaur which had through- typical Klon user?
hole components with leads, I wanted to use surface-mount components for the KTR, It seems to be more or less everyone.
which meant that my assistant, John Perotti, and I had to spend an enormous amount Baby-boomer guys who are still only
of time soldering through-hole leads onto hundreds of very small surface-mount
components so that we could evaluate them and choose the ones that would make the
interested in the music they grew up
KTR sound the same as the Centaur did.” with, but also a lot of younger, indie-rock
premierguitar.com
people, and also a number of musicians
whose work is more experimental and
can’t be easily categorized.
What can you tell us about the

germanium diode you like so much in
your circuits?
In 1993 and ’94, when it was clear that
Fred and I were getting close to producing
what I thought was the full measure of
what our circuit was capable of, I started
buying quantities of every diode I thought
might be at all suitable for the head-to-
toe pair that clips the signal, except for
when the circuit is in clean-boost mode.
This was pre-internet, so I was going to
the public library, looking up distributors
in the Thomas Register, and then calling
those distributors to find out what they
had—email was still in the future then! Klon builder Bill Finnegan wanted to include this text—which refers to the dialogue
I started out ordering both germanium surrounding his famed Centaur design—on the casing of his new KTR pedal. “It’s a wry
and silicon diodes, but pretty quickly I observation that I can’t be held responsible for the overheated emotions that have been
began concentrating on the germaniums. introduced into various Klon debates since the earliest days of the Centaur,” he says.
“I knew that in using that text I’d be stirring things up some, but I thought it would be
Usually, though not always, they sounded interesting and fun to see how, in reacting to it, people would self-select into either the
more natural to me than the silicon ‘love it’ or the ‘hate it’ group.”
ones did. After months and months of
listening, I felt a particular new-old-stock It doesn’t compress the signal as much as somewhat different and that therefore the
germanium diode sounded best in the many germanium diodes seem to, but on process is necessarily also somewhat different.
circuit, so I thought I should buy as many the other hand it provides a little bit of
of those as I could afford. Eventually, I what—to me—is exactly the right kind What is the current availability of
found a distributor that had a significant of compression. the KTR?
quantity of them. They were stocking The unit should be widely available—
them for a huge OEM, who—without Which other pedal makers are using through dealers both here in the U.S. and
any warning, I gather—stopped using that this particular diode? in various other countries—by the time
part. I bought them all at a good price. To the best of my knowledge, no one. this interview is published. Hopefully by
The distributor was thrilled to be able to It’s a part that’s been out of production then I will have found time to get some
sell them and not have to eat them. for decades now, so even if someone else kind of updated Klon website going,
could identify it, I seriously doubt they’d which of course will have contact info for
Does the KTR have the same diodes? be able to find any—I’ve tried a number the current dealers.
Yes, the KTR has the exact same NOS of times myself.
diodes as all Centaurs did. The top of the KTR features some text
So what are you working on now? that’s apparently causing controversy
What is it you like about the sound of Lately, I’ve been focused almost entirely with some buyers: “Kindly remember:
that diode when it clips? on putting together a good long-term The ridiculous hype that offends so
It’s a little more complicated than that, arrangement for production of the KTR. many is not of my making.”
because the diode clipping happens on top This kind of thing has always been more Lots of people got the point that I was
of some op-amp clipping in the main gain of a challenge for me than it seems to be trying to make and really enjoy the text,
stage. So it’s op-amp clipping, then diode for anyone else, but I admit that I do have while other people find it off-putting or
clipping. But to answer your question, requirements—particular things I insist even insulting. It’s a wry observation that I
this particular diode in the head-to-toe on—that few, if any of those other people can’t be held responsible for the overheated
pair in the circuit just produces a very have, so I guess that the increased difficulty emotions that have been introduced into
natural-sounding distortion in terms of the is to be expected. I’m not saying that my various Klon debates since the earliest days
harmonic response. It’s not harsh, but it stuff is necessarily higher quality than of the Centaur. I knew that in using that text
also doesn’t round off the highs excessively. anyone else’s, but rather that my criteria are I’d be stirring things up some, but I thought
premierguitar.com
it would be interesting and fun to see how, My understanding is that a number of making money off of my work, and if on
in reacting to it, people would self-select into those people are claiming their versions top of that Klon’s reputation and my own
either the “love it” or the “hate it” group. sound “identical” to mine, which—for personal reputation will be at risk every
reasons not only pertaining to the time someone decides to put out his
What does the future hold for Klon? clipping diodes you asked me about—I own version of one of my designs, then
I’ve been thinking about this quite a bit think is very unlikely. Whatever expertise where is my incentive to release anything
lately. Part of me wants to work on design those various people may have, I’m new at all? Over the past few years, I’ve
ideas I have—finish those designs to my going to go out on a limb and state my talked with a number of other pedal
satisfaction—and then make the resulting belief that it’s not likely to be a good or designers about this stuff—good people
products available. The other side of me sufficient substitute for the experience I who design their own circuits, and whose
wants to either refrain from working have with the circuit: I co-designed it, I’ve circuits have also been ripped off—and
on those ideas or work on them, finish hand-built and listened to about 8,000 we all agree there is now an enormous
them to my satisfaction, and then not put Centaur units, I spent two years working disincentive for any of us to create and
the resulting products out. As you may hard to make sure the KTR would sound release new products.
or may not know, many unscrupulous the same as the Centaur, and I’ve put From what I understand, a lot of the
people have expropriated my hard work almost 25 years of my life into it. If those people posting on various online forums
on the Centaur and KTR circuits and other guys’ pedals don’t sound right, then seem to feel that it’s a wonderful thing
are selling pedals that incorporate my of course Klon’s reputation—and my for the pedal consumer to have more
circuit—and in at least some cases, they’re reputation as someone who cares deeply choices—how could that be bad? Here’s
making a lot of money. And apparently about the quality of what goes out under how it could be bad: Maybe talented
there is nothing I can do about this from the Klon name—will inevitably take a hit. pedal designers—originators—will simply
NEED MORE KLON?
a legal standpoint. So my feeling is this: If any new stop designing pedals and take their CLICK HERE TO
Quite aside from the money they’re product I come out with will be ripped talents elsewhere to apply them to the HEAD ONLINE TO
PREMIERGUITAR.COM
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THE BASS BENCH
The Future of Bass, Pt. 2

BY HEIKO HOEPFINGER
I
Featuring a f there’s anything that obviously on the trip, hotel, and booth. He just a compromise. Just like a car seat
late-’60s body marks a bass as futuristic, it’s the managed to score mass-media coverage, can memorize and automatically adjust
shape and ribbon instrument’s shape or overall look. yet his invention was presented as a to different positions, couldn’t there be
controllers
instead of strings, I’m sure the Stash Stainless Bass we saw curiosity, something to entertain us a system that also readjusts the strap
the Misa Tri-Bass last month perfectly fits this category while we examined that year’s twists on length? Sounds comfy, right?
is actually a MIDI [“The Future of Bass,” February 2014]. traditional designs. And when we dial in the tone for a
controller that’s The last decades have brought basses Bass players are widely regarded as specific style, we memorize the previous
triggered by a
touchpad.
with some very experimental shapes, but open-minded, yet our adoption rate for technical outcome of “turn that knob this
none of them really made an impression truly new ideas is close to zero. That’s far to reduce mids” instead of having a
with the masses. The Precision and Jazz why the No. 1 answer to the No. 1 trade programmable button labeled “Slap.”
bass—along with countless “inspired show question is often: “Why do you ask? I recall my own experiences with the
by” instruments—are still the top You wouldn’t buy it anyway.” first programmable, MIDI-equipped
sellers, and in all these years the only Typically, the reason innovators amps as a lost year for my musical
real game changer was Ned Steinberger’s show up at trade shows is that from the progress. It’s as if the limited possibilities
headless design. outside, our gear looks pretty outdated. of our current instruments can help keep
Anything else? Maybe the first MIDI- To the inventor, it seems obvious that our focus where it belongs: on music.
equipped basses or moving from the innovation would be welcomed in our So for most players, progress means a
4-string to the 5-string and beyond. world. At first glance, this seems to be a slight integration of new with the familiar.
Of course, there have always been correct assessment. In other words, “Let’s keep it old-school
minor developments here and there, For instance, most of us still use with a tiny grain of innovation.”
but not the kind of evolutionary cables, while everything else around us One extreme example of new mixed
shift we’re talking about. is now wireless. And we still deal with with old is the Misa Tri-Bass (left). Its
As bassists, it appears we’re a very the huge old mono plugs and their tiny shape resembles the Fender Swinger
frugal herd, yet the No. 1 customer contact areas. We don’t even dare to guitar, which dates back to 1969. Despite
question at any trade show is “What’s use XLR cables, which could provide the word “bass” in the model name, the
new?” At almost every music fair, phantom power for all our active Misa is really a MIDI controller that
a few idealistic young people show circuitry. Grab your singer’s microphone doesn’t produce any sounds on its own.
up with their new ideas. Most cable and you’re almost ready to go. Of The three ribbon controllers on the
optimistically invest all their money course, “almost” means “once the rest of “fretboard” simulate the feel of a 3-string
and time to bring something to the the equipment is updated.” bass. Pressing one of the four regions
market that—in their vision—will So on second look, we’d risk ending on the touchpad will trigger a sound on
be a game changer. Some are simply up with another trunk of adapters and an external synth that can be altered by
naive, but others definitely deserve incompatible gear. Better not go there. moving around on the screen.
more attention. Putting aside electronics, one could So as opposed to the Stash bass—
For example, in 2010 I think of ease-of-operation or improved which offers a futuristic shape and
saw a young Japanese ergonomics as a field worth exploring. unusual materials, yet keeps all the
musician demonstrate But this can be difficult, as we partially things you’d expect from a bass—the
his invention, the discussed in “The Ergonomic Bass” Tri-Bass does just the opposite: It retains
ViolaFon. Essentially, [February 2013]. an old-style look of a bass, while totally
it was a guitar with Why? Ergonomic design is very dismissing all things classically related
a violin-shaped body personal. The most commonly requested to bass playing. Such as strings. It’s very
Photo courtesy of Misa Digital (misadigital.com)
and a very small radius feature is a lightweight bass, but there extreme and takes us far away from what
fretboard that allowed could and should be more. What about we’re used to ... at least for now.
him to play with a bow. new strap systems or moveable “self-
His demo marathons fitting” parts? HEIKO HOEPFINGER is a
German physicist and long-time
ran about eight Most bass players prefer a higher- bassist, classical guitarist, and
hours a day, strapped position of their instrument motorcycle enthusiast. His work
on fuel cells for the European
and no doubt for slap style, yet hang it lower for orbital glider Hermes led him to
he spent most fingerstyle technique. This means that form BassLab (basslab.de)—a
manufacturer of monocoque gui-
of his money the way we actually adjust straps is often tars and basses.
premierguitar.com
www.allparts.com/joe-barden
ON BASS
Why Bassists Make Great Musical Directors

BY VICTOR BRODÉN
A
s someone who left his native maximum collaboration, which often
country to pursue music in the results in the best product.
U.S., and who spends most of his When you do have to make suggestions
life on the road, my definition of “home” to improve someone’s part, diplomatic
is an interesting one. For me, home boils and psychological skills are essential.
down to an environment where I’m most Many of us “artistic types” can be guilty
at ease in my own skin. For me, that’s of oversensitivity when pride and ego
the stage, with the drummer to my right, come into play. But with the right
my amp behind me, and the singer and communication skills, an MD can avoid
familiar view of the crowd in front of me. conflict. It’s important to avoid negative
The physical, musical, and mental state terminology when addressing parts or
of being right at home between the rhythm suggesting changes. For example: “I like
section and the lead/melodic instruments what you are doing, but would you mind
is why bassists make great musical directors seeing if my idea works? I could be totally
(“MDs”) and bandleaders. Linking the wrong, but let’s just try it.” Being overly
rhythmic and harmonic elements is a polite and almost apologetic always gets
natural evolution of our job, and is what the job done for me.
we do best. Many superstars have bassists If you don’t like what the guitarist
for musical directors, as do some of the or keyboardist is doing on a verse—and
biggest TV shows. you’ve already tried changing it but are
Rickey Minor, former musical director for
Many of us “artistic types” can be guilty of American Idol and bandleader for The Tonight
Show with Jay Leno, is a great example of a
oversensitivity when pride and ego come into play. bassist successfully serving as MD on high-
profile gigs.
Different artists have different still not getting the results you want—try
expectations of their musical director. asking the player to sit out completely. to be better than your friends, but to
My role as an MD has been very diverse The explanation can be as simple as, “If hear the entire band in an objective way,
throughout the years. Common practical you don’t play on the verse, it will really almost like a music consumer in front
tasks include booking rehearsal space, be impactful when you come in on the of a stereo. This is when being a bassist
writing charts, hiring musicians, notifying chorus.” No feelings get hurt this way, really comes in handy as an MD, because
musicians of call times for rehearsals and and rehearsal goes on. Great music is our parts are often relatively basic, with
gigs, helping the artist make set lists, and a fragile and valuable thing that only more space between notes, so we have the
helping program and edit background flourishes under the right conditions, so luxury (and joy) of listening to everyone
tracks for live use. keeping things positive at all times is key. else’s performances.
There are of course many more duties Since I’m a bassist, I put an Finally, I recommend thinking like
on the artistic side of things—purely astounding amount of focus on the an MD, even when you aren’t one. The
musical or communicative tasks that drummer. My philosophy is that the more you know about the other players’
require deeper explanation. music should sound amazing with just parts, the better you can decide when not
As an MD, you are essentially the bass, drums, and lead vocal. If there is to play and when to chime in with notes
producing a live band. In many cases, power, and if dynamics are used correctly that will make the rest of the band smile.
the musicians working “under” you are with only three people playing, the other Now excuse me while I go check out
great talents and artists in their own players can play more sparsely. Using some hi-hat patterns. Till next time!
right. You don’t ever want to rub them space is the mark of a good MD.
the wrong way by forcing your ideas If you are a bassist who gets asked to be VICTOR BRODÉN is a Nashville
bassist and producer who has
or opinions on them. I always try to the MD for the first time, it can be scary. toured and recorded with more
hire musicians I look up to as players You might think you aren’t good enough, than 25 major-label artists,
including LeAnn Rimes, Richard
and people so I can learn from them. or don’t know the other instruments half Marx, Casting Crowns, and Randy
With this approach, you can let them as well as the guys you will be in charge Houser. You can reach him at
vbroden@yahoo.com.
shine and be a leader who encourages of. That’s completely okay! Your job isn’t
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MOD GARAGE
Before You Swap Out Those Tele Pickups ...

BY DIRK WACKER
F
rom reading countless emails, I Some Tele pickups boast modern
know that swapping pickups on designs—stacked coils, twin rails,
a Telecaster is one of the favorite or perhaps a mix of alnico 2 and 5
magnets. Others, like this Fender
guitar mods out there. There are plenty Custom Shop ’51 Nocaster Tele set,
of legitimate reasons to change pickups: represent a manufacturer’s best
Maybe you have a stock ’52 Vintage attempt to accurately replicate
Reissue Telecaster but you’re playing in pickups created more than half a
century ago.
a John 5 tribute band, or maybe you’re
looking for the blackguard Bakersfield
tone but have a hot humbucker in the
bridge position.
That said, if you own a Tele and are
thinking about replacing its pickups,
take some time to determine if that’s
really necessary. If you’re unhappy with
your sound, it may not be the pickups
that are at fault—the real culprit may be
something else. Before you spend the big If it sounds right now, it’s not the pickup when you play—rattling sounds from
bucks, first run some preliminary tests. that needs replacing, but the electronics. lose tuners, dead notes from strings
For example, if your guitar sounds In most cases, pickup height is the touching the frets, and so on. In such an
“good” but not “just right,” put on a real problem. Even the best pickups environment, even the best pickup has
fresh set of your favorite strings. You’d be sound strange and weak when they’re no chance to sound good.
surprised how often this can solve sonic not adjusted correctly. Balanced pickup Here’s some good news: If you do
issues. Sometimes tone and intonation height is the key for a great-sounding decide to purchase a new set of pickups,
problems are simply caused by worn-out guitar, and I can’t count the Teles I’ve your choice is bigger today than ever
strings. Sometimes a new string is DOA serviced with completely non-adjusted before. From the mystical cave-dweller
right out of the package and that’s what pickups. The pickup height adjustment in the middle of Nowhere who only
you’re reacting to. (I’ve seen complete sets screws are there to turn—they won’t winds pickups during a certain phase of
of strings DOA because of a production bite you. Because the procedure and the moon, to companies that spit out
error in the factory.) the recommended starting points are several thousand pickups a day, there’s no
But don’t stop there. Experiment with identical for Teles and Strats, you can shortage of high-quality replacements to
different string materials (such as pure use my columns on Stratocaster pickup fit virtually every budget.
nickel, nickel-plated steel, or stainless height as a guide [search for the two-part It’s impossible to review all of
steel), different string types (roundwound “Adjusting Stratocaster Pickup Height” them and I don’t want to recommend
or flatwound, round or hex core wire) on premierguitar.com]. a certain brand. After all, the “best”
and, of course, different gauges. Often the If you have standard Telecaster wiring pickup depends on your personal tonal
key to making your pickups sound right in your guitar, it’s often worth trying preferences, musical style, and experience.
is simply to mate them with the right some mods to see if your current pickups But most companies offer the same
strings. For example, if you feel a Tele is will benefit from a swap. Does your palette of Tele pickups, and these can
Photo courtesy of Fender Musical Instruments (fender.com)

too trebly, try replacing those thin, nickel- bridge pickup sound too trebly even be easily categorized to point you in the
plated steel strings with thicker, pure when its height is perfectly adjusted? Try right direction.
nickel strings. replacing 500k pots with 250k pots and And that’s exactly where we’ll resume
It’s also possible that your Tele’s swapping out the tone cap for one that’s next time. Until then, keep on modding!
electronics are worn or faulty. To analyze bigger (i.e., it has more capacitance) and
this, simply disconnect the two wires (hot thus not so bright. DIRK WACKER lives in Germany
where he plays country, rockabilly,
and ground) from the master volume pot Does your guitar have a well- and surf music in two bands,
that lead to the output jack and solder made nut, good tuners, a conditioned works regularly as a session musi-
cian for a local studio, and writes
them directly to the corresponding two fretboard, and comfortable action? If it’s for several guitar mags. He’s also a
wires on the pickup. This way you’ll hear not set up, you’ll have to fight for tone hardcore guitar and amp DIY-er
who runs an extensive website on
the pure pickup without the electronics. and you’ll hear all kinds of funny noises the subject (singlecoil.com).
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Strat®, Tele®, Jazz Bass®, P-Bass®, Jazzmaster® and Jaguar® are all trademarks of Fender Musical Instruments Corporation.
ASK AMP MAN
Better Tones from “Boomy” Tweed Deluxes

BY JEFF BOBER
Q: A:
Hello Mark,
Hi Jeff, Thanks for touching base
Being in U.K., I’m rather late to the party on your PG columns, but I from across the pond, and
now enjoy them online religiously. thanks for your questions. I’ll answer as
Needing some vintage authenticity to accompany my newly best I can, but you have to spread the
acquired 335 and trusty old ’73 Strat, I had a tweed moment and got word about Ask Amp Man and Premier
a 5E3 Deluxe. (It’s a clone, of course, but has been meticulously built Guitar to all your stringed-instrument
to the original spec.) It can be a rather boomy affair up loud. (I think mates. Deal?
I’m right in saying that the distortion comes from the power tubes, as Okay, let’s get to work on your
opposed of preamp tubes, as in many modern designs.) I heard that tweed Deluxe issues. The tweed Fender
a suitable remedy for this boominess is to reduce the size of the first Deluxe went through several iterations
two coupling capacitors. during its lifetime. The most visible
Another issue is the rattling cab when the amp is turned up loud. I difference between the 5E3 design and
read that this too is a result of the design, and that even originals do the preceding 5A3, 5B3, 5C3, and 5D3
this. Any suggestions here? versions is the fact that the earlier models
The relative simplicity of the 5E3 circuit allows many players to have only three input jacks. Two are
build their own, or purchase clone brands at affordable prices, so I’m labeled “Instruments,” and the third is
sure there would be much interest in the article. labeled “Mic.” Back in those days, more
All the best, than one amplified device would be
Mark Gardiner plugged into a single amplifier. (Gasp!
Surrey Hills, England What was Leo thinking?) In the 5E3
design, this was changed to four input
jacks, with high- and low-level inputs for
both instruments and microphones.
Another difference is that in all four
5E3 predecessors, both halves of the
second dual triode preamp tube are used
as the phase inverter. This changed with
the 5E3, which only used half of the
second preamp tube, leaving the other
half available to add a bit more gain. It
also changed the response and feel of
the circuit, which is probably why so
many guitarists prefer this version. Also,
the capacitor values in the signal path
were increased from 0.05 µF to 0.1 µF.
This provided more low end, which was
probably a welcome addition at the time.
The problem is that, while the amplifier
probably sounded better at the “intended”
pre-distortion volume level, the amp can
sound boomy or mushy when cranked
into sweet overdriven tone territory.
Reducing the values of the capacitors
can make a difference here, but you’re
WARNING: not necessarily limited to the first two
All tube amplifiers contain lethal voltages. The most dangerous voltages are stored in coupling caps, as you mentioned in your
electrolytic capacitors, even after the amp has been unplugged from the wall. Before question. Let’s explore multiple options.
you touch anything inside the amp chassis, it’s imperative that these capacitors are Option 1. Per your question, reduce
discharged. If you are unsure of this procedure, consult your local amp tech. the value of these two signal caps in the
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FIG. 1.
FIG. 2.

ASK AMP MAN
CONT’D
FIG. 3.
You can get creative by mixing capacitor values in the preamp

section to create two distinct-sounding channels.
preamp section (see Fig. 1). Feel free to Option 3. Reduce the value of the of some buzzing or rattling. Just make sure
experiment with values from 0.05 µF (the cathode bypass capacitor in the preamp all screws and nuts are tightened down. The
values used in all the predecessors), as well (see Fig. 3). This may be all you need to buzzing might also be coming from the
as 0.022 µF, 0.01 µF, or even as low as do to remove the “flubbiness” from an upper-rear panel, so try adding some thin
0.0047 µF. amp, as it reduces the amount of gain in foam strips at the point where the chassis
(Your capacitors should be rated at the lower frequencies. Experiment with contacts the panel. You could also add
a minimum of 400V DC, preferably values from 10 uf down to 1 uf or 0.68 more screws to hold the baffle tighter to the
600 or higher. As far as type or brand, µF. If it’s an electrolytic cap, just be sure cabinet, but be aware that this may actually
this is subjective. Each type can sound it has a voltage rating of at least 25V change the sound and feel of the amp.
a bit different. If you have the ability to DC, and that the positive terminal is I hope these ideas give you a deluxe
audition several, your ears can make the connected to the tube, not ground. version of your tweed Deluxe clone.
final decision. This pertains to all signal One of these options, or a combination Enjoy!
capacitors mentioned in this article.) thereof, should give the amp a sound and
Option 2. Reduce the value of these response that works better for you. You
JEFF BOBER, is one of the
two signal caps in the phase inverter can even get creative by mixing capacitor godfathers of the low-wattage amp
revolution. He co-founded and was
section (see Fig. 2). Again, you can values in the preamp section to create two originally the principal designer
experiment with different values. Try from distinct-sounding channels. for Budda Amplification, though
he launched EAST Amplification
as large as 0.05 µF to as small as 0.01 µF. Regarding the rattling cabinet: Since there (eastamplification.com) in 2010.
(I wouldn’t suggest anything smaller, as are only four screws attaching the baffle to You can catch his podcasts at
ampsandaxescast.com or email
the amp could start to sound thin.) the cabinet in this design, there’s a possibility him at pgampman@gmail.com.
premierguitar.com
STATE OF THE STOMP
Power Corrupts, and Absolute Power Corrupts Absolutely

BY GREGG STOCK
A pedal’s it’s correct. Voltage always exists across or Ciocks, and Dunlop) but are having
polarity is often between two points. (Never say “voltage trouble powering your pedal, try running
indicated on the
through”—it’s always “voltage across” through these steps:
enclosure. The
graphic here and “current through.”) Back to our
tells us that water analogy: Voltage is like the water 1. Double-check the current and
the pedal calls pressure. The pressure is there, waiting voltage requirements recommended
for standard for the valve to open, allowing the water by the pedal manufacturer.
negative ground
polarity. to flow. Similarly, a battery’s voltage is
there, waiting for current to be drawn by 2. If your pedal shipped with a
W
hat are voltage, current, connecting it to something. wall adapter from the factory, try
and power, and why would Say you bought a Strymon Orbit powering with that. If it powers up,
a guitar player care about flanger with a wall-wart adapter that it’s probably a setup issue with your
them? Because unless you play all acoustic reads “Output 9VDC 660 mA.” If I third-party supply.
with the lights off, you have to harness plug the adapter into a wall socket, but
their properties. don’t connect the output to anything, 3. Make sure the supply is capable of
Regardless of how knowledgeable you then we’d measure 9VDC at the plug. providing more current than the
are about electricity, you probably have But since nothing is plugged in yet, the pedal requires. If your pedal requires
some intuitive sense of power. How does current would be zero. The power is zero, 200 mA, it’s probably best to provide
the horsepower of a car affect the driving since nine times zero is zero. it at least 250 mA to ensure it works
experience? What does it feel like to The amount of power the adapter can properly under all circumstances.
operate a powerful drill? provide is nine times .66 A (660 mA is
You can think of power as how much the same as .66 A), or about six watts. If 4. Some pedals are very specific about
work can be done over a period of time. we try to draw more than 660 mA, the their voltage requirements. If the
Work is defined as applying a force adapter will protest and shut down. pedal requires 9V, be sure not to
through a distance. If I push on the wall, Now let’s plug our adapter into the pedal. send it more than 9V, because
I’m applying a force, but not doing any What’s the current draw? As an example, excessive voltage can irreparably
work. If I pick up a weight and lift it over the spec sheet for the Orbit flanger says 250 damage a device. On the other hand,
my head, I’ve done work. The faster I lift mA, so it must be 250 mA, right? Well, not some pedals, such as fuzz boxes, are
it, the more power is required. exactly. The real number depends on what perfectly happy running at anywhere
In electrical terms, power equals the pedal is doing, so there is no way to from 9V to 18V. (See step 1!)
voltage times current. (Engineers chose know without measuring. Ideally, it should
the letter “I” to represent current because be less than 250 mA, because it’s always a 5. Check the polarity. Most pedals have
“C” already meant something else.) good to have some “extra” current available center-negative power jacks, though
Driving on the freeway, you might see from the power source to ensure that there are a few with center-positive
power lines. These have a high voltage everything is stable under all conditions. ones. Polarity is often indicated by
and carry a high current to deliver lots We have a power source (the wall a diagram on the pedal, but if not,
of power. When you get a static shock adapter) and a load (the pedal). The power check with the manufacturer.
on a doorknob, the voltage is very high source provides the rated voltage (9V) as
(maybe 10,000 volts), but since the long as the current drawn by the load is less A happy pedal is one that is powered
current is very low, it doesn’t kill you. than the rated current (660 mA). The load with the correct current and voltage. Now
There’s not much power there. draws whatever current it needs. As long that you’re a power genius, go forth and
Current is the amount of electrons as the power source can provide the current keep all of your pedals happy!
that flow over a given unit of time. required by the pedal and maintain (but not
Current always flows through something. exceed) the recommended voltage, everyone
If we compare electricity to water, current is happy. Things get murky if the power GREGG STOCK is Senior
Analog Guru and Engineer
is the amount of water that flows through source can’t maintain the voltage. at Strymon.
a pipe in gallons per second.
Voltage is the electrical potential Troubleshooting
between two points. I know, that’s If you’re using a third-party power source
probably not very helpful, even though (such as those sold by Voodoo Lab,
premierguitar.com
BUY ONCE
ALGORITHMS
W
hen it comes to finding
fresh tones that inspire
new song ideas or put the
sonic palettes of your heroes at your
fingertips, there’s simply no substitute
for slogging it out and putting tons of
time into experimenting with different
instruments, techniques, effects, and
amps. We’re individuals with our own
unique touch on the strings, a set of
ears that’s heard things no one else has,
and a guitar or bass rig that—due to BY THE PREMIER GUITAR STAFF
our budget limitations, being finicky,
or (hopefully) an insatiable longing for
new tonal titillation—is never going
to be exactly what we want. Let’s face
it—we’re impossible to please. But if
it feeds our muse, how can that be a
bad thing?
Still, sometimes getting out of
your own headspace and considering
other players’ contexts can get the
gears in your brain turning in ways
that woodshedding can’t, even
if that context sometimes comes
from guitarists or bassists you don’t
particularly dig or know much about.
Hearing someone play a particular
pedal and seeing how they use it—
what their settings are, where they
put it in their signal chain, and
how they adjust their attack or their
instrument’s onboard controls—can
reveal a previously mundane-seeming
device to be a corridor into mind-
blowing sonic realms.
Every week, premierguitar.com
features a new Rig Rundown video with
the potential to do this for the tones
you hear in your head. Even better,
it may wedge a new, never-before-
considered sound in your cranium and
send you down new creative paths.
Here we highlight 10 pro pedalboards
from the hottest Rig Rundown videos
in recent memory. The up-close and
personal views of these artists’ stomp
stations are bound to get your creative
juices flowing, and once you’re done
here we suggest clicking over to our site
(or youtube.com/premierguitar) to take
in the whole shebang—not to mention
hundreds of other Rig Rundowns with
the same mind-expanding potential.
premierguitar.com
YEAH YEAH YEAHS’ Nick Zinner
Nick Zinner, guitarist for New York City-based indie outfit Electronics Power Screamer, and Electro-Harmonix Graphic
Yeah Yeah Yeahs, uses an incredible array of stompboxes and Fuzz. A second board has a DigiTech Whammy, another
other effects to weave the band’s eclectic mix of raw and ethereal DigiTech Jam Man, a Line 6 DL4 Delay Modeler, an Electro-
tones. To compensate for the lack of a full-time bassist, Zinner Harmonix POG, and a TC Electronic Flashback delay. Zinner’s
uses several devices that enable him to conjure a broad spec- third board contains a second Line 6 DL4 and three Eventide
trum of guitar tones, as well as more adventurous samples and pedals—a TimeFactor, a PitchFactor, and a Space. A fourth
loops. His main board is home to a DigiTech JamMan, Line 6 board near his amps features two more sample-loaded DigiTech
MM4 Modulation Modeler, Pro Co DeuceTone RAT (used for JamMan pedals, and before Zinner’s signal hits his amps, it goes
his primary fuzz tones), Boss DD-7 digital delay, HomeBrew through a TC Electronic Classic Booster + Distortion.

QUEENS OF THE STONE AGE Troy Van Leeuwen
At our Rig Rundown with Queens of the Stone Age, we were asked Whammy, a Dunlop volume pedal, and a Korg Pitchblack tuner.
to refrain from showing bandleader Josh Homme’s pedalboard to Van Leeuwen also has a rack with two drawers holding Way Huge
the masses—despite the fact that there are plenty of pics online Green Rhino and Aqua-Puss pedals, an EarthQuaker Devices
(hope you appreciate us keeping our word, Josh!). So here we’ve Dispatch Master, a Fuzzrocious Demon, and an MXR Q Zone.
got longtime guitarist Troy Van Leeuwen’s stomp setup. His main A third pedalboard for lap steel features two Jim Dunlop
QOTSA pedalboard has a Voodoo Lab Ground Control Pro volume pedals, a DVP1 and a DVP3, the latter of which is
MIDI controller, a Custom Audio Electronics tap-tempo switch used as an expression pedal for a Line 6 DL4 Delay Modeler.
(for the reverbs and delays in his Fractal Audio Axe-Fx II rack There’s also a Way Huge Green Rhino, an Electro-Harmonix
unit, not shown), a Morley wah, Way Huge Supa-Puss and Pork Superego, a Boss RV-5 Digital Reverb, and another Korg tuner,
Loin stomps, what appears to be a fourth-generation DigiTech all powered by a Furman SS-6B.
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JOE BONAMASSA
The signal from bluesman extraordinaire Joe Bonamassa’s guitars Way Huge Pork Loin, an original Ibanez TS808 Tube Screamer (his
finds its way onto his pedalboard via a signature Dunlop Cry Baby primary effect for gain), an MXR Micro Flanger, and a signature
wah feeding a Fulltone Supa-Trem and then a Tone Merchants/ MXR FET Driver. Another Tone Merchants/Rack Systems box
Rack Systems LLC splitter controlled by a Lehle 1@3 A/B/C box. hooks a Boss DD-3 digital delay and Hughes & Kettner Rotosphere
From there, the signal goes to his Dunlop Bonamassa Fuzz Face, a into the effects loop of Bonamassa’s Marshall JCM 2000 heads.
THE CULT’S Billy Duffy

Billy Duffy’s guitar signal goes through a Line 6 G90 wireless an Ibanez TS9 Tube Screamer, a Lovepedal Kalamazoo, a
to a switchless Jim Dunlop 95Q wah, a Boss TU-3 tuner Whirlwind the Bomb boost, and two Boss DD-3 digital
and NS-2 Noise Suppressor, a prototype Dunlop Echoplex delays. His pedalboard also holds a Morley George Lynch
EP101, Boss BF-2 flanger and DM-2 analog delay pedals, Tripler amp switcher.
premierguitar.com
J MASCIS
Dinosaur Jr.’s frontman uses a pedalboard with a Bob
Bradshaw-built Custom Audio Electronics switcher that gives
him a multitude of effect combinations. Among the notable
boxes on the board are Mascis’ first Electro-Harmonix “ram’s
head” Big Muff (top right), a dual-function pedal built by
Built to Spill’s Doug Martsch that features a ToneBender Mk I
clone on one side and a Rangemaster-style circuit on the other
(bottom right corner), an MC-FX clone of a Univox Super-
Fuzz, a CAE Twin Tremolo (upper left), a Z.Vex Double Rock
(two Box of Rocks pedals in one, bottom left), and an Electro-
Harmonix POG2 that he uses to mimic Mellotron and organ
sounds from I Bet on Sky.

MINUS THE BEAR’S Dave Knudson
Known for his intricately tapped rhythms and two-footed, pedals. Knudson uses a Barber Tone Press to smooth out tapped
Achilles-tendon-abusing looping techniques, indie-rocker parts, while a Line 6 M5 Stompbox Modeler approximates tones
Dave Knudson is an avid fan and collector of Line 6 DL4 originally achieved in the studio using an Electro-Harmonix HOG
Delay Modelers—he’s always got four of them on his board. In and DigiTech Whammy. Knudson also uses a Boss DD-20 Giga
addition to using them for looping, he also uses the DL4s to add Delay, Boss CS-3 Compression Sustainer, a Z.Vex Box of Rock, an
modulation to samples saved in two Boss RC-3 Loop Station Ibanez TS9 Tube Screamer, and a Dunlop Cry Baby wah.
LIVING COLOUR’S Doug Wimbish

Considering the diversity of Doug Wimbish’s work—he’s played wah and DigiTech Whammy, followed by the “filter” section’s
with such big-name acts as Mick Jagger, George Clinton, Joe Pigtronix Envelope Phaser, Boss BF-3 Flanger, DOD FX25
Satriani, and Depeche Mode—it’s no surprise he’s got one of envelope filter, DigiTech Synth Wah, and Way Huge Ring Worm.
the largest, most out-there boards we’ve ever seen, particularly Finally, the “delay” section has a quartet of Boss units—a DSD-2
for a bassist. The signal starts in the “noisy” section, which has a digital sampler, DD-6 and DD-7 digital delays, and an SL-20
Tech 21 SansAmp Bass Driver DI, Pigtronix Disnortion, Source Slicer—a TC Electronic Nova delay, an Eventide PitchFactor, and
Audio Soundblox 2 Multiwave Bass Distortion, and Pigtronix a Pigtronix Infinity Looper. Wimbish also uses a Keith McMillen
Mothership. The “bendy” section has a Dunlop Cry Baby 12 Step MIDI controller to command a laptop rig.
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DWEEZIL ZAPPA
On the road playing his late father’s tunes on the Zappa Plays sounds (he runs the pedals into its instrument input rather
Zappa tour, Dweezil uses a pedalboard outfitted with a Bogner than its effects loop). One of the four expression pedals on his
Ecstasy Blue, JAM Pedals Fuzz Phrase, SolidGoldFX Formula board is for volume control, while the other three are used for
76, TC Electronic PolyTune Mini, SolidGoldFX Electroman, real-time control of various Axe-Fx II parameters, including
and JAM Big Chill and Red Muck stomps. Along the front occasional post-distortion-pedal wah. On the far right side of
of Dweezil’s board is a Fractal Audio MFC-101 MIDI foot Zappa’s board is a custom JAM wah, as well as an expression
controller for the Axe-Fx II rack unit that he uses for amp pedal used to alter the Big Chill’s tremolo rate.

KELLER WILLIAMS
The heart of this famous looper’s pedalboard is a Boss RC-300
Loop Station—everything else on the board feeds into it. Williams
is a huge Jerry Garcia fan, so his favorite effect is the Mu-Tron
III. His other main effects include a Line 6 DL4 Delay Modeler,
an Ibanez TS9 Tube Screamer, a Boss RV-5 Digital Reverb, Boss
RT-20 Rotary Ensemble, and a TC Electronic Hall of Fame
Reverb. Williams runs all his effects direct to a P.A., and he
controls the wet/dry mix with an Ernie Ball VP Jr. volume pedal.
A Korg Kaossilator gives Keller access to some synth-style sounds–
which are also run through the RC-300.
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LAMB OF GOD’S Mark Morton, Willie Adler, and John Campbell
LoG guitarist Mark Morton keeps his effects offstage in a rack pedals, an MXR Stereo Chorus (which Adler says he only uses to
housing his all-important Boss NS-2 Noise Suppressor (for “thicken up” clean tones), and a custom Mesa/Boogie amp switcher.
taming hiss from his raging Mesa/Boogie amps), an MXR Bassist John Campbell’s modest pedalboard features a Boss
Carbon Copy delay, an EVH Phase 90, an MXR GT-OD, TU-2 tuner, EBS MultiComp, and a Tech 21 SansAmp Bass
a Dunlop Cry Baby Custom Shop rack wah, a dbx 266XL Driver DI, all powered by a Jim Dunlop DC Brick. Campbell
Compressor/Gate, and a Boss TU-2 tuner. says the MultiComp and SansAmp are on all the time, and the
Co-guitarist Willie Adler has a similar rig with a dbx 266XL front-of-house sound crew takes a direct XLR signal from the
Compressor/Gate, Boss TU-2 tuner and NS-2 Noise Suppressor Bass Driver.

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REVIEWS
MAGNATONE
Super Fifty-Nine
By Joe Gore
F
Choice of Two channels,
ew amps boast the cult mystique of Magnatones. The
tremolo or true each with
models that the Los Angeles company created in the pitch-shifting high and low
1950s and ’60s were never as popular as those made by vibrato level inputs
Fender in nearby Fullerton, yet they’ve always boasted fanatical
admirers, from players such as Buddy Holly, Lonnie Mack, and
Pops Staples to today’s collectors, who pay top dollar for once-
affordable “Maggies.”
Last year—four decades after the original company
folded—industry veteran Ted Kornblum revived the storied
brand with a line of high-end amps that borrow styling and
some features from vintage Maggies. The flagship model of
the company’s upscale “Master Collection” is the Super Fifty-
Nine, a U.S.-made head-plus-cabinet model that replaces the
prototype combo introduced at NAMM 2013. That amp
floored me, even amidst the toxic noise pollution of the trade
show floor. (And for what it’s worth, I’m a Magnatone geek
who owns a funky old Melodier, a couple of mid-’60s suitcase
models, and a stereo-vibrato 480, perhaps the most coveted of
the vintage Maggies.)
The new version is equally impressive—though you should
note up front its chief old-school Magnatone attributes are its
vibrato and ’50s-flavored look.
That’s not necessarily a bad thing. Vibrato aside, original
Magnatones are not that different from, say, the era’s Valcos,
Supros, and other mid-priced combos. They’re not very loud,
nor especially versatile—just cool and vibey. The Fifty-Nine,
on the other hand, is more British in character, and it sounds
bigger and ballsier than anything Magnatone made back in
the day. It’s a great sounding, beautifully built take on early
dual EL34 Marshalls. It reminds me a lot of a Matchless
Chieftain (that’s high praise), but with killer true vibrato and 1950s, some dual-speaker Maggies offered a
other nice extras. stereo version of the effect.
Just one catch: This head and cab will set you back almost four The Fifty-Nine’s vibrato is strictly mono,
grand (or more, if you choose the Celestion Gold speaker option). but it’s stunning—probably the best-sounding
analog vibrato I’ve heard. To my ears it sounds better
World-Class Wobble than my stereo 480. It’s smooth, but not too smooth—it’s
Let’s start with the vibrato, since that’s the defining Magnatone definitely that slightly weird Magnatone wobble. Like original
feature for many of the brand’s fans. Unlike Fender vibrato, Maggies, the Fifty-Nine works its magic via variable resistors, Expression
which is actually tremolo, many vintage Maggie models offered or “varistors.” Old-stock varistors are almost impossible to find, pedal (included)
for vibrato
true pitch-shift vibrato, which modulates note frequency rather and online sources insist that you can’t get the right sound with rate control
than volume. It’s a beautiful sound, dreamy and hypnotic. new-production units. Bunk, I say—the Fifty-Nine uses new
(Check out Lonnie Mack’s “Memphis” for a taste.) By the late Silicon Carbide varistors, and its vibrato is second to none.

Expression
pedal input Tube-buffered Lamp output
effect loop for powering
cabinet lights
CLICK HERE TO HEAR this amp at

premierguitar.com/mar2014
Magnatone Super
Fifty-Nine Head
$2,999 street
magnatoneusa.com
Tones
But wait—it gets better: Unlike prefer the open-back sound. Everything Ease of Use
vintage Maggies, the Super Fifty-Nine lets feels solid and looks great. Build/Design
you switch between vibrato and tremolo,
Value
and the latter also sounds bitchin’, if Loud and Lovely
less unique. Additionally, a wah-style From glistening clean tones to full-bore
PROS Spectacular British-flavored
expression pedal (included) lets you power-amp grind, the tones are simply tones. Excellent parts and workmanship.
control the trem/vibrato rate. Toe-down glorious. Ultra-present yet never prickly, Sublimely voiced tone controls. Coolest
yields maximum speed, and heel-down they possess the sort of impact that will vibrato since The Dawn of Time.
bypasses the effect altogether. get you heard onstage and in a mix. The
Just one disappointment: Vibrato and gain controls transition gracefully from CONS No reverb. No stereo vibrato.
Way spendy.
reverb go together like cookies and milk. chimey to chunky, with many attractive
Got ’verb? Sadly, not here. nooks and crannies along the way.
The 4-band tone control is particularly
Midcentury Chic wonderful, in a Matchless sort of way.
The Fifty-Nine’s looks pay homage to Their ranges are more restricted than on
late-’50s design, borrowing cool visual most vintage amps, but they touch just the
details from various Magnatone models. right frequencies. You can add bite, fatten Magnatone Super
The trapezoidal speaker grille wraps lows, contour the midrange—but no Fifty-Nine Cabinet
around the amp’s sides, a cool midcen- matter how you set the knobs, the sound $899 street
(as reviewed with WGS ET90 speakers)
tury-modern touch. Pretty white piping is magnificent. There are literally no bad magnatoneusa.com
offsets the attractive, wheat-colored grille tones here. (And unlike the single-input
cloth. The logo is backlighted on both Chieftain, the Fifty-Nine has two channels Tones
the head and the cabinet. (There’s a and four inputs, which means you can Ease of Use
dedicated cable that connects the compo- jumper the channels, vintage Marshall- Build/Design
nents, powering the cabinet’s lamp.) It’s a style, for additional tonal shadings.)
Value
sharp-dressed amp. It’s a loud sucker, too. There’s enough
The parts and workmanship are volume for any stage, even when playing
PROS Fine sound. Drop-dead looks.
excellent as well. Point-to-point wired on with a ham-fisted drummer. Fortunately, Removable rear panels.
plated eyelet board, the circuit is crafted the amp features an uncommonly good-
from high-quality parts, including a sounding master volume circuit. Even CONS Not wired for stereo. Pricey.
Magnetic Component power transformer power-amp-distortion snobs may have
and Heyboer output transformer. (The to admit that the Fifty-Nine delivers
modulation and bias circuits, however, use convincing crunch even at relatively tones, and is a pleasure to play and
some PCB components.) All pots and jacks restrained volumes. behold. What’s not to like?
are chassis-mounted. The Valve Arts EL34s Well, the cost. Nearly four grand is
in the review model sound great, as do the The Verdict bit steep for a 45-watt amp and 2x12
cabinet’s WGS ET90 speakers. The black- The Magnatone Fifty-Nine is something cabinet. At that price, I find myself
leatherette-covered cabinetry feels stout new under the sun: a bold and versatile wishing for stellar spring reverb and true
without being needlessly heavy. The cab’s British-voiced amp with classic California stereo vibrato. But even so, I will shed a
rear panel is divided into three sections, looks and a superb rendition of a superb bitter tear when this lovely amp returns
one or two of which can be removed if you vibrato circuit. It houses countless cool to its manufacturer.
premierguitar.com
premierguitar_halfpg_7.85x4.85.indd 1 12/17/13 9:10 AM
Don
Latarski
donlatarski.com
Fan ne d- F re t I nnovator s

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REVIEWS
BOSS
ME-80
By Charles Saufley
A
lot of old-school guitarists will turn tail and run at the from jamming through headphones in the kitchen to blasting
sight of a multi-effects unit. But multi-effect fear isn’t through your amp—all with the uncomplicated glee of a kid
altogether irrational, because, let’s face it, a lot of multi- toting around his battery-powered keyboard. If you’re a busker,
effect pedals and rack units are bears to work with, especially play pub gigs, or perform at the farmer’s market, this kind of
when time is short and you just want to plug in and play. portability can be invaluable.
With the new ME-80, however, Boss clearly prioritized ease of The addition of USB connectivity maximizes the creative
use, and this surprisingly utilitarian, powerful, and portable unit is potential of the ME-80 too. Once you’ve downloaded the
relatively simple to operate, a lot of fun, and great for home demo ME-80 software, you can literally be writing a riff with the
studios, small, informal gigs, and even unorthodox tinkerers who device in the backyard and capture the same sounds on your
like the straightest possible line to the most possible sounds. DAW up in your office a few minutes later.
Obviously, the ME-80 isn’t the first multi-effect unit
Tough, Easy to Toss Around or modeler to deliver portability and connectivity. Devices
The ME-80 is built for moving from place to place fast, and like Line 6’s POD and Boss’ own GT-100 have similar
while it’s not super-light, it’s sturdy as hell, with an almost capabilities, and the ranks of tablet- and smartphone-based
entirely metal enclosure and chassis. Apart from the knobs and guitar interfaces seem to grow daily. But the ME-80 offers an
switches, there’s very little plastic. interface that’s much more familiar and intuitive to the typical
You can also power the ME-80 with six AA batteries, which stompbox user, and arguably, a whole lot more fun to play
means you can pick it up and move from room to room, or go with than other devices.
Preamp section Pedal effect section
Two preset
effects banks
Compressor Overdrive/ Modulation Delay effects section

effects section distortion/fuzz effects section
effects section

Stereo outputs USB port
For starters, the ME-80’s interface sounds to be found here. Still, with a bit a neutral EQ setting. But cleaner sounds
is basically a little hive of stompboxes. of tinkering and an adventurous spirit are effective with a good PA, provided you
Each of the four footswitches closest you can create a lot of unusual, recording- dial up a sweetening EQ that massages
to the guitarist is a bypass switch worthy textures, and the right pairings highs and mids.
dedicated to one of four effects groups: can make the ME-80 sound very lush. The real magic of the ME-80 is it’s
compression and FX1 (which includes a Mating the rotary effect and the spacious ability to deliver so many reasonably
ring modulator and acoustic simulator), and spacey “tera echo” delay along with convincing sounds in a sturdy package
overdrive and distortion, modulation, a sustain-heavy compressor and a Vox- you can power with a pack of AAs or
and delay (which also includes a looper). like combo-amp simulation generates DC adaptor. That means a wealth of
Three footswitches above and to the left an expansive, swirling, sci-fi/psychedelic possibilities for remote performance and
of the four main effect switches activate tapestry. The “harmonist” (which can be production. If all you have is a set of
a preamp simulation section, an EQ/ set for thirds and octaves) and a little boost headphones, you can practice anywhere.
FX2 section (which also includes a and tape echo will make you sound like Hook the ME-80 up to a battery-
second phaser, delay, and looper), and a Duane and Dickey without the expense powered amp and you can play for the
reverb control. and hassle of a second guitarist. rest of the world at any location—say,
Each effects group has a dedicated There are some peculiarities to get jams on a mountaintop—with all the
set of knobs, including one that selects a used to on the ME-80. For one thing, functionality of a traditional, familiar
specific amp or effect type. To the right you have to keep effect levels relatively pedalboard.
of the footswitches, there’s an expression uniform if you’re using more than one Taken together, the ME-80 is a set of
pedal for operating pedal effects (wah, talk effect. For example, if you’re about to smart design compromises in a multi-
box, Whammy-style octave up and down launch into the Uni-Vibe segment of effect unit so affordable and easy to
functions). You can also use the pedal as raging Hendrix solo and the “uni-v” interact with that it rarely feels like any
an expression pedal to control modulation effect level is too low, you’ll experience a kind of compromise at all.
rates and delay level, though regrettably, highly anti-climatic signal cut. This type
there’s no volume pedal function. of signal cut might makes sense when
CLICK HERE TO HEAR this pedal at
The two leftmost pedals in the top you’re trying to keep a hot fuzz in check, premierguitar.com/mar2014
row also let you select presets when in but it makes less sense for other effects.
“memory” mode, which is activated by the The workaround is to create a preset. But
upper right switch. There’s a raft of cool if you prefer to play without them you
factory presets. But creating your own is a have to be careful about effect balance.
straightforward, three-step process. Boss ME-80
The Verdict $299 street
Sound Horizons The features covered here represent just a rolandus.com
The sounds inside the ME-80 range from fraction of what the ME-80 can do. And
really good to passable, depending on the while the ME-80 is not without limitations Tones
effect or amp. Some voices, sounds, and (most often these are fair tradeoffs for Ease of Use
effects—the “tweed” amp, the delays, and simplicity), it’s a smart, streamlined way of
Build/Design
the tremolo effect—have a warm, organic getting a lot of sounds for very little dough.
Value
quality and relatively natural dynamic Some sounds, like the delays, combo,
response. Others—heavy phase settings, and tweed amp voices are a real pleasure
the ring mod, and most of the heavy to use and have a relatively organic feel. PROS Super portable. Tons of sounds.
Easy to use. Nice sounding delays and
distortions—more readily betray their Others—most notably the high-gain modulation effects.
digital roots. distortions—exhibit a more digital edge
The effects typically put function before and lack the touch and reactivity of the CONS Some effects and high-gain
freak-out potential: There’s few deep, real thing. The unit definitely sounds distortions have a digital edge.
ambient space verbs and fractured delay best when paired with a tube amp with
premierguitar.com
REVIEWS
TAYLOR
814ce
By Scott Nygaard
D
on’t worry—you haven’t accidentally picked up an old thickness, electronics, and even the glue. The result is a big,
issue. This Taylor cutaway grand auditorium model lush-sounding guitar and a feast for the eyes.
looks awfully familiar because it is. The Taylor 814 has The familiar body shape is fashioned from sumptuous wood:
become a modern classic, its origin dating back to the dawn of narrow-grain Sitka spruce on top and dark chocolate Indian
the company, when Bob Taylor’s hands crafted each instrument. rosewood for the back and sides. New appointments give this
traditional tonewood combo a refreshing woody elegance, with a
A Classic Reconsidered rosewood pickguard that matches the back and sides, figure-free
While a cursory glance may lead you to believe that the latest maple binding, rosewood top-edge trim, and an abalone rosette
814ce is more of the same old, same old, this 2014 model shares circled by rosewood rings. A marbled ebony fingerboard caps the
only its Grand Auditorium body (16” lower bout) and spruce/ mahogany neck, in keeping with Taylor’s commitment to harvest
rosewood construction with its predecessor. Bob Taylor and ebony trees that produce wood along the entire black–brown
his anointed Master Builder, Andy Powers, have fashioned a spectrum. The fingerboard has figuration all its own and boasts
completely new instrument, tweaking bracing patterns, finish attractive mother-of-pearl “Element” inlays.
Taylor ES
electronics
Indian rosewood
back and sides
Sitka spruce top
Hybrid scalloped/
parabolic bracing
and top
16" lower bout
premierguitar.com
Inside Innovations fingerpickers should be able to control The 814ce includes a newly
So much for the outward differences— the bass, especially those who prefer a redesigned version of the Taylor ES
there are more innovations inside. muted Travis-style bass punch. electronics, in which the piezo crystals
The bracing has been re-voiced, with a Since I was in a tuner-twisting have been moved from their traditional
hybrid scalloped/parabolic top design mood, I tried a favorite oddball tuning: spot under the saddle to just behind the
developed by Powers, along with DAC#F#BE. It suited the guitar well—the saddle—note the tiny adjustment screws
intriguingly angled-back bracing. The tuning’s lush resonance had a piano-like between the 5th and 6th, 3rd and 4th,
intent, according to Taylor, is to change consistency with heaps of sustain. Finally, and 1st and 2nd strings. Plugging the
the way the top and back move together, I tried another favorite: CFCFCF. This 814ce into an AER Compact 60 amp
maximizing tonal response. Wood tuning, with the two lowest strings tuned with a high-quality Asterope cable and
thicknesses have also been recalibrated to down two whole-steps and the highest all controls set flat, I was astonished
match the revised bracing, and the gloss pair tuned up a half-step, usually requires by how well the system duplicated the
finish thickness has been reduced from special string gauges, and has been known guitar’s acoustic characteristics, including
6 to 3.5 mils, allowing the top to move to defeat even the hardiest of axes. The the string-to-string and bottom-to-top
more freely. 814ce was unfazed. The bass wasn’t as balance. With the bass control on the
The result is a stunning-sounding powerful as it might be, but Taylor ships guitar set at the middle detent, the
guitar. Its bass frequencies are loud the 814 with a special set of Elixir strings guitar lost the sumptuous bottom I’d
and fat, but not overwhelming—more that includes a .053 low string. Expecting loved when I first picked it up, but
like those of a string bass than say, a a light-gauge string to shine on a low C turning the knob from 12 o’clock to 2
vintage dreadnought. The midrange is note is asking a lot. restored the luscious low end, but with
rich and smooth no matter where you a more controlled feel. It was just as
are on the neck. The low-end response Consistent Colors fat, but I no longer felt I had to worry
(which reminds me of the bass sound of Impressed by the midrange’s consistency, about it overpowering whatever else I
a recently acquired late-’40s J-45) is felt I ventured further up the neck, was doing.
by the player’s body as much as it’s heard comparing tones in different registers.
by the listener. I felt that any minor There was remarkable consistency from The Verdict
modifications to my attack needed to string to string within a range of seven or With a street price of over three grand,
keep the bass under control were more so frets. The A on the 2nd fret of the G the 814ce comes with high expectations—
than worth it. string and the A on the 7th fret of the D and surpasses them. This is a serious
string were indistinguishable, as were the guitar for serious players. But considering
How Low Can You Go? Es on the 2nd fret of the D string and how well suited this Taylor is for so many
To make sure its low end would work the 7th fret of the A string. This led me musical settings, you’ll rarely wish you
in other tunings, I played a few songs to try closed-position three- and four- had another guitar instead.
in dropped-D: bluesy country songs, a note jazz chords, venturing as high as the
fiddle tune, a fingerpicked Celtic ballad. 20th fret with the aid of the Venetian CLICK HERE TO HEAR this guitar at
The bass remained easy to control, but cutaway. I followed that with single-note premierguitar.com/mar2014
when I dropped the A string down to lines in similar positions. It’s easy to
G and starting strumming in open G6 imagine a jazz guitarist—or anyone who
tuning, the resonance of the low G was likes to take advantage of a 6-string’s
a bit much. If you spend a lot of time full range—becoming entranced by the
playing with a flatpick in open G, this fluidity and consistency of this guitar in Taylor 814ce
is probably not the guitar for you, but the highest registers. $3,199 street
taylorguitars.com
Tones
Playability
Build/Design
Value
PROS Rich, mature midrange.

Remarkably consistent response.
Electronics match acoustic tone.
CONS Powerful low end can overwhelm

if you don’t have a delicate touch.

REVIEWS
AMPEG
V-4B and SVT-212AV
By Steve Cook
I
f forced to name an industry standard for
bass amplification, many players would
cite Ampeg. The company’s B-15 is a 0 dB and
-15 dB inputs
studio mainstay, and their mighty SVT has
jarred fillings loose for decades. Now Ampeg
3-position midrange
has dipped back into the vault to revive rocker switch
another of their classic bass amps: the V-4B.
The Skinny
The 100-watt V-4B debuted in 1971 as a
lower-wattage alternative to the 300-watt SVT.
Utilizing the SVT’s preamp, it was a popular 3-band EQ
(and now collectable) amp, admired for its all-
tube tone and straightforward approach.
The new V-4B is an all-tube recreation of
the original. There are differences, however,
starting with the fact that the new version is
25 pounds lighter. And 40-plus years of R&D
have given the Ampeg a chance to modernize
in other ways.
Most of these updates reside at the back of
the amp. Gone are the original’s 7027A tubes
—the reissue hosts a quartet of 6L6s in the
power amp, two 12AX7s in the preamp, and a
12AX7 and a 12AU7 for the driver. All eight
tubes are housed in a newly designed, rubber-
mounted floating chassis designed to isolate
the tubes from unwanted vibrations.
There’s also a post-master DI, meaning
that the DI signal is congruent with your
front-panel master volume setting. There are
power amp in/preamp out jacks, plus a slave
input for additional power amps. The ground
lift has moved to the back, and instead
of a single speaker output with selectable
impedance, there are five 1/4" speaker outs
for 2, 4, or 8 Ω operation. The outs are
clearly labeled, taking the guesswork out of
adding cabinets—very useful for folks like me
who didn’t take Electronics 101.
The front panel boasts a strictly classic look,
although it’s not 100% faithful to the original.

CLICK HERE TO HEAR this amp at
If you didn’t know otherwise, you’d probably premierguitar.com/mar2014
think you were looking at a 40-year-old setup.
The two inputs are now at 0 dB and -15 This amp and cab look great together.
dB (for active basses). Instead of dials If you didn’t know otherwise, you’d Ampeg V-4B
for volume 1 and volume 2, the reissue probably think you were looking at a $1,299 street
ampeg.com
has gain and master-gain controls. The 40-year-old setup.
EQ controls and rocker switches are the
Tones
same as before, but the midrange EQ Old Vibe, New Tones
frequencies are slightly different. I pulled out a passive mid-’70s Fender P Ease of Use
Ampeg has also rolled out a new and an active Warwick Streamer Stage I. Build/Design
speaker cabinet that happens to pair First I plugged the P into the 0 dB input Value
nicely with this amp. The SVT-212AV and set all the amp’s controls (including
is a 2x12 monster weighing in at a gain and master volume) to 12 o’clock. PROS Can sound like an SVT or a more
relatively light 66 pounds. This ported Pictures rattled on the wall. modern amp.
enclosure maintains the vintage theme The tone and attitude are thoroughly
while updating performance. Rated at SVT—that legendary full-bore sound CONS A little pricey.
a foundation-cracking 600 watts at 4 was at my fingertips. The cabinet
Ω , the Eminence drivers are joined by sounded tight and responsive as I drove
a 1" compression driver. We generally the volume higher and higher. The only
see 10s and 15s used in bass cabs, but a signal breakup came from the amp, not
cab with 12s can bridge between those the cab.
sounds, offering solid thump with clear I tried out the active Warwick via the Ampeg SVT-212AV
articulation. -15 dB input, keeping the EQ flat. I can $699 street
understand why the designers included ampeg.com
this input, but for me, it choked too
much of the intended tone, so it was Tones
back to the 0 dB input with a master- Ease of Use
gain adjustment. The tone was still Build/Design
SVT-like, but because of the Warwick’s Value
midrange nature, I had to roll off some
high end.
PROS Relatively light. Sounds great
When I raised the bass EQ control gritty or clean.
to about 75 percent and engaged
the ultra-lo rocker switch, the V-4B CONS A touch pricey.
produced a nice, clean-bass tone.
Slapping and fingerstyle sounded great,
the tube warmth nicely complementing The Verdict
my P. The Warwick’s throaty side The original V-4B was more or less a
also emerges at this setting, its active one-tone machine, but this reissue is more
P/J pickups more aggressive than the versatile. The DI and -15 dB pad are
passive bass. The bevy of modern tones welcome modern additions (though bear
I could dial in when rolling from the in mind that the DI signal won’t sound
neck pickup to the bridge pickup exactly like a miked cabinet). Meanwhile,
totally surprised me. the SVT-212AV is the perfect bass-cab
Digging deeper, I switched back to the complement. Together the components
P bass and was able to get a “baby SVT” deliver both the classic tones and tighter,
sound by dialing down the mids and more focused modern ones. It’s a welcome
bringing up the bass and treble. The tone evolution—one that may attract bassists
was a cross between SVT brashness and a who might not normally look to Ampeg
more refined, modern sound. for their sound.
premierguitar.com
premierguitar.com
REVIEWS
RAINGER FX
Air Traffic Controller
By Charles Saufley
L
ondon, England’s Rainger FX was one the unexpected Resonance control
surprises for us back at Musikmesse 2012, where head
honcho/mad scientist David Rainger roamed the halls
with his creations, enthusiastically plugging into the rigs of
anyone willing to listen. Rainger was eager, enterprising, super-
smart, and maybe a bit mad—our kind of effects builder! We’ve
watched Rainger’s development closely, as have the high-profile
guitar-slinging rule-breakers who have fallen for his sometimes
demented—but always functional—distortion devices.
Low-pass filter
Rainger’s latest creation is the Air Traffic Controller (ATC),
a low-pass-filter-driven, white-noise-generating distortion Filter voice
control
capable of massive, filthy, and highly individual fuzz tones
that work great in rock settings. The ATC offers a wealth of White noise
unconventional, often synth-like tones that reward and invite generator
unorthodox techniques and styles.
Roger Tower, Clear the Runway

The ATC’s canted, oblique, trapezoidal enclosure is like a
skewed take on Vox’s odd stomps of the early ’80s. The shape best approaches is to start with the peak control, the level and
highlights one of the pedals’ most fun features: a set of lights distort at about noon, air-signal around three o’ clock, and the
that glows in series like runway landing lights while you play. resonance control at its lowest possible setting. This generates
The lights have a practical function too, helping you see the a grinding, skanky, but harmonically complex fuzz with a
chicken-head knob for the critical peak/pitch/random control hint of gating and filtering, perfect for menacing garage punk
mounted on the unit’s backside. and Stooges riffs. It’s a sound free enough from filtered signal
While some control names are obscure, it’s easy to get a sense to work as the only fuzz in your line, provided you like your
of how they work after a few minutes of tweaking. The level distortion pretty gritty.
control is self-explanatory. Resonance is essentially a Q control From here you can develop a feel for how significantly—
for the low-pass filter—clockwise settings make the cutoff and interactively—the controls re-shape your tone. Give the
more pronounced, while counterclockwise ones blend filtered resonance a quarter-turn, and the filter and white noise get a
and direct signals. Air-signal mixes the output of a white noise foothold. It sounds like a very deep, vowel-like phaser working
generator with your guitar sound. Distort sets amount of fuzz. in the high-mid frequencies. Move the resonance and air-signal
The peak/pitch/random control, which interacts with the to noon, however, and that phasey, filtered wash becomes a hot,
pedal’s low-pass filter, is one of the keys to the ATC’s unique metallic desert wind assaulting a tin shack—a pretty cool texture
personality. The peak setting configures the filter so that guitar to have soaring along with your fuzz signal, especially if you’re
volume and pick attack determine the cut-off frequency. In into industrial sounds or Sonic Youth’s more brutal Mu-Tron
pitch mode, note pitch triggers the cut-off. In random mode, Vol-Wah tones. The real beauty of the peak setting is the way
the cut-off frequencies vary from note to note, at times creating it interacts with picking dynamics and your volume control.
drifting, radio-like undercurrents. Rolling back your volume creates progressively more vowel- or
wah-like filter effects, perfect for funk leads.
Alien Lines of Transmission The pitch setting interacts less with your picking dynamics
If you’re only worked with basic fuzzes and distortions, it can and volume, though you experience interesting filter shifts
be hard to know where to begin with the ATC. One of the as you move around the fretboard. Some notes ring virtually

clear, while others spawn grotesque Chain’s Psychocandy LP. It makes any
doppelgangers. The random setting, punky rhythm track sound like a Sahara-
meanwhile, can provide a lonely, lost-in- sandblasted slab of psychedelic haze.
space radio signal feel to quieter chord The ATC also works in fascinating CLICK HERE TO HEAR this pedal at
passages and clean leads, provided you ways with other time-based and premierguitar.com/mar2014
keep guitar mix and resonance in their modulation effects. It sounds great
higher ranges. Crank the distortion, and through a slow phase or tremolo setting.
it becomes the uncontrollable Mr. Hyde And routing those ghostly radio-static
to your distorted tone’s Dr Jekyll. These type effects through long-feedback delay
Rainger FX Air Traffic Controller
are not tones for the faint of heart, or can be positively haunting.
players looking to cop fluid, silky Eric $299 street
raingerfx.com
Johnson clean tones. The Verdict
The white noise generator can be Obviously, the Air Traffic Controller is Tones
tricky to manage at first. Rainger did a built for guitarists who like to explore
Ease of Use
great job keeping the noise and guitar the outer limits. While you can get
out of each others’ way, which makes uniquely gnashing distortion that’s killer Build/Design
the pedal much more functional than it for slash-and-burn riffing, the pedal seems Value
might have been. Some settings, though, designed to probe weirder realms. It gives
could benefit from a more interwoven experimentally minded players the tools to PROS A wealth of bizarre synth- and
feel. Interestingly, some of the coolest create standout leads, bizarro hooks, and sci-fi-style textures. Highly interactive
and variable controls. Great, aggressive
white-noise applications occur when you sci-fi sound beds and overdubs. It may be
base distortion tone. Practical, cool-
crank the distort control and roll back a bit expensive for the casually curious, but looking form factor and layout.
the resonance almost completely. Here it’s a fantastic studio tool. We suspect many
lurks the elusive fuzz-in-wind-whipped- intrepid players will find a place for this CONS A touch expensive.
blizzard grind of the Jesus and Mary maniacal little machine in their rigs.
premierguitar.com
REVIEWS
SILVERTONE
Model 1423
By Adam Perlmutter
S
ilvertone spent decades maligned as the ugly duckling on Harmony Jupiter H49), was made from 1959 through 1962
the electric guitar and amplifier pond. Because Silvertones and it’s the inspiration for the guitar reviewed here.
were relatively affordable instruments sold by Sears,
Roebuck & Company from the 1930s through the early ’70s, Tuxedo Junction
they were viewed as stepping-stones to the Fender, Gretsch, The designers behind the original twin-pickup 1423 likely used
Gibson, or Rickenbacker you’d get when you got serious. But Gibson’s Les Paul Jr. as a point of departure. And at a glance, the
since the ’90s, many vintage Silvertone guitars and amps (typi- new 1423 looks like a straightforward reissue. It’s got the same
cally those built by Harmony and Danelectro) have gained the single-cutaway body as the original with a sharp-looking black
respect and collector attention they always deserved. sparkle finish and white binding with a fine black pinstripe.
With all this renewed interest, Samick revived the Silvertone A white, foxtail-shaped pickguard is home to five black knobs
name. And in the past year, they’ve started to revisit some of and a chicken-head selector switch. The rosewood fretboard is
the Silvertone brand’s most loved designs. One of the most dressed with classy block inlays and the classic, slight, and snaky
interesting original offerings, the 1423 (also branded as the Silvertone script logo adorns the headstock.
Duncan-designed
humbuckers
Solid mahogany body
Pickup blend control
premierguitar.com
However, there are a number Being semi-hollow, examples of the brilliant twang on the bridge pickup.
of differences—both cosmetic and original 1423 fall in the vicinity of Both pickups pair well with grittier, wide-
structural—between the 1423 and its five pounds, but our reissue is more open amp settings. The 1423 also sounds
predecessor. Most significantly, this substantial at seven pounds, 14 ounces. very rich in lower tunings—with and
version is a mahogany solidbody with It’s still very comfortable to hold and without distortion—and the guitar loses
a four-screw, bolt-on neck, where the feels compact and well balanced. The none of its luster or capacity for detail in
original was a semi-hollow with a three- neck has a very comfortable C shape. dropped tunings.
screw neck. The original included a Unfortunately Silvertone ditched the Given such a nice sonic palette, I was
rosewood archtop-style bridge, but the chunkier neck profile we saw on the initially skeptical of the need for the
new version has a Tune-o-matic-style prototypes, but this current profile is a blend control, but came to find it pretty
bridge (with a retainer wire) that provides nice compromise, neither too thin nor useful. By manipulating the knob while
better adjustability and intonation. too cumbersome. Gibson players in playing, which is easy to do thanks to its
DeArmond silver-foil pickups particular will feel very much at home proximity to the bridge pickup, you can
were standard on the early 1423, with it, particularly given the 1 11/16" get a convincing rotary speaker or wah-
and the reissue comes with Duncan- wide nut and 24.75" scale length. Despite like effect—and it’s a lot of fun too.
designed humbuckers that bear a closer the less-than-ideal setup, the guitar plays
resemblance to Gretsch Filter’Trons than very well—a definite improvement over a The Verdict
the DeArmonds. typical, well-used vintage Silvertone. Silvertone’s 1423 might have an old-
Less significant details include a white The controls on the 1423 include school look, but it lacks a little of that
plastic nut in place of an aluminum nut. volume and tone for each pickup, a 3-way vintage feel that makes old guitars seem
Closed-back tuners with chrome knobs selector switch, and, for the middle position special. This isn’t necessarily a bad thing,
replace the old open-geared machines with only, an almost Rickenbacker-like blend considering that the originals weren’t
white plastic buttons. And this version has knob that rolls off the highs and boosts always the most stable instruments. If the
a pair of chrome strap buttons instead of the mids. The knobs fall in a straight Silvertone lacks vintage authenticity, it’s
a single white endpin, so you wont have line—blend, volume, tone, volume, tone. capable of producing a very broad range
to tie your strap off at the headstock. As a player accustomed to the layout on of really nice sounds, and you could make
Also, the trapeze tailpiece on the reissue twin-pickup Gibsons, this arrangement felt it your main—or only—stage guitar just
uses a slightly different design—a raised peculiar at first. It was somewhat distracting as readily as, say, a favorite Telecaster or
diamond for embellishment instead of to have to reach down toward the lower Les Paul Jr. For just around five hundred
three horizontal lines. bout to work the tone and volume knobs, bucks, that’s a pretty decent return on
Overall, our 1423 is a solidly built which, incidentally, did not have the most your investment.
guitar. The 20 frets are well dressed, satisfying taper.
if just a tad jagged at the edges of the CLICK HERE TO HEAR this guitar at
fretboard. The neck fits snug in its The Silver State premierguitar.com/mar2014
pocket and the finish is free of defects. Plugged into a Fender Blues Junior, the
Unfortunately, the Silvertone came 1423 has a rich, woody sound that’s
with a less-than-ideal factory setup that very vintage but with more modern,
caused fret buzz on notes below the 5th robust output and a lot less noise. In
Silvertone Guitars Model 1423
fret. Raising the action using the bridge’s general, the pickups have great clarity,
thumbwheels corrected this situation note separation, and detail, and even $479 street
silvertoneclassic.com
to some degree, but our review model without the blend control, they offer a
could definitely benefit from a setup by surprisingly wide range of timbres, from
Tones
a good technician. dark, jazzy tones on the neck pickup to
Playability
Build/Design
Value
PROS Updated pickups and components

make it more playable and versatile than
its vintage counterparts.
CONS Iffy factory setup. Lacks some

authentic vintage touches that made the
originals sound and feel special.

the Straight Truth About Pickups by Jason Lollar
The “magic” found in some (but not all) classic vintage pickups
was created by accident. Don’t 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 call us for a free product
highlight brochure.
Lollar Guitars PO Box 2450 Vashon Island, WA 98070 (206) 463-9838 www.lollarguitars.com
w!
N e
tremolo 2
Same great tremolo tone. Now, with 8 presets
and control via external tap tempo, expression
pedal, control voltage and MIDI, the Tremolo2 is
more powerful than ever!
www.empresseffects.com
premierguitar.com
REVIEWS
SOURCE AUDIO
OFD microModeler
By Matthew Holliman
T
he pedals in Source Audio’s Soundblox 2 series Twelve overdrive, fuzz,
must be contenders for the function-to-size and distortion flavors
ratio championship. The new OFD Guitar
microModeler, for example, assembles a variety of vintage-
and boutique-flavored gain circuits that compare favorably
to more expensive modelers into a single ultra-versatile dirt
machine. The OFD (Overdrive Fuzz Distortion) also lets
you store your presets and edit your tones in a manner few
pedals of this size allow.
Dual-Footswitch Delight
The heart of this impressive tweakability is the center knob,
used to access the distortion/amp/fuzz bank. There are
12 overdrive, fuzz, and distortion types to choose from,
Tone shape
including a Fuzz Face model (“Fuzz Façade”), a Marshall control
Plexi (“Tube Drive”), and a Mesa Boogie (“Smooth Tube”).
Once you’ve selected an effect, you can adjust its
properties via the drive, tone, and voice knobs. The tone
knob works with the tone shape button, which lets you
tweak treble, mid, and bass frequencies. You can apply a
threshold-variable gate to any of the basic sounds. The voice
knob is essentially a brilliance/presence control, helpful for
adding a little extra sheen and definition.
The dual-footswitch design allows you to store settings
to two presets, which you save by holding down the
selected switch for a few seconds. There’s also a multi-
function in/out for connecting MIDI, an expression pedal,
or Source Audio’s own Hot Hand controller. The OFD Two user-defined
arrives set to its true-bypass mode, but you can switch to a presets
relay-based buffer by powering up the pedal with the right
footswitch depressed. compensate for the difference between the new knob setting and
the stored sound. This becomes an issue if you accidentally hit
The Distortion Within either knob while playing, as I discovered by bumping the drive
A functional, navigable layout is critical to the success a multi- knob, which had been left at a high setting, while using a preset
effector—all those options don’t amount to much if they’re saved with a low-gain setting. Result: a dramatic and unwanted
impossible to decipher and use! The OFD works well in this burst of gain. Thankfully, the pedal’s two-tier design helps keep
regard, save for a few minor exceptions. your toes away from the knobs on the upper tier. Still, you must
Because the entire effects bank shares a single control set, be careful on dark stages and in the heat of performance.
making adjustments on the fly can be tricky. For example, if you While some of the effects are fine out of the box, you’ll
turn on Preset 1, the OFD activates the effect as you’ve previously probably want to take advantage of the tone shape control.
stored it. However, if you tweak the drive or output knobs even With the TS9000 overdrive engaged, for instance, my single-
slightly, the OFD must make a potentially jerky adjustment to coil guitars delivered a straightforward bite suited for most

blues and rock. The hot humbuckers to changes in guitar volume, making it super-compact package, the OFD is a
in a DeArmond M-75T, however, great for veering from rhythm to lead great place to start.
needed a bit of help from the tone shape using just your volume knob. Similarly, the
control to avoid the midrange spike “Octave Fuzz” tones become more defined CLICK HERE TO HEAR this pedal at
typical of TS-9-style effects. Boosting when you roll back your guitar’s volume— premierguitar.com/mar2014
treble and axing some mids, I crafted great for copping Hendrix-style dynamics.
a well-rounded, rich overdrive with Wrangling the “Big Pi” is a breeze with
an authoritative blues-rock bellow the tone shape parameters. It can supply
(especially through a clean Fender amp). nasal highs and heavy bottom-end fuzz,
The noise gate effectively tames the depending on how you set the EQ. Source Audio OFD microModeler
white noise that can accompany cranked $169 street
high-gain settings. I found the medium The Verdict sourceaudio.net
setting to be the most effective—the low The OFD offers a great variety of crunch
setting seems inconsistent for quieter, and gain tones in a tidy little package— Tones
cleaner settings, and the high setting can an impressively expansive sound spectrum Ease of Use
clip sustained tones if you’re not careful. for the price. There are tradeoffs, though, Build/Design
especially the fact that mid-performance Value
Solid Simulations adjustments can be tricky. While the
Most settings capture the essence of ability to save two different distortion
PROS Good quality and quantity of
the effects they emulate. That said, you types in a single pedal is a big plus, you amp/fuzz models.
shouldn’t engage “Crunch Tube” and can’t engage both at once—no cascading
expect the sound of a true Marshal Plexi. that virtual Tone Bender into the Fuzz CONS Changing preset parameters
Clearly, Source Audio put a lot of time Face simulation, for example. But if mid-performance can be frustrating.
into crafting these models. Like a Fuzz you want to cover as much overdrive/ Can’t engage both effects at once.
Face, “Fuzz Façade” is extremely responsive distortion territory as possible with a
The
Congratulations to the artists who are setting
the tone for greatness, year after year, song after song.
NEW, USED & VINTAGE GEAR

www.chicagomusicexchange.com | 773.525.7773
Proudly made in the USA. stringsbyaurora.com
premierguitar.com
REVIEWS
G&L
LB-100
By Steve Cook
T
here’s more to the story of Leo Fender’s sale of his distiller who leaves a major whiskey company to produce
storied company to CBS than “big business got involved smaller quantities of a smoother, more refined variation of the
and quality suffered.” Yet there’s no doubt that a pre- original product.
CBS instrument or amp bearing his name is very desirable.
Post-sale, Leo found a way to continue building inventive, G&L (Good and Low)
superior instruments via his G&L company. Fender passed away Introduced some 20 years ago, the LB-100 bass was a new take
in 1991, but his company carried the torch of his vision and on a traditional P that won over a number of players before
craftsmanship to this day. being discontinued. The reissue furthers the development of this
Based in Fullerton, California, G&L has been creating and classic design with modern elegance and useful refinements.
refining modern-classic guitars and basses since 1979. They When I removed the new model from its hardshell, tolex-
take a small-batch approach to building that I liken to a master covered case, I was greeted by new-bass smell and old-school
G&L Saddle
Lock bridge
G&L alnico 5
split-coil pickup
Three-tone
sunburst finish
over alder body
premierguitar.com
LB-100’s tone control, the LB-100’s voice
opened into a wonderfully aggressive yet
The bass made me want to play more and more— controlled tone that had me playing a lot
the mark of a great instrument. longer than I’d planned.
The bass simply feels fantastic. The
PLEK’d neck was like an old friend,
features. The alder body is finished with neck, which attaches with six bolts—a dependable and unwavering. The bass
a gorgeous three-tone sunburst that nice enhancement of the traditional made me want to play more and more—
reveals the attractive grain beneath. The four-bolt design. The tuners are of G&L the mark of a great instrument. While I
body is more streamlined than that of a design, and there’s a proud “Made in normally lean toward slimmer necks, the
traditional P-style bass, and its contoured Fullerton” badge on the back of the 12" radius and 1 5/8" nut didn’t feel too
back feels balanced and natural. Weighing familiar crested headstock. chunky. I was totally at home and could
in at 8.8 pounds, the instrument isn’t dig in as aggressively or subtly as needed.
too hard on the shoulders, and with zero PLEK in Effect
neck dive, I could tell right away that it The LB-100 arrived set up very well, with The Verdict
would be a joy to play. no neck issues or fret buzz. (It probably The LB-100 delivers a tight, focused
The LB-100 boasts a G&L Saddle helps G&L uses PLEK technology for sound that’s a bit more modern than a
Lock bridge. This high-mass tailpiece is a all their U.S. models.) The bass feels vintage P and does so with warmth you
substantial upgrade from a traditional P finely constructed, its assembly points can hear and feel. The more I played, the
bridge—and a welcome one, since that’s engineered damn-near to perfection. more convinced I became that this bass
one of the parts P players are likeliest There are no rough edges or odd gaps can handle any gig. It’s expertly made,
to mod. G&L winds the passive, alnico anywhere. The LB-100 sounded great and its features are well thought-out. The
5 split-coil pickup in-house, and they unplugged, with even, sustained tones original LB-100’s goal was to evolve the
designed it to replicate the tone of the from the first fret to the upper register. traditional P design, and this reissue takes
original LB-100 pickup. I plugged into an Eden CXC210 it even further. G&L has simply nailed it
The LB-100’s three-ply tortoise combo amp and went to work, starting here, both tonally and structurally.
shell pickguard is a classic, as are the with the amp’s EQ set flat and the Sure, the $1,300-plus price is a serious
knurled barrel-style volume and tone bass’s tone control halfway up. The bass investment, but it’s a sound one, especially
controls and mushroom-head strap sounded great, if slightly subdued. The given G&L’s 10-year warranty. If you’re
buttons. The maple neck is quartersawn, familiar P-bass-style tone is there, but looking for a new P-style instrument
a woodcutting process that improves the LB-100 takes it a little further with but want to venture away from the usual
stability. A rosewood fretboard tops the its wider EQ range. When I dimed the suspects, you should check out this bass.
CLICK HERE TO HEAR this bass at

Quartersawn hard-rock
maple neck
G&L LB-100
$1,313 street
glguitars.com
Tones
Playability
Build/Design
Value
PROS Superb build, tone, and playability.
CONS Not for those in the active

electronics camp.

REVIEWS
FENDER
Custom ’68
Princeton Reverb
By Teja Gerken
F
ender’s Princeton Reverb is one of history’s great amps. truer than ever in an age of better and more powerful P.A.
Introduced in 1964, it’s been a go-to amp for guitarists systems.
from rockers to jazzers, especially in the studio and for Fender stopped making the original Princeton Reverb in
gigs with modest volume requirements. the late ’70s, though the company has used the Princeton
The Princeton was never the amp for everybody, but it name for other models over the years, some of which bore little
came pretty close. If you’re working with a loud drummer and resemblance to the original. A few years ago, Fender added
like your tone clean as can be, it won’t take long to reach the a Princeton Reverb to its line of ’65 Reissues, and recently
limits of 12 watts and a 10" speaker. On the other hand, it’s introduced the ’68 Custom Princeton Reverb featuring circuit
not uncommon to hear guitarists say: “If your band’s too loud tweaks that, while less vintage-correct, are friendlier to pedals
for a Princeton, then your band is too loud.” The dictum is and deliver more modern and immediate response.
Reberb and
tremolo
premierguitar.com
to biting bridge-pickup twang with the
controls wide-open. Just for fun, I tried
a Jim Campilongo-inspired move and
turned the Princeton’s volume, bass, and
treble knobs up all the way, controlling
the volume only with the guitar. Played
this way, the amp had amazing range,
though it became hard to control the
bass response at louder volumes. When
pushed with a TS-9-style pedal, the amp
provided excellent overdriven sounds.
You’d expect this amp to have sweet-
sounding reverb, and it does. But as nice
as the reverb sounds, complete saturation
occurs with the knob at about 5 or 6,
suggesting that a different pot taper
would enable more careful fine-tuning.
The amp’s vibrato is gorgeous, deep, and
as authentic-sounding as the reverb.
Silverface Beauty Sparkly Tones The Verdict

Despite the amp’s name, Fender is It took all of one note from a Gibson The Custom ’68 Princeton Reverb is a
up-front about the fact that this is not a ES-335 with stock ’57 Classic pickups to great amp. It’s not a down-to-the-letter
strict reissue. While the amp captures the know I was going to like this amp. Even vintage replica, but for some players
general vibe of vintage units, it’s wired at living room volume, the Princeton it may prove more versatile than an
for more headroom and less negative possesses the sparkly and slightly spongy original. Yes, some gigging players need
feedback (for a more dynamic response). response you hope for from a good a little more volume than the Princeton
Fans of Fender design minutiae will love Fender amp. The nice, fat jazz sound can deliver. But anyone seeking that
the vintage-accurate silver-and-turquoise from the neck pickup had me reaching classic sparkly Fender tone at a less-
front panel and grille cloth, aluminum trim, for my Real Book. The output remained than-boutique price needs to check out
and chrome hardware. In fact, the only clean until the volume knob reached 4 the ’68.
obvious differences between the Custom ’68 or 5. This setting was loud and clean
and a vintage Princeton Reverb are on the enough for most jazz gigs. Above that,
rear panel, where there is now a standard CLICK HERE TO HEAR this amp at
the Princeton gets surprisingly loud and
cord socket, a metal cage to protects the begins to break up in a most musical way.
power tubes, and no ground switch. But what really knocked me out was how
The amp has two inputs (the second sensitively the amp responded to varying
is padded by –6 dB). Six knobs control types of pick attack and guitar volume
volume, treble, bass, reverb, and the knob settings. With the amp’s volume
Fender Custom
tremolo’s speed and intensity. A blue jewel around 6, I could go from playing clean ’68 Princeton Reverb
power light replaces the original red one. chord comps with my thumb to a more
$849 street
The rear panel is similarly streamlined: saturated sound when digging in with fender.com
there’s a fuse, an on/off switch, two speaker a pick. The amp’s inherent compression
outputs (one for the built-in speaker, narrowed the volume differences between Tones
another for an extension), a 1/4-inch TRS those extremes, which makes the ’68 Ease of Use
jack for the included vintage-style two- Princeton ideal for conveying dynamics Build/Design
button footswitch (for controlling reverb without blowing away your bandmates in
Value
and tremolo), and RCA in and out jacks louder passage.
for the amp’s spring reverb tank. I also tried the Princeton with a Squier
The tube array is vintage-correct: two Classic Vibe Telecaster Custom and loved PROS Sparkly tones. Dynamic response.
Great value.
6V6 power tubes, three 12AX7s, a 12AT7 what I heard. Played clean, the tones are
reverb driver, and a 5AR4 tube rectifier. quintessentially Fender, ranging from CONS Low-end loses some focus at
The transformer is a Schumacher, and the nice, jazzy warmth with the neck pickup high volumes.
speaker is a Celestion Ten 30. and the guitar’s tone control rolled back,

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REVIEWS
ANALOG ALIEN
Rumble Seat
By Charles Saufley
E
ven the most pedal-obsessed kook must admit there’s
something magic about sounds recorded in the ’50s and
early ’60s, before pedals could replicate everything from
a fluttering butterfly to the sound of a British stack vaporized
by a Martian plasma ray in the third week of June. Back then
electric guitarists relied on amp overdrive, reverb, and tremolo,
and maybe tape echo if they were lucky, plus whatever tricks Digital delay
a resourceful studio engineer might have up his sleeve. Yet the
sounds made via those means were often surreal, evocative, and Digital reverb
wildly psychedelic.
Now Analog Alien’s Rumble Seat gives you the ability to
approximate many of these classic formulas by combining delay,
reverb, and overdrive in a single stompbox.
Electric Orange Flake Elegance

You can’t pick up the Rumble Seat without thinking, “Man—
this, a guitar, and an amp are all I need,” and then feel the rush
of potential liberation from your overflowing pedalboard. For
many of us the rush won’t last—but I’ll bet the Rumble Seat
sells a lot of players on a more economical approach. The only drawback to the Rumble Seat’s straightforward
The Rumble Seat is a cool-looking box. Bright orange-flake design is that you can’t insert fuzz between the OD and delay/
paint makes it hard to miss, and the layout is simple and smart. reverb. Putting a fuzz in front of the Rumble Seat still sounds
Three bypass switches—one for each effect—line the bottom of great, and some players prefer that routing. But guitarists who
the unit. They’re a bit close together if you have the Rumble Seat like driving the front end of their fuzz with an overdrive must use
wedged between other pedals on your board, though if you’re a second OD pedal (which, economy aside, is always pretty fun).
using the pedal by itself, there’s little risk of hitting the wrong
switch. The proximity can be useful too, if you want to switch Ventures in Space
between all-dry and all-wet delay/reverb settings on the fly. There’s a distinct classicism in the voice of the Rumble Seat’s
The controls for each effect are positioned near their effects. All three effects also have excellent range. The “rumble
respective bypass switches. They’re color-coded (blue for reverb, drive” section, which Analog Alien says is voiced to approximate
white for delay, orange for drive) and arranged in a breaking a vintage Marshall Plexi, provides much of that circuit’s
wave pattern that makes labels easy to read and facilitates real- reactivity, snap, and capacity for muscular grit. High-gain
time effect manipulation. settings are ideal for chugging and slashing classic rock riffs,
The controls are super-simple: A single reverb knob seems and they give a blackface Fender amp a more Marshall- or Vox-
to control dwell and mix simultaneously. The delay section has like feel. I mostly used the lower reaches of the gain control,
controls for delay time, number of repeats, and wet/dry mix. dialing the output control and tone knob to approximate
The drive section has a familiar gain/tone/output knob set. a clean treble-boost combo. The drive section excels here,
While the overdrive is analog, the reverb and delay are lending color, breadth, and presence to single notes without
digital, though their tones have been fine-tuned to mimic sacrificing definition or dousing your signal in filth or excessive
analog warmth. To my ears it’s an excellent compromise: the compression. It’s a perfect setting for clean lead tones and
organic glow of analog with the clocking precision of good heavier arpeggios, especially if you’ve got a good set of single-
digital delays and reverbs. coils out front.

The rumble drive works great with the vortex that’s actually quite easy to control is a welcome and inspired exercise in
reverb and delay. The drive and reverb make and incorporate into your playing when common sense.
an especially satisfying pair, particularly at you ride the repeats and mix controls
clean boost settings. Hot boost and treble just right. The Rumble Seat’s cool layout CLICK HERE TO HEAR this pedal at
levels never overpower the reverb. They makes it easy to perform that trick. premierguitar.com/mar2014
lend a bristling yet warm wash of overtones
that can be enveloping, or a slap in the face The Verdict
when you really attack the strings. Aspiring The U.S.-built Rumble Seat delivers
Dick Dales and rockabilly fans will find excellent delay, overdrive, and reverb
this addictive setup perfectly suited for their tones. Its effects dovetail seamlessly, Analog Alien Rumble Seat
respective missions. The reverb is equally making the unit forgiving in both $389 street
happy and dynamic at lower settings, and practical and sonic terms. analogalien.com
it adds lovely, warm sweetness to arpeggios Surf guitarists and Gretsch-slinging
and languid lead runs. rockabilly rumblers will be stoked at Tones
Mellow musical settings are also a how naturally they can incorporate the Ease of Use
perfect match for the warm, forgiving, Rumble Seat into their rigs. Americana Build/Design
and authentically analog-sounding delay. players that dig the rowdier tones of Neil
Value
With a little dirt from the drive section, Young, Gary Louris, and Jeff Tweedy will
the effect sounds uncannily like my old have access to many of their aggressive,
analog Deluxe Memory Man. Echoes honey-thick sounds. Country players PROS Three warm, natural, and
classic-sounding effects in one cool,
have a dark, husky patina that I could whose tastes range from Don Rich lines convenient package.
clarify with a touch of treble from the to wilder psychobilly textures will love
drive circuit. Delay times range from this unit’s chameleonic qualities. Portable, CONS Fuzz players have no option to
25 to 650 ms. Repeats can vary from a sonically rich, reasonably priced, and route fuzz after OD.
single echo to an infinite, self-oscillating convenient as can be, the Rumble Seat
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DIGITAL REVIEWS
PROVIDENCE
Dual Bass Station
By Steve Cook
O
ne tried-and-true business plan
for pedal companies is to first
offer a few effects for guitarists,
gain notoriety, broaden their lines, and
then start offering pedals for bassists.
That’s when the delicate work begins: 2-channel
bass preamp
When a pedal company rolls out its first
dedicated bass pedal, what should be first?
Chorus, fuzz, or maybe an octave pedal?
For its first bass offering, Japan-based
Providence decided to hit low-enders at
their tonal core without wizardry and
smoke. Knowing Providence’s wares have Mid-frequency dials
been used by such heavyweights as Larry for each channel
Carlton and Steve Lukather, I was eager
to check out the company’s new Dual
Bass Station preamp.
Dualing It Well
Intended to be used as an “always-on”
device, the Dual Bass Station features
Mute switch
two channels (A and B) for maximum
headroom. It’s housed in a lightweight
yet sturdy chassis, and the switches and
knobs all feel tight and operate smoothly.
Each channel has a row of controls
consisting of a 3-band EQ with a master an internal voltage doubler that’s designed The Dual Bass Station is set up to
level control. Additionally, each channel to give it plenty of headroom. And the fact offer either channel switching with one
has a tiny midrange dial that lets you that the unit comes with a dedicated power bass (get your boosted-midrange soloing
contour the frequencies that are so critical supply that sports a low profile (as opposed on), or let you plug in two different
to bassists. to a heavy wall wart) is a big plus for me. basses and EQ each one individually. For
There are two footswitches: one for A/B I’ve had pedals that run on specialized this test run, I chose a warm and mellow
channel switching and the other to mute voltage not come with an adapter, leaving me passive vintage P and an active Warwick
the unit. The 1/4" jacks on the back are to supply the power. This can lead to sub- Streamer Pro M, which is a midrange-
inputs for each channel, a tuner, and a line par performance and leave you scratching heavy fretless. I played both basses
out. The lights on the front are incredibly your head about how the pedal sounds. through an Eden Metro combo amp.
bright—a boon for those who play in dark Out of the box, the Dual Bass Station
clubs and sun-soaked stages. All in all, it’s a intrigued me for a couple of reasons. I Max Headroom
pretty straightforward design. like that each channel is the same, which With the pedal’s EQ and volumes set
The Dual Bass Station is touted as shortens the learning curve. And because identically flat on both channels, I got things
operating on 24 volts, yet it has a 12-volt each is the same, you don’t have to be started with the Warwick Pro M. The pedal’s
adapter. So what gives? Well, the pedal has channel-specific with your instruments. semi-parametric EQ is pretty flexible, with
premierguitar.com
DR1 PREMIER GUITAR MARCH 2014
a 14 dB boost or cut for the bass controls at my flatwound basses with just a hair of a user-friendly and highly flexible EQ
60 Hz, the mids running a very wide 150 presence, but more important to me is sounds appealing, the Dual Bass Station
Hz to 1 kHz, and the treble coming in at 3 that the bass is felt more than heard. For should be next on your demo list.
kHz. With the mid freq set flat as well, the some bottom-end boost, the Dual Bass
Warwick growled in all its midrange glory. I Station delivered, and it gave me the CLICK HERE TO HEAR this pedal at
was able to tame this by rolling off the mid medicine-dropper touch of treble I like premierguitar.com/mar2014
freq knob, which mellowed out the bass while keeping the vibe of the instrument
with no further adjustments needed. intact and not masking the vintage tone.
But I like how the Warwick cuts When I came up on the overall level for
through the mix, so I pushed the mid freq the P, the pedal delivered all the gain I
back to flat and let the EQ do the work. wanted and kept the sound as clean as Providence Dual Bass Station
Small adjustments go a long way with this can be, even at high volume.
$299 street
pedal. I could boost the treble just 1/8 of providence-ltd.com
a turn and the bass opened right up with The Verdict
definition and punch. Boosting the bass Even if you have a 2-channel amp with Tones
control the same amount, I was greeted switching capability, you’re going to want Ease of Use
with an overall warming of the Warwick’s to check out this pedal. Not only does it Build/Design
tone without losing its sonic personality. sound really good, its simple approach
Value
Here’s what’s really cool about both can tame the two-bass dilemma in a
channels being the same: While adjusting simple stomp without losing the tone of
channel A, I could A/B my tweaks with your fingers or the basses. I like the mute PROS Lightweight. Great tones, easy as
pie to dial in.
the original EQ setting and not let my new switch, which helps if you are plugging
EQ settings run away from me. and unplugging, or just trying to save CONS Players hooked on features may
Next on deck was the passive P bass batteries on your backup active bass. So if want a few more bells and whistles.
that I have strung with flatwounds. I like massive, clean headroom combined with
Enter for your chance to
CLICK HERE to view the

2014 Musikmesse supplement in this issue!
premierguitar.com PREMIER GUITAR MARCH 2014 DR2

show us yours
READER PEDALBOARDS
One of our favorite pastimes is racking up good ol’ pedal envy by
ogling the setups of our fellow players. It seems you don’t tire of it
either, because pedalboard mail keeps rolling in!
Here are some of the latest board submissions, from a crafty all-in-one
board to a fuzz-sick stomper to a bunch of boxes on a cutting board.
There are plenty more where these came from (pedal lust has no end),
so check out other reader pedalboards on premierguitar.com.
1 Masaki Murashita, singer/guitarist for the metal band Hemoptyis, uses this “all-in-one” pedalboard, which
even includes a preamp (ISP Theta) and power amp (ISP Stealth). The signal goes from his guitar into an Electro-Harmonix
Switch Blade and then into a Providence PEC-2 switching system. A Providence Delay 80’s goes before the preamp, and all other
pedals reside between preamp and power amp for a cleaner sound on the crunch channel. The lead channel relies on a Providence
Final Booster. All pedals and the amp’s channel status are programmed with an RJM Switch Gizmo and the Providence PEC-2. “As
a metal guitarist, a built-in ISP Decimator G String II on my Theta preamp is a huge thing,” explains Murashita. “It kills all hiss/
hum noise without losing sustain. My board is light, and I get the same sound everywhere I go—all I do is plug my guitar in and
connect the speaker cable to the cab. No more carrying a refrigerator-sized rig to shows!”
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READER PEDALBOARDS
2 Jeff Massey and Eric Saylors of Chicago’s Steepwater Band

These two boards used by the guitarists of the Steepwater Band and were shared by John Wator of Chicago’s Daredevil
Pedals. Jeff Massey’s board features a Real McCoy RMC wah, NKT Analogman Sunface, BMF Sissyfuzz, Foxx Tone Machine, Klon
Centaur, Digilog Delay, Neo Ventilator Leslie simulator, Analogman Beano Boost, and a Uni-Vibe. Bandmate Eric Saylors opts for
a Dunlop Wah, Fulltone Deja Vibe, Ibanez Stereo Chorus, Wampler Tape Echo, Fulltone Fat Boost, Analogman King of Tone, an
A/B box, and an Ibanez TS9.
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READER PEDALBOARDS
3 Dejan Miletic Ptuj, Slovenia, native Dejan Miletic is a Strat and Tele guy who mostly noodles in his living
room for fun. Still, he’s got a pretty serious pedal collection for a bedroom guitarist. He changes things up often, but right
now he’s rocking a ’90s Dallas Arbiter England Fuzz Face, a ’90s Cry Baby Wah (“the best after trying many”), a Visual Sound
Angry Fuzz (“the best fuzz for me—very transparent”), a vintage Tube Screamer, a custom DryBell Vibe Machine (all Uni-Vibe
clones in one) made in Croatia, a TC Electronic Flashback, a Electro-Harmonix Holy Grail, and a Boss tuner.
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READER PEDALBOARDS
4 Jason Davis “My pedalboard changes as often as the attention of an 18-month golden retriever,” says Jason
Davis. “I’m addicted to fuzz pedals, so much of the tweaking and adjustments concentrate in that area. An occasional swap
of color (modulation, phaser, flanger) may come into play, but certainly not as often as those damn fuzz boxes! It really is a sickness,
those blasted metal foot soldiers!”
Davis connects his Reverend RGII via a Retro Coil by Lava Cable, feeding a Z.Vex Wah Probe, Fuzz Probe, and Seek Wah,
a Source Audio Multiwave Distortion, a Catalinbread Perseus, a Spaceman Sputnik, an Xotic Rob talk, a Blackstone Appliances
Mosfet 2S, an Xotic EP Booster, a Z.Vex Sonar, an Electro-Harmonix Superego, a Korg Kaoss Pad and a 6-channel bypass strip
(controlling an Ibanez Airplane Flanger, Voodoo Lab MicroVibe, Source Audio Orbital Modulator, Z.Vex Seek Trem, Red Witch
Empress Chorus, and MXR Carbon Copy). A Boss tuner doubles as a signal mute. Last stop is TC Electronics Ditto.
All of this feeds through a Clear Connect by Lava Cable to a Randall RM100 (all tube, “Plexi” module exclusively) with a 2x12
cab. A Pedaltrain Grande provides the platform. “It’s not much, really,” Davis concludes.
5 Dan Stinson’s board started

off as a small DIY project, but once he
started exploring pedal options, the board got
bigger and bigger. “I built the board from scratch
using pine and screws and a couple of coats of
black paint,” he explains. “I made all the instru-
ment cables myself. I also designed an LED circuit
that works with my power supply. Putting together
a custom pedalboard was a big learning curve but
it’s definitely paid off.” His signal chain includes: a
Fulltone OCD, MXR EVH Phase 90, Z.Vex Sonar
Tremolo, Z.Vex Super Hard On, ISP Decimator G
String Noise Reduction, EHX Big Muff Pi, B.K.
Butler Tube Driver, EHX POG2, 1986 Ibanez
Tube Screamer TS10 (with mods), Sonic Research
Turbo Tuner, Xotic Effects SP Compressor,
Strymon TimeLine Delay, Eventide Space Reverb,
Pigtronix/Mission Dual Expression Pedal, and a
Dunlop Kirk Hammett Signature Wah.
premierguitar.com
READER PEDALBOARDS
Rich Monks “Hi, my name’s Rich, and I’m a drive-a-holic,” confesses reader Rich Monks. He plays a Les Paul
6 Studio through a Fender Hot Rod Deluxe using this beautifully spaced pedalboard, which features a DigiTech JamMan
Delay, Boss GE-7 Equalizer, MXR Analog Chorus, MXR Super Bad Distortion, T-Rex Yellow Drive, Mad Professor Sweet Honey
Overdrive, and a TC Electronic PolyTune. “I get a great sound stacking the MXR and Sweet Honey with the drive controls set
pretty low, and I desperately need the Empress Multidrive and the Wampler Dual Fusion to make my life complete,” he says. “My
neighbors hate me.”
“I’ve gotten more compliments

on my tone with the Baby Blues “Well, Light My Fire! The Brown
than since I started playing! Sugar just kills it! I think I just
I can’t believe how good it found a new box of tricks for
sounds. I take it to a gig when my lead and crunch tones. This
I don’t know what rig will be pedal is insane! Everything
there and the Baby Blues always from full-on 70’s lead tones to
comes through with THE sound! amazing squeal and sputter!”
The Baby Blues is just amazing!”
“The Boiling Point doesn’t “The Red Dog has a wonderful

feel like a pedal. It plays like warmth with a huge bottom
a great amp, breathing and end! The sound is direct, very
reacting. It possesses musical natural, with lots of air and a
mojo of the highest order. very spacious feel. When I use
it with the Boiling Point, the
The most incredible piece of guitar sound is incredible.”
gear I have purchased in nearly
36 years of playing.”
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power – enough to keep even the most demanding T-Rex pedals pumping out pure tone.
On top of that, you get an 18V DC output (250mA) and a 12V AC output (450mA), for a
versatile wealth of ferocious T-Rex power.
Goliath includes an assortment of connector cables, and features an external voltage

selector (115V / 230V), making it ultra-convenient for international usage.
Pumping out nearly 3000mA of simultaneous power, Goliath is our mightiest power supply ever!
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READER PEDALBOARDS
7 Lennard
Schoonheim
This pedalboard hails from the
Netherlands, as does guitarist Lennard
Schoonheim. “I use this mostly with
my Squier Bass VI, which is sort of a
combination of a bass and a guitar,”
he says. “This instrument sounds
kind of odd, and I use the pedals to
enhance some of that weirdness. This
pedalboard took quite some time to
assemble because I was looking for
pedals that sounded great on guitar
and bass. It wasn’t an easy task, but I’m
very pleased with this setup now.” The
signal chain: Korg Pitchblack, EHX
POG2, MXR Blue Box, DigiTech
Whammy, Z.Vex Mastotron, Pigtronix
Aria, EHX Hot Tubes Nano, TC
Electronic Hall of Fame and Flashback.
Everything runs off a Powerplant JR
Power Supply except the Whammy,
which has its own source.
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SIGNAL ROUTING SOLUTIONS
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READER PEDALBOARDS
8 Roger Williams “I love Tube Screamer-style pedals, so when Keeley introduced his Red Dirt and Bootlegger,
I had to have them both,” says Roger Williams. “I flip-flop on which is the OD and which is the boost. One is a standard
TS-Style (Red Dirt), and the other is TS-style with germanium diodes (Bootlegger).” Both overdrives have extra-gain switches. “It’s
like having four OD pedals on the board,” says Williams. His signal chain: Fulltone Deja-Vibe, Red Dirt, Bootlegger, Keeley Katana
Boost, Keeley TR-2, and a Way Huge Echo-Puss, all powered by a T-Rex Fuel Tank Jr., on a homemade board.
9 Blake
VanHouten
calls this his “cutting board”
pedalboard, which he uses to
play blues-rock tunes. He plugs
his guitar into a Cry Baby Wah,
TC Electronic PolyTune, JHS
SuperBolt, EarthQuaker Devices
Zap Machine, Walrus Audio Jupiter,
and a TC Electronic Nova Repeater
before hitting the amp. A Visual
Sound 1 Spot powers everything.
“This board has served me well,
but I may be upgrading to a bigger
board soon,” VanHouten says. “I’m
thinking of adding some sort of
transparent overdrive, a vibe, and
another fuzz. I love fuzz!”
premierguitar.com
MEDIA REVIEWS
John Frusciante
Enclosure
St. Vincent
St. Vincent
It’s not like we need more evidence that

A dark, pounding synth pulses as John Frusciante’s falsetto Annie “St. Vincent” Clark is a stunningly
spreads over it and chants, “I’ll tell you … I’ll tell you,” in the imaginative art-rock guitarist, but here it is. We’re talking
opening track of his latest solo excursion. This juxtaposition sludge-fuzz blasts … fancy-ass Steve Howe runs … violent stop-
is just one recipe from a composer who knows how to build and-start phrasing … and that’s just on “Birth in Reverse,” the
authentically and has become extremely gifted at layering lead single from St. Vincent’s fourth studio album.
imagery over catchy melodies. Even if some of the ideas spiral Clark seems to have a honey badger’s regard for classic rock
off into dissonant directions, the parts still jell. tones. Hers are harsh, even grotesque. They blat with flat, full-
frequency distortion likely to fry the pacemakers of vintage tone
snobs. With her overstated digital effects and flatulent synth filters,
All tracks have vocals except Clark can sound downright disgusting. Yes—she’s that good.
“Cinch,” a more than six-minute But you can’t view Clark’s guitars in isolation—they’re
counterpoint to her idiosyncratic vocalizing, scuzzy synths, and
opus framed entirely by sly songwriting/programming. Singing or playing, she boasts
distorted guitar arpeggios a wonderfully eccentric sense of rhythm, one that veers from
smoove groove to dying insect. She never quite goes full Ribot
and fretboard flexing. on guitar, but she’s certainly got Marc’s knack for slashing across
the grain of the groove. Throughout, Clark displays that rarest
of guitar gifts: The ability to make you stop in your tracks every
Just as Frusciante’s last few albums were forays into the prog- 30 seconds and mutter, “What the eff was that?”
pop landscape, Enclosure uses drum machines and expansive —Joe Gore
effects to set the mood. Though Frusciante interjects guitar solos MUST-HEAR TRACK: “Birth in Reverse”
seemingly at will, some fans may feel the genius guitar playing
he’s known for is understated here, especially when compared to
the influential work of his Chili Pepper past. Yet over the nine
Temples
Sun Structures
tracks, Frusciante’s solos—like the one that kidnaps the entire
last half of “Stage”—arrive not as mere tangents, but as the main Temples stirred up quite a commotion last year
event: Guitar is an oscillating vehicle that carries his music into in the U.K. Johnny Marr and Noel Gallagher
new planes. were positively effusive, and it’s easy to hear how these master pop
Several tunes give off a refreshing ’80s vibe without going too architects fell under Temples’ spell. Hooks abound on Sun Structures,
far—think good ’80s, like Peter Gabriel but with the sensibilities and the title track is so bubbling over with cool turnarounds and
of Radiohead. Frusciante uses effects like organ sounds to create breakdowns that it’s a virtual encyclopedia of ’60s guitar pop.
depth behind his strong voice as it volleys through verses, and While Temples’ songwriting and production are thoughtful, the
he skillfully weaves complex guitar and keyboard harmonies into band borrows unabashedly from the cupboard of ’60s chestnuts.
the accompaniment. All tracks have vocals except “Cinch,” a The production clearly aims for Spector’s Wall of Sound, but just
more than six-minute opus framed entirely by distorted guitar as often recalls Tame Impala’s contemporary reverb-exotica. The
arpeggios and fretboard flexing. melodies use the snaky half-step slide from a dozen James Bond
Frusciante is pushing the limits of his singer-songwriter and themes a few times too many. And the band probably owes Marc
multi-instrumentalist palette, and the art he’s making is a good Bolan’s ghost a beer for the glam-happy “Keep in the Dark.”
marriage of groove and noodle, possessing the kind of balance Temples’ sound would benefit from a few future-facing
that keeps a song a song without getting too messy or alienating elements and a little more irreverence. But they’re ace songsmiths
the audience. It might be difficult to hear the songs as a cohesive with great ears for a hook. And it’ll be a kick to imagine where
statement across the entire album, but each individual gem is a less rigid sense of classicism could lead them next. In the
such an enjoyable capsule of creation and tinkering that it’s meantime, this is a beautifully melancholy and sugar-sweet trip
quite an adventurous and athletic listen. for anyone who savors lush psychedelic guitar pop.
—Tessa Jeffers —Charles Saufley
MUST-HEAR TRACK: “Crowded” MUST-HEAR TRACK: “Sun Structures”
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STAFF PICKS
Player’s Prerogative
Some guitarists change instruments like they change shirts—daily. This month Zakk Wylde joins PG editors as we
discuss what we’re playing right now. Don’t worry, by the time you read this, we’ll probably be playing something else.
Zakk Wylde
Guest Picker, Black Label Society
What are you listening to? Robert Plant solo records like Band of Joy, Joe Pass
solo records with just him on guitar, the new Al Di Meola Beatles tribute All
My Life—which is phenomenal—Zeppelin, Sabbath’s 13.
As of right now, when it’s time to jam the first guitar I grab is my ___
because ___. As of late, I’ll either pick up my Epiphone Masterbilt or my steel
string. Each day I pick up a different guitar. I’m in NYC jamming! So today I
was jamming on my Masterbilt with the vertigo design just to run scales.
Andy Ellis Tessa Jeffers Rich Osweiler Jason Shadrick Charles Saufley
Senior Editor Managing Editor Associate Editor Associate Editor Gear Editor
What are you What are you What are you What are you What are you
listening to? At First listening to? John listening to? Pontiak’s listening to? I’ve listening to? New
Sight, the new debut Frusciante’s upcoming Innocence. The Carney been on a bit of an Bums’ Voices in a
by Dan Bankhurst. album, Enclosure. brothers bring a Americana kick lately Rented Room LP—Ben
A gorgeous mix of It’s a punchy and smorgasbord of sounds, with Jason Isbell’s Chasny and songwriter
driving Travis picking, sometimes dissonant from drippy ’60s psych Southeastern and Levi Donovan Quinn
melodic originals, and electronica adventure rock to modern fuzz Lowery’s self-titled deliver a perfectly
instrumental versions with interesting guitar fuel to an acoustic- album. Both combine simple and infectious
of “Moondance,” “Just interjections. based ballad. heartfelt songs with distillate of Big Star’s
the Way You Are,” and As of right now, when As of right now, when rootsy, ethereal, and 3rd and Nikki Sudden’s
other classics. it’s time to jam the it’s time to jam the sometimes punky tones. solo laments.
As of right now, when first guitar I grab is first guitar I grab is As of right now, when As of right now, when
it’s time to jam the my ___ because ___. my ___ because ___. it’s time to jam the it’s time to jam the
first guitar I grab is my A Vintage FG-170 With a 4-year-old on first guitar I grab is first guitar I grab is
___ because ___. My Yamaha acoustic built the loose, too many my ___ because ___. my ___ because ___.
current main squeeze is at Nippon Gakki in things have been My current No. 1 is It’s my gal’s magical
a 2006 Gibson Les Paul Japan that my mom broken and don’t work a Mexican Fender Martin 00-15 or my
baritone with a 24-fret found in a rental home anymore, so I pick up Tele with Rio Grande Rickenbacker around
ebony ’board and stock and gave to me. I have the only guitar that pickups. The neck the house. Both are
alnico 2 humbuckers. a budget acoustic, but hasn’t been banished to profile is a little flatter great songwriting
Strung .013-.072 and this guitar is warmer the closet for its own than a vintage Tele and tools. These days, my
tuned B-B, it sounds sounding, projects safety: a very beat-up, the neck humbucker only jam essential is a
insanely burly straight well, and is just all- but great-sounding ’78 reminds me of my Fuzzrite clone built by
into a blackface Fender. around special. Washburn dread. Mike Stern phase. Jesse Trbovich.
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ESOTERICA ELECTRICA
Dime-a-Dance Guitar Romance

BY JOL DANTZIG
M
It may look like a ake no mistake about it: just assume that it will operate pretty stuff passé quickly enough that items
classic—and you
Guitar makers are angling for much flawlessly for at least a few years. don’t need to last.
know the saying
about imitation your cash. Economic realities The fact that digital audio from a cell I have some boots and coats that have
and flattery—but and our society’s consumer philosophy phone sounds worse than the telephone endured several decades of use because
will a budget dictate ruthless business strategies. technology from the 1950s doesn’t seem their build quality is so superior to today’s
guitar stand the Despite the lofty words of encouragement to bother people. Beyond the complaints standards. And if I keep them a few more
test of time? Or
is it ultimately for your art, it’s really all about the about dropped calls, we’re happy to have years, they’ll be très chic again. Indeed,
a disposable Benjamins. It’s not that this is a totally the utility of other functions. Besides, the part of the attraction to clothing from
commodity? bad thing. We’ve all got to put food on pace of technology assures us that our thrift shops is the awesome craftsmanship
the table, right? But in a world where gadgets will be outdated before they fail. and materials of the past. Sound familiar?
the basic layout and operation of the When surveying the commercial-
guitar hasn’t significantly changed in five instrument landscape, I find the playing
decades, it becomes increasingly difficult field is pretty level out there in guitar-land.
to create a “new” instrument. Almost any instrument you purchase is
The side of the road is littered with going to function, i.e., remain in tune,
the flaming wreckage of start-up guitar sound acceptable, and play easily enough to
companies that attempted to buck the accomplish your mission. The frets may last
trends. The most financially successful for a while, and the electronic components
are still the originators of the “classic” will function for a handful of years, especially
designs, or those who borrow liberally if you have five other budget guitars to share
from their playbooks. Other than that, the load. You can also feel like a member
the industry’s focus is squarely on micro- Similarly, I enjoy the convenience of of a big club, one whose membership
fashion. Change a pickguard here, a knob storing huge amounts of music on my requirements are set comfortably low enough
there, add a pickup from left field, or computer and streaming it wirelessly that anyone can join with minimal cash,
resurrect a pawnshop prize—and bingo. around my home and shop. You’d think risk, or devotion. Congratulations: You’ve
You can send me all the hate mail you that by now we’d be listening to studio- collected six mediocre-yet-passable guitars
want, but that’s the name of the game. quality playback everywhere, but the instead of one great one. That’s what passes
And there’s good reason for it. seriously degraded digital-sound files that for an acceptable life-philosophy in this day
The most astonishing fact today is that are passed off on the consumer are a joke. and age.
the build quality of entry-level instruments If it weren’t for the convenience factor, Beginning in the late 1960s, professional
has risen to a point where you can take a I’d still be playing 15 ips tape or vinyl all musicians started to recognize the decline
$200 electric to a professional gig. It might day. Oh, you say I should just get FLAC in quality of guitars as they became
not be a lot of fun, but you could get by files? Thanks, I was really looking forward increasingly commoditized. It took a while
and the audience certainly wouldn’t be any to repurchasing my entire library. Such is for the industry to catch on, but by the time
the wiser. Think of it this way: In 1954 the “engine of the economy.” the large manufacturers started catching up
dollars, that equates to about 25 bucks, The stupefying range of clothing and reissuing their glory-day designs, the
while a new Les Paul made from old-growth available via a few taps on the vintage market had established itself and
woods was retailing for just over $200 at the touchscreen is another example of how instituted its own ideals and myths. Today,
time. What that means is anybody’s guess, things have changed. Shoes, boots, pants, those aesthetics are mimicked, morphed,
but my bet would be that a $25 guitar shirts, and jackets arrive at your door and blatantly copied by builders—myself
wouldn’t have cut it back in the day either. overnight in any style, any color, and included. For me, it’s a reverence and love
Doing the math on their current, relative at lower and lower price points. It all of the classics, but it’s good business too. It’s
value will tell you all you need to know. looks pretty good at first glance, at least just a matter of which comes first.
We live in a time when manufacturing through a few dozen wash cycles. The
expertise has conditioned us to believe selling points are style and reasonable JOL DANTZIG is a noted
designer, builder, and player who
that just about anything we purchase cost, which are valid until you factor in co-founded Hamer Guitars, one of
Photo by Jol Dantzig
should work pretty well, regardless of the short lifespan of the wares. Working the first boutique guitar brands,
in 1973. Today, as the director
the price. But I think our focus is on in the favor of the merchants are of Dantzig Guitar Design, he
the wrong part of the equation. When diminishing attention spans and shorter, continues to help define the art of
custom guitar. To learn more, visit
you un-box your new cell phone, you fashion-trend life-cycles that render new guitardesigner.com.
premierguitar.com
LAST CALL
Practice Makes ... ?

BY JOHN BOHLINGER
I
n 2008, Malcolm Like most oversimplifications, sound comparable, but that’s where the
Gladwell’s book Gladwell’s theory has elements of truth, similarities end. “A Day in the Life” is
Outliers: The Story but ultimately remains a lie. If it were as a great work of art; “All My Loving” is
of Success debuted at simple as putting in the time, most of a cute little pop ditty. The Beatles were
No. 1 on The New us would be virtuosos. But honestly, I great because fate or good luck brought
York Times Best Seller could practice for 20,000 hours and still these four immensely talented kids
list, clinging to that not play as well as Tommy Emmanuel. together. Their chemistry just worked and
coveted slot for 11 Players like that are touched by the hand they encouraged each other to become
consecutive weeks. of God—or innately gifted, for you great musicians.
If you were unlucky atheists out there. Granted, Tommy plays So for all you lazy musicians out there,
enough to be the all the time and this constant playing here’s a reason to rejoice: Practicing can
Is it really child of a Tiger Mom during this time, helps him perform at his best, but what hurt your playing. If you spend 10,000
possible that the you probably wasted 20 torturous hours he does as an artist goes well beyond hours playing with a bad drummer or
“10,000-Hour every week practicing piano or violin. technical proficiency. relying on your own faulty meter rather
Rule” brought The
Beatles to this Today you’re a disillusioned 12-year-old I’m a big fan of Carol Kaye, the than using a reference like a metronome,
peak of creativity? with no friends, limited social skills, famed bassist from the Wrecking Crew. you will probably become a worse player,
and a deep-seated hatred for music. You In an interview she described a session not a better player. If you practice the
probably spend the majority of your early in her career where the leader said same patterns for hours and hours
non-school time locked in your bed- she’d been rushing on a track. She didn’t (scales, riffs, or whatever), your fingers
room playing Call of Duty: Black Ops, believe it until she heard the playback. will automatically repeat these patterns
while devouring cheese puffs and swill- Once she was convinced she had meter every time you pick up a guitar. You’ll be
ing room-temperature Mountain Dew. issues, she went home and practiced for able to execute these bits well, but who
Thank you, Outliers, for ruining thou- three days with a metronome. After that, cares? It’s going to be boring for you and
sands of childhoods. Kaye recalled, “I had it.” your audience. Like Charlie Parker said,
Gladwell bases much of his ill- Three days? I’ve spent 20 years “Master your instrument, master the
conceived Outliers on the “10,000- practicing with a metronome and, truth music, and then forget all that bullshit
Hour Rule” (borrowed largely from the be told, sometimes I’m on it, sometimes and just play.”
work of Swedish psychologist Anders I’m not. Carol Kaye did not need 10,000 You have to put in the hours to
Ericsson). The rule, as you probably hours to master her instrument and— improve your playing, but excessive
guessed, asserts that to master a given apparently—I need a whole lot more. practice does not guarantee greatness. In
skill, you need to invest 10,000 hours Does mastery really matter when it fact, it can stifle creativity or reinforce
of deliberate practice. Gladwell gives comes to art? bad habits. There’s no telling how many
The Beatles as a prime example, and Since Gladwell brought it up, let’s look hours I’ve put into music ... 30,000?
suggests that their incredible success at The Beatles again. This may sound like 40,000? I’ve made some improvement
could only have happened after they heresy to some, but The Beatles’ early and I’ve reinforced some bad habits. I’ve
performed more than “1,200 gigs work just isn’t that interesting. On their gained dexterity and had carpal tunnel
between 1960 and 1964” while in first two albums, Please Please Me and issues. I’ve improved my ear training and
Hamburg, Germany. Gladwell ignores Meet the Beatles!, there’s a 3 to 7 ratio of suffered some hearing loss. Sometimes
the fact that there were probably 100 covers to originals. These albums contain I play well, sometimes I sound like I’m
bands in Europe working this same some great songwriting, but these Beatle playing with my toes. It’s said “practice
circuit of clubs, playing the same songs sound a bit formulaic compared makes perfect,” but we also say “nobody’s
grueling schedule. If the “10,000-Hour to their later work. You can hear the perfect.” I say “pobody’s nerfect,” so let’s
Rule” were true, there would have been influence of the covers they’d been give ourselves a break.
many bands equally as good as the Fab slogging through during their club days.
Four. Also, remember that Pete Best was Their music grew much more JOHN BOHLINGER
is a Nashville musician who has
the drummer for all of these gigs. It’s compelling when they quit playing so led the band on NBC’s Nashville
hard to say why Pete got the sack, but much and instead took time to think, Star and served as musical director
of the CMT Music Awards for five
George Martin claims that Best was not experiment, and explore where music years. In addition to his “Last Call”
the best when it came to meter, so all of could go. Compare “All My Loving” column, John recently joined PG
as our full-time gear demo/Rig
this practice did not make Best a master. to “A Day in the Life.” The voices Rundown video dude.
premierguitar.com
12. – 15. 3. 2014
Spirit of music
musikmesse.com
Welcome
With this special issue of Premi- The exhibitor list you will find in
er Guitar, we want to give you an this special issue of Premier Guitar
idea of the extensive range of new is just preliminary. For an updated
products you can expect to see at overview of exhibitors please refer
Musikmesse 2014. to the exhibitor search page on our
website were you will find an up-
To help you find your way around dated list of all exhibitors of Musik-
better, we have specially marked messe 2014.
the halls where everything revolves
around guitars and basses in the I look forward to seeing you at
hall plan you will find further on. Musikmesse 2014.
All Musikmesse halls are grouped
around the Agora, the main outdoor Wolfgang Lücke
area of the Musikmesse with a mar- Director Musikmesse
quee – the Agora Stage – with two
stages where musicians and bands
perform at half-hour intervals.
The guitar, bass, amps and acces-

sories segments are extremely well
represented at the fair and we pre-
sent the most important, smallest,
most durable, craziest and extra-
ordinary products and their manu-
facturers. In a nutshell – the whole
world of guitars and basses!
Past coverage
See past coverage from the

Musikmesse show floor as seen
on PremierGuitar.com!
Photo Gallery 2013

Video Gallery 2013
Photo Gallery 2012

Video Gallery 2012
Photo Gallery 2011

Video Gallery 2011
Photo Gallery 2010

Video Gallery 2010
Floor Plan
Forum.0 ensemble: Full-range company
Forum.1 forte: Pianos, grand pianos, historical keyboard instruments, accessories
Hall 3.0 beat: Percussion and accessories
pickup: Electric guitars, electric basses, amplifiers, accessories
ensemble: Full-range company
Hall 3.1 nota: Sheet music and specialist literature
beat: Percussion and accessories
bow: Stringed instruments, accessories
tab: Acoustic and semi-acoustic guitars, harmonicas
Hall 4.0 pickup: Electric guitars, electric basses, amplifiers, accessories
Hall 4.1 wind: Brass and woodwind instruments, accessories
Hall 5.0 midi: Keyboards, digital pianos, synthesizers, church organs, accessories
ensemble: Full-range company
forte: Pianos, grand pianos, historical keyboard instruments, accessories
Hall 5.1 remix: Recording, audio/video, software and DJ equipment
Hall 5_1.B musikbiz: Sound storage media publishing labels, music publishers, studios
(audio and video), pressing shops, concert organisers, festivals and virtual
marketing platforms, institutes, academies and universities focusing on music
Shows + Events
Festival Tent Agora Stage
Festhalle PRG/LEA Stage Your guide to guitar and bass

Hall 3.Via Acoustic Stage
Room Facette
Hall 3.Via Artists of Accordeon Stage

Room Kontrast
Hall 4.1 Foyer Vintage Showroom

Messeturm
Hall 5.0 Music4Kids
Musikbiz Lounge & Congress
Hall 5_1. B Musikbiz Lounge &

Congress Center
Congress Matchmaking,
Workshops, Panels
Torhaus Festhalle
pickup: Electric guitars, Music4Kids
Service-Center Vintage
electric basses, amplifiers, Torhaus Showroom PRG/LEA Stage
accessories Agora Stage
tab: Acoustic and semi- Entrance

City
acoustic guitars, harmonicas
pickup: Electric guitars,

Entrance
electric basses, amplifiers, Dependance Hall 3
accessories
Acoustic Stage Artists of Accordeon Stage
Open to the public
on two days!
For the second time, members of This offer is aimed particularly at

the public will get the chance to children and young people, to mo-
visit Musikmesse on Friday and tivate them to visit Musikmesse.
Saturday. With the Friday Afternoon However, it is also a good opportu-
Ticket, private visitors can enter the nity for people working in the area
world’s biggest fair for everything to visit the fair as an after-work
connected with music making from event.
14.00 hrs on Friday, 14 March 2014.
With tickets costing € 5 for children Additional to the fast number of
and € 10 for adults, the fair repre- concerts, workshops and artist
sents an inexpensive opportunity to appearances at the fairground there
find out about the latest innovations will be a number of concerts in the
in the musical-instrument sector. city for your listening pleasure.
Musikmesse – the live event
for all musical tastes
With around 1,000 concerts, auto- deon, works as a showcase stage

graph sessions, workshops and pro- for artists working in the accordion
duct demonstrations, Musikmesse scene. SchoolJam, Germany’s big-
is the ‘place to be’ for all music gest competition for school-student
enthusiasts, musicians and fans. bands, is held at the PRG LEA Sta-
ge in the ‘Festhalle’ on Saturday,
Every year, the fair reflects the ex- when eight bands compete for the
hibitors’ passion for their products title of ‘Germany’s Best School
and their emotional relationship to Band’.
them. At concerts and workshops,
you can see and hear what is possi- Beforehand, the www.drums.de
ble with this huge range of musical Music Award will be presented on
instruments – music of all kinds this stage. In this case, the em-
from rock, pop, jazz and folk to hea- phasis is on the quality and artistic
vy metal and electronic music. For creativity of artists from the music
this purpose, there at three stages sector. Additionally, many exhibitors
at Musikmesse. use stars and pros on their inst-
rument to present new and inte-
The Agora Stage is the main venue resting products. At concerts, de-
and is located between Halls 3, 4 monstrations and workshops at the
and 5. There, concerts are held at exhibition stands, stars demonstra-
half-hourly intervals on two stages. te their skills and the instruments in
The name of the Acoustic Stage in action.
Hall 3 says it all. There, the focus is
primarily on acoustic instruments.
Naturally, concerts are held there,
too, on all four days of the fair. On
the third stage, Artists of Accor-
MIPA
The Musikmesse International Press Over the years, the Musikmesse

Award MIPA will be presented for International Press Award has deve-
the fifteenth time running at Musik- loped into the ‘Grammy’ of the mu-
messe 2014 on 13 March 2014. More sical-instrument / pro-audio sector.
than a hundred magazines from all The award winners are honoured at
over the world - Premier Guitar is a gala evening event with more than
one of them – select the best pro- 300 international representatives of
ducts of the musical – instrument manufacturers and distributors. An
and professional-audio sectors du- annual highlight is the presentation
ring the fair. Under the aegis of Ger- of the Lifetime Achievement Award
man MM-Musik-Media-Verlag pub- to an outstanding personality from
lishing company and Musikmesse, the sector. Moreover, the tension
international music journalists meet remains high because the names of
in Frankfurt to select the winners of the winners are not announced until
the Musikmesse International Press the ceremony.
Award (MIPA) in more than 40 cate-
gories. mipa-award
German Music Instrument
Award 2014
Hartung Guitars to receive the time, can now boast first place in the
German Music Instrument Award German Music Instrument Award.
Hartung has given his electric guitars
German guitar maker Frank Hartung a new, patented kind of cover, and
has been chosen as the winner of fulfils every conceivable wish of his
the German Music Instrument Award customers when making his instru-
2014 in the electric guitar category. ments. The exclusive and protected
This is the first time in the history of flow carving design is absolutely
the German Music Instrument Award unique in the world of guitars and
that the award has gone to an electric Hartung developed it in 2002 in his
guitar. search for a new, independent de-
sign. The contour lines run fluently
The German Musical Instrument into the surface and add a 3-dimensi-
Award is the country’s most impor- onal effect to the overall appearance.
tant award for musical-instrument It seems as if two top planks melt
makers and is given, as always, for into each other and shape a perfect
two product categories. This year, object. This striking feature is comple-
the instrument categories are elec- tely hand-made and creates a unique
tric guitar and tenor trombone (wit- design.
hout fourth valve). Sponsored by the
Federal Ministry of Economics and www.hartung-guitars.com
Technology (Bundesministerium für
Wirtschaft und Technologie – BMWi),
the awards will be presented at a
ceremony during Musikmesse 2014 in
Frankfurt on 14 March.
Frank Hartung Guitars was founded

in 2009 and, even after such a short
Exhibitors
Musikmesse 2014
Aclam Guitars (4.0 D66) www.aclamguitars.cat

Amalio Burguet S.L. (3.1 D68) www.burguet.com
AmberPickups, Wolfgang Damm (4.0 J33A) www.amberpickups.com
AMI Musical Instruments GmbH (3.1 D74) www.ami-gmbh.de
Antonio Sanchez Guitars (3.1 E76) www.antoniosanchezguitars.com
Atalaya Musical S.L.U. (3.1 E47) www.atly.es
Auralex Acoustics, Inc (5.1 A60C) www.auralex.com
Bayger Production s.r.o. (4.0 J56) www.baygereffects.com
B-BAND GmbH (3.1 C66) www.b-band.com
Bespeco Professional S.r.l. (4.0 E96) www.bespeco.it
Bestune Musical Instrument Co., Ltd. (3.1 H72) www.bestune.cn
BIGTONE Custom Amplification (4.0 J55A) www.bigtone-amps.com
Bishopsound (4.0 F33) www.bishopsound.com
Box Electronics s.c (4.0 J50) www.taurus-amp.pl
Box of Trix GmbH (3.0 A69) www.boxoftrix.de
Camac Harps (3.1 F46) www.camac-harps.com
Carl Hellweg GmbH & Co. KG (3.1 C80) www.hellweg-musikwaren.de
Carl Martin co/ East Sound Research (4.0 D62) www.carlmartin.com
Changzhou Linyin Electron Co., Ltd. (3.0 E95) www.srsound.com
Clarenzio Amplifiers (4.0 B77) www.clarenzio.com
Clear & Blue Sky Industry Co., Ltd. (3.0 G65) www.cbsky.com
CMS Cotton Musical Supply (4.0 J07) www.cms-music.de
Cole Clark Guitars (3.1 G87) www.noble-guitars.com
Cordial GmbH, Sound & Audio Equipment (5.1 B68) www.cordial.eu
CUNTZ-GUITARS (3.1 J69) www.cuntz-guitars.de
Dieter Hopf Gitarren-Atelier GmbH & Co. KG (3.1 B93) www.hopfguitars.com
Dimavery (3.0 E61) www.steinigke.de
DOGAL di Cella & C. snc (3.1 F44) www.dogalstrings.it
don´t panic die case manufaktur GmbH (3.1 H66) www.benkcube.de
As of: 17 January 2014
Electro-Harmonix New Sensor Corporation (4.0 J08) www.ehx.com
Enrico Bottelli Liutaio (3.1 H49) www.bottelliguitars.com
Enrique Keller S.A. (3.1 G77) www.admira.es
Espen Tonholz (3.1 F88) www.espen.de
EURO-UNIT d.o.o. (3.0 B57) www.euro-unit.hr
Faith Guitars (3.1 H85 / 3.1 H85A) www.faithguitars.com
Felipe Conde Guitarrero, S.L. (3.1 D83) www.felipeconde.es
Fender Musical Instruments GmbH (4.0 E08) www.fender.de
FRANK HARTUNG GUITARS (4.0 J31) www.hartung-guitars.com
Franz Sandner & Co. (3.1 G39) www.franz-sandner.de
FRED‘S GUITAR PARTS (4.0 J51) www.fredguitar.com
Freshman Guitars (3.1 F89) www.freshmanguitars.net
Gitary Mayones s.c. Halina Dziewulska Dawid Dziewulski (4.0 C85) www.mayones.com
Gittler Instruments (4.0 D59) www.gittlerinstruments.com
Godin Guitars (4.0 B10) www.godinguitars.com
Grand Reward Education & Entertainment Co., Ltd. (3.1 H65) www.faridaguitars.com
Gremlin Music (3.1 J80) www.gremlinmusic.co.uk
GROSSMANN AUDIO (4.0 C53) www.grossmann-audio.de
Guangzhou Jisheng Musical Instrument Manufacturing Ltd. (3.1 H86) www.minjisheng.com
Guangzhou Spread Music Instrument Factory (3.1 G73) www.spreadmusic.cn
Guitarras Bernabe C.B. (3.1 E64) www.paulinobernabe.com
Guitarras Francisco Esteve S.A. (3.1 B96) www.guitarrasesteve.es
Harvest Fine Leather (4.0 H19) www.harvest-guitar.com
HORA S.A. (3.1 H15) www.hora.ro
Ing. Stefan Poliacik - FLAMEMAPLE (3.1 G12) www.flamemaple.sk
Inyen Vina Co., Ltd. (4.0 J64) www.inyenvina.com
IQS Strings S.r.l. (4.0 D57) www.iqsstrings.com
J.R.G. Musica S.L. (3.1 E75) www.guitarrasramirez.com
Jay Ram Impex (3.1 H16) www.jayram-music.com
Exhibitors
Musikmesse 2014
JJ Electronic S.R.O. (4.0 B51) www.jj-electonic.com

John Hornby Skewes & Co. Ltd. (4.0 H10 / 4.1 C19) www.jhs.co.uk
Kala Brand Music Co. (3.1 H64) www.kalabrand.com
KHL Corporation (4.0 D56) www.wolfguitars3.com
Kibin Guitars CPUP (3.1 J73) www.kibinguitars.com
Ki-Sound Industrial Co., Ltd. (4.0 J65) www.kisound.net
KMS Shokai Co., Ltd. (4.0 J70) www.kms-shokai.com
Korg Inc. (3.0 B62) www.korg.com
Kremona-Bulgaria Ltd. (3.1 C79) www.kremona.com
Lenzner Saitenmanufaktur Reinhard Renz e.K. (3.1 H59) www.lenzner-strings.de
Leo Guitars (4.0 J54) www.leoguitars.com
Levy‘s Leathers Ltd. (3.0 B85) www.levysleathers.com
Line 6 UK Ltd. (4.0 E83) www.line6.com
Lodi Gabriele (3.1 F39) www.lodiguitars.com
Logemann & Waibel oHG (3.1 J60) www.lowa-holz.de
Maderas Barber, S.L. (3.1 B91) www.maderasbarber.com
Madinter (3.1 F82) www.madinter.com
MANUFACTURAS ALHAMBRA, S.L. (3.1 B76) www.alhambrasl.com
Marleaux Bass-Guitars (4.0 J16) www.marleaux-bass.com
Max Strohmer Gitarren- und Geigenbau (3.1 G24)
Mey CHAIR SYSTEMS GmbH (4.0 F66) www.mey-music.com
Music & Sales Professional Equipment GmbH (4.0 F11) www.musicandsales.com
Music Instrument s.r.o. (3.1 F45)
NBE Corporation s.r.o. (3.1 G88) www.nbe.cz
Neotech - A Division of OP/TECH USA (4.1 G07) www.neotechstraps.com
Neutrik AG (4.0 C70) www.neutrik.com
Ohana Music, Inc. (3.1 A78) www.ohana-music.com
Oliver Lang Instruments (4.0 J09) oliverlang-instruments.com
Olympia (3.0 E97) www.olympiakorea.com
OmOm S.r.l. (3.1 F47) www.omommusic.com
Pagelli Guitars (3.1 F85C) www.pagelli.com
PB GUITAR (4.0 D70) www.pelanda-baehler.com
Peavey Electronics Ltd. (4.0 EU01 / AG.0 A01) www.peavey-eu.com
Plugin Alliance LLC (5.1 B88D) www.plugin-alliance.com
Premier Builders Guild (4.0 H13) www.premierbuildersguild.com
Pro Arte fine acoustics GmbH (3.1 C75) www.pro-arte-acoustics.de
ProGuitar (4.0 B75) www.proguitar.de
PYRAMID Junger GmbH Saiten- u. Stimmpfeifenfabrik (3.1 H84) www.pyramid-strings.de
Quenzel Custom Guitars (4.0 B63) www.quenzel-guitars.de
Raimundo y Aparicio, S.A. (3.1 E74) www.guitarrasraimundo.com
Reinhardt GmbH (3.1 F73) www.bestacoustics.de
Relish Guitars Switzerland (4.0 C48) www.relishguitars.ch
Richard Cocco Strings S.r.l. (4.0 H23) www.coccostrings.com
Richter-Leder GmbH (3.1 H78 / 3.1 H78B) www.richter-leder.com
Ritter Instruments (4.0 J36)
ROLAND Germany GmbH (5.0 B38 / 5.1 C72) www.rolandmusik.de
ROZAWOOD, a. s. (3.1 D81) www.rozawood.cz
Sandberg Guitars (4.0 B97) www.sandberg-guitars.com
SAVAREZ S.A. (3.1 E81) www.savarez.com
Schertler SA (3.1 F85 / 3.1 F85A) www.schertler.com
Sever d.o.o. Izola (4.0 B81) www.severcustomguitars.com
Seymour Duncan Pickups (4.0 F13) www.seymourduncan.com
SINTOMS Ltd. Scientific, Production and Commercial Firm (3.1 H76) www.sintoms.com
Sivcak Guitars (4.0 C93) www.sollerguitars.com
SOH ELECTRONICS Co., Ltd. (3.1 G71) www.sohou.com
Sonoma Wire Works (5.1 A70) www.sonomawireworks.com
Soultool Customized Guitars Frau Antonietta Rauscher (4.0 B50) www.soultool.com
Sound Service GmbH (3.0 B82 / 4.0 E45 / 5.1 90 / 5.1 B90A) www.sound-service.eu
Exhibitors
Musikmesse 2014
ST Professional S.R.L. (4.0 J30) www.st-professional.com

Steph Accessories Inc (4.0 C60) www.stephaccessories.com
Stevens Custom Guitars (3.1 D70) www.guitars.de
Stoll Guitars (3.1 H57) www.stollguitars.de
STONECASTLE / Jan Stenborg (4.0 C55) www.stonecastle.se
Striebel Gitarrenbau (3.1 J61) www.striebelguitars.com
Strunal CZ, a.s. (3.1 F37) www.strunal.cz
Swing Guitars Co., Ltd. (4.0 J60) www.swingguitars.com
Taller de Guitarras de Juan Hernandez, S.L. (3.1 B94)
www.guitarrasjuanhernandez.com
teuffelguitars Ulrich Teuffel (4.0 B37) www.teuffel.com
Thomas Rubner GmbH (3.1 H17) www.rubner-markneukirchen.de
Thomastik-Infeld Gesellschaft m.b.H. (3.1 F20 / 3.1 F35)
www.thomastik-infeld.com
Tokai Guitar Germany (4.0 B34) www.tokaiguitar.de
TRIFF - BONE GUITAR (3.1 E79) www.thebone.ch
Trius Music Distribution GmbH (4.0 F62 / 4.0 F62A)
www.trius-music-distribution.de
Trius Vertrieb GmbH & Co. KG (4.0 F60) www.trius-audio.de
Tube Amp Doctor Musikhandels GmbH (4.0 B30) www.tubeampdoctor.com
Twood d.o.o (3.1 C67) www.tonewood.rs
ViK Guitars USA (4.0 B79) www.vikguitars-usa.com
VOVOX AG (4.0 B66) www.vovox.com
Woosung Chorus Industries (4.0 H61) www.wscmusic.com
Yorkville Sound Ltd. (5.1 A84) www.yorkville.com
ZEAL Guitars Bastian Kanbach & Oliver Reich GbR (4.0 J13)
www.zeal-guitars.de

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ROLLING STONES GEAR • MOGWAI • PRESTON REED • KLON'S BILL FINNEGAN

QUEENS OF THE STONE AGE • JOE BONAMASSA

GUITAR & BASS

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Premier Guitar [ISSN 1945-077X (print) ISSN 1945-0788 (online)] is published

The Bluetooth Bastardizer™

67 140 “I like pretty much everything under

Learn m o re at www. BO SSUS.com

Yeah Yeah Yeahs guitarist

CONTENTS March 2014 QUEENS OF THE STONE AGE • JOE BONAMASSA

GUITAR & BASS

Extending your tone life

George Marinelli plays Elixir Strings Electric

facebook.com/elixirstrings twitter.com/elixirstrings youtube.com/elixirstringsmedia

Steve Vai: 12 % LÓpez: 6 % JAZZ BOOT CAMP

Concord album, Yamaha instruments and

premierguitar.com PREMIER GUITAR MARCH 2014 21

premierguitar.com PREMIER GUITAR MARCH 2014 23

Dishing out the twang on the last

Anna Calvi delivers a set of

premierguitar.com PREMIER GUITAR MARCH 2014 25

John Mayer gets busy in Texas

KEITH URBAN FACTOID

premierguitar.com PREMIER GUITAR MARCH 2014 29

premierguitar.com PREMIER GUITAR MARCH 2014 31

Brian Jones’ Harmony Stratotone Mars H46 model was a semi-

Right: Jones wailing on his new Harmony electric.

Below: Jones’ Harmony Stratotone Mars H46—the first

premierguitar.com PREMIER GUITAR MARCH 2014 33

premierguitar.com PREMIER GUITAR MARCH 2014 35

Left: Richards played

Below: This is the

premierguitar.com PREMIER GUITAR MARCH 2014 37

My $81 Les Paul Special

1966 Fender Electric XII

premierguitar.com PREMIER GUITAR MARCH 2014 41

premierguitar.com PREMIER GUITAR MARCH 2014 43

& the sleeping souls Check out the band at www.frank-turner.com.

“Using Weber speakers, Ben’s tone on stage has hit

“It’s love. My Webers are super

W hen it’s your instrument that’s holding

The secret of tone lies in the

To learn more about Saga’s

If they ran out of rosewood or

with repair and modification work for vintage

premierguitar.com PREMIER GUITAR MARCH 2014 49

Framus Instrument Museum

Sinfonia Acoustic Guitars

At its peak, the Musima

Top Brands Including:

Getting Down to Mixing

D-28 Authentic 1937

premierguitar.com PREMIER GUITAR MARCH 2014 57

Recording has evolved considerably

Talk about the axes and amps you used

premierguitar.com PREMIER GUITAR MARCH 2014 59