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10 PREMIERGUITAR MARCH 2017
TUNING UP
Dr. Strange Love in the 6-String Abstract

BY SHAWN HAMMOND @PG_shawnh
F
or who-knows-how-many in a messy separation that costs beaucoup idol], and today youre still hyperfocused
years now, a not insignificant bucks and makes the kids hate you. on their work, its as much of a tragedy
number of guitarists have Another important aspect of as if you approached significant Homo
been referring to their instruments healthy relationships is to have realistic sapiens others the way you treated
using either given names ( la B.B. expectations. In the guitar realm, perhaps people you had a crush on as a kid.
King and Lucille) or generic third- this would translate to how you expect Its also a huge deal to realize its not
person references (e.g., My Strats to sound and play in comparison to your just the big things you do that get you
back on her feet againI just put a heroes. Because even if youve got the further along the path toward oneness
new set of pickups in her, and she sounds time to woodshed the licks, songs, and with your chosen instrument. Its not
amazing). Ill refrain from opining sounds of your heroes, you simply are just the hours spent nailing specialized
about whether thats harmless, good-old- not them and you never will benor picking techniques or sight-reading
fashioned folksiness, antiquated discourse should you be. You need to be you. or chord theory. Its also things as
unbefitting the times, or flat-out creepy Another thing: Youre not always going seemingly minor as experimenting with
(or maybe a little of each). Instead, Ill to love how you sound. Sometimes youll string gauges or tunings, or changing
just say that this quirk from the guitar- sound like ass (at least to your own overly how you approach vibrato, or identifying
o-verse recently got me thinking about critical self ) despite your best efforts musical crutches that make you feel
whether there might be some insights at mastering techniques and dialing in good or stylistic prejudices that insulate
from healthy long-term relationships with quality gear. Sometimes youll absolutely you but are probably holding you back.
significant others that might also translate hate how you sound and wonder why And finally, youve got to learn how to
to the guitar in the abstract. the hell you even bother. Everyone, from surf your guitar lifes wavesits ups and
Uhhh strange topic, Shawn. Yeah, I the greatest musicians ever (even the downs. Because lets be honest: Even though
know. But think about: Wherever the jury megalomaniacs) on down to us mortals, you really are getting better, sometimes
lands on referring to an inanimate object struggles with these insecurities. the longer youve played, the fewer big
you spend lots of hands-on, one-on- Sometimes the best thing to do victories you have. You can only learn to
one time with using expressions usually during these times of doubt is to give do something for the first time once, and
reserved for human beings with feelings each otheryou and your beloved/ the more musical terrain you conquer,
and thoughts and rights, the simple fact confounded instrumentssome space. A the harder it can be to feel like youre
is that if you get into playing the guitar stimulating, varied life away from your improving. But thats the insular view. Thats
with the expectation that its going to be guitar isnt just conducive but critical to a when you need to remember rule No. 1
a long-term thing, youre going to end up long, productive, fulfilling relationship being together with these glorious stringed
facing issues that are similar in some ways with it (not to mention with the humans noise machines for the right reasons. Thats
to what you go through in relationships in your orbit). However, unlike with when you go back and remind yourself
with actual living, breathing humans who your spouse or partner, sometimes of all the incredible experiences theyve
can tell you to get your grimy mitts off the relationship hiatus needs to be brought you and rediscover a new, wiser,
them when youre all hot and bothered days or weeks rather than a night out deeper love that enables more of those to
and making that gross solo face. And to with the guys or girls. Ive interviewed unfold. Thats when you renew your vigor
weather those issues, perhaps there are professional musicians whove said they and determination and fight off those
some transferable lessons from sentient- dont touch a guitar for months after a nagging doubts and insecurities that dog
being relationships. long, grueling tour, because they know you at seemingly every woodshed session,
For starters, you and your axes should the extracurricular time will reinvigorate band rehearsal, or gig. Thats when you
be together for the right reasons. If you them for the next go-around. remind yourself why you decided to play in
committed to this thing not because the Its also important to realize that, the first placebecause you simply cant live
music you make together fills you with during your life with the 6-string (or without the damn thing.
joy and wonder like nothing else, but however many strings you fret), youre
because you think itll get you chicks (or bound to changea lot. And thats
dudes), make you look cool at your high- good. In fact, if youre not changing
school reunion or company party, or learning, evolving, experimenting,
reel in fortune and fame, then it might pushing yourselfthen somethings Shawn Hammond
be time for a heart-to-heart with your wrong. If you started playing guitar ages Chief Content Officer
instrument. Otherwise, its going to end ago because of [insert name of guitar shawn@premierguitar.com
premierguitar.com
Tuning the
Harmony of Time
IN HONOR OF MARTIN GUITARS
2 MILLIONTH GUITAR MILESTONE
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I feel Gary, Steve Gaines, and hammered-on a couple of notes Socialize
Allen Collins dont receive the for him. I scoped his whole rig
credit they deserve. Hell, none of Fender Hot Rod DeVille, MXR
with Us!
them even made Rolling Stones chorus, etc. The band didnt seem
100 greatest list a few years back. to care at all that the club wasnt
Garys playing and tone shaped fullthey put on a show like it
what I thought guitar playing was a stadium. Definitely one of
should be. Simple, powerful, the most memorable/great shows
and just enough grit and gain to Ive ever seen. Thanks for giving
express what you need to. You him the props that he deserves!
dont have to play lightning fast Jason Robling
or have over-the-top effects to get Standback Ampstands, Washington D.C.
your point across. Just let the notes
do the talking for you. I really Just wanted to say a quick Great read from
Gary Rossington enjoy Premier Guitar and all of the thank you for recognizing one @premierguitar.
I just read the interview you content across all formats. Thank of my favorite guitarists, Jamie Looks like Im going
guys did with Gary Rossington you for being a guitar magazine West-Oram, in your Tuning to be investing some
in the February issue of your for guitarists that enjoy the purity Up column. It was really nice money in some
magazine. I wanted to say thank of what guitar playing brings. to see Jamies name in a guitar great music by
you for including this interview. Travis Clark, magazine. I was very happy, @thedavidcrosby.
When I was a 15-year-old kid in Chattanooga, TN and shocked at the same time, @WhiteRabbitObj
high school from a small town because Jamie has received very
in Georgia, a rock n roll tour The Fixx little credit for his amazing tones
with Paul Rodgers, Kenny Wayne Hey Shawn, and the way he textures up those
Shepherd, and Lynyrd Skynyrd Great article about Jamie West- awesome Fixx tunes. I find myself
came through my city. Id never Oram [Tuning Up, January channeling Jamie quite often
been to a concert in my life. After 2017]. I totally agreehes been when I play my Strat through You dont
the first two acts, it came time for one of my favorites since I first my big pedalboard, saturated know what
Skynyrd to bring the three-guitar heard the Fixx in the early 80s with chorus, compression, and slow is until
attack out and do what they do and wore out those records (still delay. The Fixx are still a great Ray Charles
best. Halfway during their set the listen to them to this day, but live band and Jamies tone and makes you
house lights dropped and a lone MP3s, of course). Cool story: chops are always spot on. By play slow [Last
spotlight hit Gary stage right. I was at the NAMM show the the way, you compared Jamie to Call, August 2016].
Then he started the opening summer of 07 or 08, cant Buck Dharma, who just happens He controlled his
notes of Tuesdays Gone .... and remember which, but it was in to be another one of my favorite bands playing and
it changed my life. I knew then Indianapolis, Indiana. After the guitarists. I never thought of them sound in a way that
and there I had to learn to play a show ended one day, I was driving as similar until you mentioned it. made James Brown
guitar. I just knew I had to play north through Indy headed for Dharma had a lot of those same seem lackadaisical
live music. After the final notes my brothers house where I was chops and tones in the 80s when and all warm and
of Freebird filled the air, I was staying (I live in the D.C. area), Blue yster Cult expanded their fuzzy. That man knew
lucky enough to catch a guitar and I passed a marquee on a sound as many other 70s rock what he wanted
pick from Gary. small-ish club that said Tonight: bands did. More on both of these and he got it. And he
Now Im 35 and Ive seen The Fixx. I slammed on my underrated guitarists please! heard everything that
Lynyrd Skynyrd 30-plus times. brakes and couldnt believe my Laura Andrews everyone was doing
Above left: Photo by Travis Shinn
I still wear that guitar pick on a eyes. My brother and I went to all the time. If you
necklace today. It was great to see them that night and it was blinked out of time he
see Gary in an interview, and incredible. The club was only
Keep those caught it and made
reading it brought back some about 1/3 full and I stood right at
comments coming! sure that you knew
Please send your suggestions,
great memories from those shows the edge of the stage in front of gripes, comments, and good words
that he knew it.
and the people I saw them with. J. W-O. I was so close I couldve directly to info@premierguitar.com. Kenneth Nielsen
premierguitar.com
CONTENTS March 2017
43 REVIEWS
All-Star 144 Rock Stock Skyline
Pedalboards
The most notable
144 Amptweaker Bass
stomp stations TightMetal Jr.
from last years
Rig Rundowns. 145 IK Multimedia Fender
Collection 2
66 145 BAE Hot Fuzz 156 Bullhead Matador
History of 146 Paul Reed Smith Sonzera 50 159 Joe Gore Gross
the Plectrum
About a century ago, 148 Supro Westbury 162 Epifani Piccolo 999
plectrum innovations
sparked a tone and
150 G&L Kiloton 165 Daredevil Red Light District
technique revolution. 153 Digitech Whammy Ricochet 168 DAngelico Premier SS
172 74 82 91 98
Reader Kristin Hersh The Dean Harvey Mandel Luke Temple
Pedalboards The Throwing Muses Ween Group A psych-blues hero Nylon-string picking
Our eclectic audience cofounder releases her An alt-rock wild man celebrates trippy and space-conscious
shows us unique ways muscular, riff-heavy, brings his Fender- tapping, extreme arrangements enchant
to wire up and fire ninth solo album. fueled A-game. vibrato, and his new solo album.
up a board. backwards soloing.
I lost out to Ron Wood because Keith 113 126

Richards wanted to keep the band Oozing Wound Aziza
all-English. Still, I did come real close This Chicago thrash Dave Holland and
trio takes the crude Lionel Loueke reveal
to becoming a Rolling Stone. metal shtick outside the vision behind their
Harvey Mandel, p. 91 the norm. jazz quartet.
Photo by Andy Ellis
p. 66
premierguitar.com
On the Cover: PRO (& READER) PEDALBOARDS DEAN WEEN HARVEY MANDEL OOZING WOUND
MARCH 2017
Red Hot Chili Peppers guitarist
MARCH 2017
Josh Klinghoffers pedalboard. RIG
NS
RUNDOW H
MESHUGGA
Photo by Perry Bean

&
DAVE COBB
CONTENTS March 2017 ALL-STAR

PEDALBOARDS
CHRIS ROBINSON BLOC PARTY
RHCP MODEST MOUSE
BRAD WHITFORD BAND OF SKULLS
premierguitar.com
TIM COMMERFORD THRICE
13
12 Tuning Up
GUITAR & BASS REVIEWS
PRS / SUPRO / DIGITECH
IK MULTIMEDIA / G&L / & MORE!
26 Reader Guitar of the Month

27 Opening Notes
170 Staff Picks
206 Esoterica Electrica
208 Last Call
I would love
to see Eric GEAR
Clapton dust off 22 Gear Radar
his Marshall,
grab his Gibson
34 Rig Rundowns
335, and have 38 Vintage Vault
a woman tone 40 Bottom Feeder
party during the 72 Tone Tips
halftime show.
Jonny Lam,
142 Tools for the Task
Staff Picks, p. 170
HOW-TO
106 Acoustic Soundboard
108 The Recording Guitarist
110 Speaker Geeks
p. 34 122 On Bass
124 Bass Bench
134 State of the Stomp
136 Mod Garage
138 Ask Amp Man
Top left: Photo by Christophe Pauly
premierguitar.com
Raise Your Voice
A New Series I Elevated Features I Limitless Possibilities
2017 Fender Musical Instruments Corporation. FENDER.COM

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Purling Hiss and the Shelters notation PDFs.
The first thing we noticed about Mike Polizze, guitarist for psychedelic rockers Purling Hiss
(above left), is his modded Ampeg VT-22. You dont see many Ampeg guitar amps these days, but RHYTHM IS KING
Bob Marleys
they were a big deal in the early 70s, especially for the Rolling Stones, who were the first band Hypnotic Pulse
to use Ampegs muscular V series amplifiers when they brought the prototypes on their 1969 By Joshua Ray Gooch
American tour.
CRAM SESSION
That amp is the bedrock of Polizzes tone, and he keeps it loud, onstage and in the studio. While Thrash-Metal Rhythms
recording Purling Hiss new album, High Bias, he baffled the 120-watt behemoth to keep the By Jamie Humphries
volume manageable, yet still capture a raw, vibrant sound. We had a big foam thing that we put
BEYOND BLUES
over the amp, Polizze says. We used headphones, but it still felt live. In our interview, Polizze
John Scofield
discusses his improvisatory style and how he keeps a Strat in tune despite overworking the tremolo. By Levi Clay
We also spoke to the Shelters (above right) 6-stringer Josh Jove about the groups self-titled
DIGGING DEEPER
debut record, which they created under Tom Pettys mentorship, using his studio and all his
Developing a
amazing vintage gear. The Shelters are currently figuring out how to translate these songs to a live Funk-Guitar Orchestra
setting on their current tour, so head online to see the utilitarian gear choices theyve made. By Donna Grantis
Above left: Photo by Constance Mensh Above right: Photo by Brantley Gutierrez
NEW FOOTAGE!
Monday Morning Live
Isnt Facebook Live the darndest thing? Tune in to Premier Guitars
Facebook page for Monday live feeds with Nashville correspondent
John Bohlinger, who will give first looks at the newest gear, fresh for
review from the delivery truck. For these spots, Bohlinger plugs in and
plays through something drool-worthy, while providing brief specs and
unscripted commentary. Of course, we do in-depth reviews of these
featured instruments later, but this gives you a chance to see more of the
gears versatility, and offers a preview of what were working on and what
to look forward to. Well also keep these videos available on our website,
in case you cant make it to the live feed. (We know some folks have day
jobs!) Head online now to watch First Look: Supro Westbury and
First Look: American Professional Stratocaster.
premierguitar.com
GUITARDOMS
TOP TWEETS
My pedal steel weighs too much.
The case is bright pink. Think Ill name
her miss piggy #oink #diet #daaamn
@lizlawrence10
I knew about James Taylor about

six months before anybody.
- Dad #dadbrag
@NikiGlaser
Shuffled through some old pics at my

folks house and came across this early WALRUSAUDIO.COM
(promo?) shot. Circa 90. #parentsidea
@seancwatkins
And then the Berklee masterclass

instructor said find the names
of working musicians and send
them unsolicited friend requests
on Facebook
@doucheyhiredgun
Time for some acoustic tracks with my

signature series @MartinGuitar #guitar
@KWShepherd
premierguitar.com PREMIERGUITAR MARCH 2017 21

GEAR RADAR
New products on the horizon.
1 2 3 4 5
ESP EBS MORLEY TRACE ELLIOTT STOMP AUDIO
LTD Cult 86 Black Haze DJ Ashba ELF Octopus
This tribute to the guitar This bass drivevoiced Skeleton Wah Packed inside this quaint Based on an analog
that Vernon Reid used darker than most The former Guns N Roses broccoli-colored enclosure circuit, this monophonic
on Living Colours Vivid dirtboxeshas a 3-level guitarist worked to develop is a 200-watt powerhouse octave pedal uses simple
features an alder body, a character switch to boost this switchless wah that that offers three different volume controls for both
bolt-on neck, and a trio of or cut certain frequencies, uses an electro-optical modes: uncompressed, the octave up and octave
EMG pickups. Also included dual drive engines, and system rather than a variable multiband down effects, plus an
is a Floyd Rose Special low-range compensation traditional potentiometer. compression, and overall mix control. Theres
locking tremolo for Reids for improved performance It also uses a custom MQ2 overdrive. Around back are also a gain circuit on each
trademark dive bombs. with bass. inductor thats tuned to studio-quality XLR outputs octave control that adds a
$1,149 street $119 street Ashbas specs. Bonus: It and a ground lift switch. heap of push.
espguitars.com ebssweden.com glows in the dark. $399 street $199 street
$145 street traceelliot.com stompaudio.com.br
morleypedals.com
premierguitar.com
9
6
10
6 7 8 9 10
NEUNABER MAGNETIC EFFECTS VOX RATTLESNAKE SCHECTER
Iconoclast Guitar Zola MV50 CABLE COMPANY Apocalypse
Speaker Emulator Inside this clean boost Utilizing Nutube Snake Head Series C-1
Placed after a pedal chain sits a voltage multiplier technology, this compact Guitar Cable Designed for extreme metal
or preamp, Iconoclast that bumps 9V up to a amp comes in three This oxygen-free copper playerswith an aesthetic
shapes a guitars tone as whopping 30V for an different flavors: AC, Rock, cable is milled in the U.S., to matchthis super
a speaker cabinet would, immense amount of and Clean. Each one boasts with a capacitance of strat is constructed with a
and outputs directly to headroom. A 2-band a hefty 50 watts and 2025 pF/foot. It uses swamp-ash body, a 5-ply
headphones, powered boost/cut EQ allows you features speaker and line/ strong quality Neutrik maple/bubinga set neck,
speakers, a mixer, or a to tighten the lows, add headphone outputs. Oh, plugs and the durable ebony fretboard, rust grey
recording interface. It sports sparkle to the high end, and it only weighs a pound. outer poly-weave is finish, and Schecters USA
a built-in noise gate, too. or deal with different $199 street available in seven colors. Apocalypse pickups.
$249 street pickup outputs. voxamps.com 10' ($55 MSRP); $1,089 street
neunaber.net $131 street 15' ($60); and 20' ($65) schecterguitars.com
magneticeffects.net rattlesnakecables.com

GEAR RADAR
Contd
11
14
15
13
12
11 12 13 14 15
VOODOO LAB FENDER TV JONES T-REX EFFECTS DANGELICO
Dingbat Power American Ray Butts Replicator Module Premier EXL-1
Pedalboard Professional FUL-FIDELITY Housed in a compact Built upon John
Each board comes with a Jaguar FilterTron rackmount-ready setup, DAngelicos original
roadworthy gig bag and Still as cool as it was in 62, This mission was simple the Replicator Module design, the companys
a pre-wired power supply this Jag has new flair with for TVs Tom Jones: uses much of the same flagship model has been
(non-powered boards are its Michael Frank-designed building the most original technology found in the added to the Premier
available, too). The Dingbat V-Mod single-coils, an and authentic reissue of stompbox. New studio- series. The 17" body comes
comes in three different added treble circuit to a FilterTron pickup to friendly options included loaded with a custom mini-
sizes and can be paired maintain highs when the date. Now you can get the are CV inputs accepting humbcucker and laminated
with the PX-8 Plus true volume is decreased, a Jag FilterTron Chet Atkins used 0-5 volts and a filter maple back and sides.
bypass switching system. bridge with brass Mustang for his high-fidelity tone, switch that dampens high $750 street
$229 street saddles, and a vintage- with an even, flat response. frequencies on the repeats. dangelicoguitars.com
voodoolab.com style floating trem. $175 (chrome) street; $899 street
$1,449 street $180 (gold) t-rex-effects.com
fender.com tvjones.com
premierguitar.com
16
20
17
19
18
16 17 18 19 20
REUNION BLUES ZORG EFFECTS MOOER CARR AMPLIFIERS WYLDE AUDIO
RB Continental Oppressor Devin Townsend Mercury V Odin Genesis Grail
Voyager Series The French companys new Signature Ocean The 16-watt, 6V6-powered Bullseye
Guitar Cases optical compressor offers Machine Mercury V, the older British Reminiscent of one of Zakk
The ergonomic features of nine different combinations The prolific producer cousin of Carrs award- Wyldes Ozzy-era axes, this
the original RB Continental of attack and release and guitarist didnt winning Skylark, is back new model features a hefty
are improved upon for this settings via two aptly want everything in his with evolved features like maple cap over an all-
series. Upgrades include marked toggle switches. signature stomp, but a 3-position boost switch, mahogany body. Naturally,
1-thick, shock-absorbing It also includes a Bad almost everything. It a redesigned cabinet using the Odin uses a pair of
Flexoskeleton panels, an switch that adds more contains a delay generator North Carolina pine, and a EMG pickups (81 and 85)
extra-reinforced neck brace, gain. The red LED light with 17 options, reverb, a recording/PA line out. along with a TonePros
and a palm-contoured indicates just how much looper unit with 32 MB of $2,530 street (1x12); Tune-o-matic bridge and a
handle with a foam core. compression is dialed up. storage, and space for 24 $2,490 (head) Graph Tech TUSQ nut.
$189 street $191 street user presets. carramps.com $1,119 street
reunionblues.com zorgeffects.com $299350 street wyldeaudio.com
mooeraudio.com

READER GUITAR
OF THE MONTH
Name: Conrad Warre
Hometown: Boston, Massachusetts
Guitar: Acid-Blues Frankenstrat
As a guitar player, my
Achilles heel is the size
and shape of my hands,
and I can never get used
to the predominate
Fender Strat neck shapes
C, D, and U. I prefer the
V-shape neckI grew up
playing a medium V Strat
neck and stick with this
shape as much as I can.
Which leads me to the
pilgrimage I made to find
my perfect guitar.
I tried a Tom Anderson Classic and was
impressed with the versatility of the pickups,
so I went out of my way to find a set of Tom
Anderson SA stacked-coil pickups on eBay.
It took several months of lurking, but once I
found them, I assembled the rest of the parts
to make my dream guitar. A lightly used
Relic Master V-shaped maple neck appeared
on eBay, and I scoured my local Craigslist
for a Mexican Strat tremoloed body. At that
point I took all the parts to the renowned
luthier Jim Mouradian. He hard-tailed the
bridge perfectly, routed out a little more body
space for the stacked pickups, and built me
an incredibly playable guitar with individual
coil-splitting on each of the three pickups.
He added a 5-way Fender selector switch,
which allows 15 different voicings, including
single-coil out of phase with a humbucker,
which I havent seen elsewhere yet!
Strangely, the Blue Agave-colored body
attracts a lot of attentionmore so than
the wiring. But most friends and fans of
Bees Deluxe, my acid-blues band, love the
tone. Im able to roam well-known and
recognizable guitar sounds ranging from
the high-end squall of a Tele to the lupine
howl of a Les Paul. Much of my tone is
derived from my hybrid-picking style, but
I wouldnt trade this guitar for any other. It
feels and sounds like home to me.
On a sad note, Mouradian passed away
on January 14 after playing a show with
Ronnie Earl. All the Boston-area musicians
who knew and respected Jim are in a state
of grief. He will be sorely missed.
845.269.8275 / hahnguitars.com Send your guitar story to

submissions@premierguitar.com.
premierguitar.com
OPENING NOTES
John Doe
December 28, 2016
The Roxy
West Hollywood, CA
Photo by Steve Rose
The bassist for iconic punkers

X digs into his 63 Fender P on
the last leg of the bands 40th
anniversary tour. Does long been
seen with a Precision in hand,
and his No. 2 has visibly enjoyed
plenty of heavy action, but its had
little in the way of mods beyond a
repaint job and some wood added
around the bridge by the previous
owner. P basses have the solid,
opaque tone thats both low and
distinct, says Doe, who always
uses flatwounds. Especially if the
tone knob is turned back a bit.

OPENING NOTES
Tim Wheeler
December 11, 2016
O2 Ritz Manchester
Manchester, England
Photo by John Gilleese
Ash frontman Tim Wheeler slams

his long-time sparkly companion,
the 1995 Gretsch Silver Jet he
purchased while on the bands
first U.S. tour that year and
used as his main guitar for the
recording of their debut album,
1977. Though Wheeler had his
tech glue down the floating bridge
soon after acquiring the guitar,
he has otherwise kept it stock.
Wheeler says, This year is the
20th anniversary of our debut
album, and weve been on tour
playing the album in full, so I had
to bring the Silver Jet out.
premierguitar.com
OPENING NOTES
Gus G.
December 10, 2016
Maasvallei
Maasmechelen, Belgium
Photo by Christophe Pauly
New to the Jackson roster as of

2016, metal-phenom Gus G. lets
it all ring out with his new No.
1, a signature-model prototype
built by Jackson master builder
Mike Shannon. Its packed with
features such as a beveled-ash body,
custom Evil G inlay at the 12th
fret, and Seymour Duncan Gus
G. Fire Blackout humbuckers that
are governed by a single knob for
volume. The specs are similar to
what Ive played for many years,
but the sound is huge on this
guitar, says Gus. It only weighs
about 7 pounds, but the sound is
really thick and the EQ of the tone
is well balanced.
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RIG RUNDOWNS
DAVE COBB
FACTOID
Cobb currently
serves as the
producer-in-
residence of the
legendary RCA
Dave Cobb had a Studio A.
big year in 2015
and has moved his
studio to Nashvilles
legendary RCA Studio
A. Between sessions,
he took PG on a gear
tour, where we were
treated to a bevy of
vintage beauties.
GUITARS
Top left: Cobb keeps
a ton of vintage gear
handy for anybody
recording in his studio.
His arsenal of guitars
includes this 1952
goldtop Les Paul. At
some point it was
converted to a 57 style,
with a neck reset, stop
tailpiece, and vintage
PAF pickups.
Top right: This 1960

Gibson ES-335
attracted Cobbs eye at
Guitar Center because
of the faint remnants of
a Rebel sticker on the
upper bout.
Bottom left: Originally,

Cobb thought the
red finish on this
1966 Fender Esquire
was the work of an
inexperienced DIY-er,
but it turns out thats
whats left of the Fiesta
Red original finish.
Bottom right: Heres an

all-stock 1957 Fender
Esquire that Cobb keeps
handy. It was a recent
acquisition from fellow
Nashville 6-stringer
Tom Bukovac.
premierguitar.com
AMPS
Left: Earlier this year,
Cobb purchased this
1959 tweed Fender
Champ. According to
Cobb, he never turns it
past 3 or 4just mic
it up and it sounds like
a record.
Below: At first glance

this might look like a
rather standard 1965
Fender Deluxe, but the
guts were revamped
by famed amp mystic
Alexander Dumble.

RIG RUNDOWNS
Fredrik Thordendal, Mrten Hagstrm, & Dick Lvgren
MESHUGGAH
FACTOID
Rolling Stone
labeled Meshuggah
one of the 10 most
important hard
rock/heavy metal
Premier Guitars bands.
Perry Bean hung out
with Meshuggahs
tech, Kent Eriksson,
who walked us
through the bone-
crushing, cabinet-
free rigs of Fredrik
Thordendal, Mrten
Hagstrm, and Dick
Lvgren, the three
Viking warriors of
the extreme prog-
metal apocalypse.
GUITARS
Top left: Fredrik
Thordendals newest
addition to his
arsenal is this 2016
Ibanez LACS (Los
Angeles Custom Shop)
Stoneman with three
Lundgren M8 pickups
and a push/pull
coil-split option. This
Stoneman, like all of
Thordendals axes, is
strung with DR Tite Fit
(.009.072) strings and
is tuned FB%E%A%D%
G%B%E%.
Top right: Mrten

Hagstrms main guitar
is his Ibanez LACS M8M
with an alder body and
one mighty Lundgren
M8 pickup. This one is
tuned a half-step down
with a foam mute and
strung with DR Tite Fit
.009.070) strings.
BASS
Bottom: Dick Lvgrens
main bass is his 2015
Zon Guitars DLX5 with
Aguilar Pickups and DR
(.040.0120) strings. He
tunes to B%FB%E%A%.
premierguitar.com
AMPS & EFFECTS
Top: Both Fredrik and
Mrten use the same
amp and effects setup.
After hitting their
respective Shure ULXD1
wireless units, each
signal path runs through
a custom preamp pedal
(which is always on)
designed by Mike Fortin
of Fortin Amps.
Middle: After the

preamp, the signal
feeds one of these
120-watt Randall Ola
Englund Satan heads.
The amps are used
for heavy rhythm
parts only.
Bottom: The line out

from the Satan goes into
a Two Notes Torpedo
Live before the Fractal
Audio Axe-Fx II XL.
Fredrik loads his Axe-Fx
units with custom cab
impulse responses
that then go to the PA
and the bands in-ear
monitors. The Axe-Fx is
used for solos, effects,
and cleaner tones.

premierguitar.com
VINTAGE VAULT
1957 Fender Pro

BY DAVE ROGERS, LAUN BRAITHWAITE, AND TIM MULLALLY
T
he Fender Professional (shortened The 1957 Pro pictured has the The 1957 Fender Stratocaster posed with
to Pro after 1947) debuted in specifications typical for the model that the amp has the standard features for that
1946 and was aimed at players year, as listed in the 57 Fender Catalog: year, which include an alder body with a
who needed more power than the original The Pro Amp features the solid-wood two-tone sunburst finish and a V-shaped,
1x10 Deluxe amp provided. The 1x15 lock-jointed cabinet, covered in brown- one-piece maple neck. The plastic of the
Professional started out with the same and-white-striped airplane luggage linen. pickup covers and knobs tended to yellow, in
style woodie cabinet as the Deluxe and It features the top-mounted chrome-plated contrast to the stark white of the pickguards
the Princeton, with three long metal chassis with the following controls: bass, of this period. The Strats original price was
Opposite page:
protectors mounted across the grill cloth. treble, and presence tone controls, two $274.50. The current value is $25,000. A truly classic
By 1947, the Pro and the rest of the volume controls, four input jacks, ground Sources for this article include: Fender combination
amp line obtained a tweed covering and switch, on-and-off switch, and stand- Amps: The First Fifty Years by John Teagle for vintage
a TV-style front. This look lasted until by switch. It employs a heavy duty 15" and John Sprung, The Soul of Tone: tone fiends: a
1957 Fender
1953, when a wide-panel cabinet took Jensen speaker and is capable of producing Celebrating 60 Years of Fender Amps by
Pro amp with a
over and remained standard until 1955. considerable power without distortion. Tom Wheeler, Fender: The Inside Story by Stratocaster from
The 55 Pro got the same narrow-panel Two 6L6G tubes provide about 26 Forrest White, and The Fender Stratocaster the same year.
look as the rest of Fenders amps, but watts of power. Interestingly, the tube by A.R. Duchossoir.
retained only one tone control for the rest chart inside the amp is marked with the Bottom left:
In 1956, the
of the year. It wasnt until 1956 that the earlier 5E5 designation (with one tone four-input Pros
DAVES GUITAR SHOP
Pro was upgraded with bass, treble, and control), whereas the amp is clearly a Dave Rogers collection is tended by Laun Braithwaite control panel
presence controlsas reflected in Fenders 5E5-A model (with bass, treble, and and Tim Mullally and is on display at: was upgraded
Daves Guitar Shop
recent reissue of the amp as the 57 presence). The 1957 list price was 1227 Third Street South from a single
La Crosse, WI 54601 tone control
Custom Pro. The original Pro remained $264.50. The current value for one in davesguitar.com to bass, treble,
unchanged for the rest of the decade. excellent all-original condition is $4,500. Photos by Mullally and text by Braithwaite. and presence
chicken-head
dials.
Above: Heres a
quirk: Although
this amp, with its
expanded tone
control array, is
clearly of 5E5-A
construction,
the tube circuit
diagram inside
is for an earlier
5E5 build.

BOTTOM FEEDER
Click here to
hear this guitar.
1994 Korean Epiphone Sorrento

BY WILL RAY
E
Photo 1: With very now and then, when Im 2
a single horn, surfing eBay, I run across a
vintage-style
guitar that just speaks to me
finish, and
double-dog- with its picture. This 1994 Korean-
ear-P-90 array, made Epiphone Sorrento is one of those
this 1994 Korea- guitars. From the moment I laid eyes on
built Sorrento it, I was smitten by the way it looked. Its
conjures the 1
vibe of classic
kinda like when you first saw your future
Gibson ES-125s. spouse walking down the street and had
love at first sight. Kinda.
Photo 2: The What really spoke to me was the
guitar arrived
vintage-looking sunburst finish with
with a defective
neck pickup, the two black P-90 pickups, instead of
so after a the usual chrome ones. The missing
little price pickguard only seemed to enhance its
renegotiation, a beauty. To me, it resembled an old
replacement was
acquired and
Gibson ES-125, with its cool sharp
this Epiphone cutaway. I knew I had to have it, so I
was back on its bookmarked it and waited patiently until
tonal track. the end of the auction to put in a snipe
bid. I ended up winning it for $405,
including shipping.
When I received the guitar a week
later, it looked even better than in the
pictures. It had nice low action and played When you
like butter. But there was a problem.
When I plugged it in, the neck pickup
receive a guitar
seemed to produce an intermittent off eBay with a
signal. At first I thought it might
be the pickup selector switch, but problem, see if
I eventually traced it to the pickup
itself. When I tested it with a VOM
the seller will
meter and tapped it, I came to the give you back a
conclusion the pickup had a short
in the windings and needed to be partial refund so
replaced. Bummer! So, I contacted the you can get the
seller, explained the problem, and asked if
he would give me a partial refund of $30 problem fixed.
so I could replace the defective pickup.
He reluctantly agreed, and so I ended even if the seller had refused the partial need to let one go now and then to help
up actually getting the guitar for $375. refund. I wanted it that bad!) finance others, but this one never fails to
Bottom Feeder Tip #882: When you Anyway, I replaced the neck pickup excite me when I play it. Thats the sign
receive a guitar off eBay with a problem, with a black dog-ear Seymour Duncan of a keeper!
see if the seller will give you back a partial and all is well now. How does it sound?
refund so you can get the problem fixed. Awesome! Im a real P-90 fan and WILL RAY is a founding member
of the Hellecasters guitar-twang
If theyre smart, theyll realize that its Seymour Duncan, in my opinion, makes trio. He also does guitar clinics
promoting his namesake G&L
better to refund a portion of the price the best-sounding ones. Listen to the signature model 6-string, and
rather than have an irate buyer ship the sound sample and hear for yourself. produces artists and bands at his
studio in Asheville, North Carolina.
guitar back for a full refund plus shipping. So is it a keeper? Probably. Im realistic You can contact Will on Facebook
and at willray.biz.
(For the record, I wouldve kept the guitar about guitars and know that sometimes I
premierguitar.com
ALL-STAR
PEDALBOARDS
From classic-rock simplicity to indie-tweakers delight:
Premier Guitar chronicles the most lustworthy stomp stations
from the last years worth of Rig Rundowns.
Photo by Perry Bean
| BY THE PREMIER GUITAR STAFF |

For more on Robinsons
pedalboard, click here to
Chris Robinson Brotherhood

watch the Rig Rundown.
Chris Robinson runs a cable from his guitar to his Boss TU-3
tuner. From there, it hits a Vox Double Deca delay, MXR Phase
99, Lovepedal Eternity Drive, BearFoot FX Model H, and an
MXR Carbon Copy delay.
premierguitar.com
Riversides cascading gain stages create harmonically
rich drivesfrom silky clean overdrives, saturated
distortions, and all points in between.
Exceptional touch sensitivity comes courtesy of our

all-analog JFET gain stage, while our precision-crafted
DSP gain stages generate dynamic complexity and
pleasing harmonics. Continuous circuit adjustments
are made as you turn the Drive knob, allowing the
sweet spot to follow you at every gain level.
strymon.net/riverside
For more on Casals
Chris Robinson Brotherhood Contd

Jordan Rigg at JRIG Pedalboards built the tone station that sits a Topanga reverb), EarthQuaker Devices (a Terminal fuzz, an
at Neal Casals feet every night. Before hitting the board, his Arpanoid pitch arpeggiator, and a Grand Orbiter phaser), and
signal goes through a Sarno Steel Guitar Black Box tube buffer. Strymon (Lex rotating speaker pedal and Orbit flanger), as well
From there, it goes to a Road Rage looper that accesses various as a Dunlop Cry Baby 105Q bass wah, a 3Leaf Audio Proton
combinations from a big pile of effects, including several pedals envelope filer, a Chase Bliss Audio Gravitas trem, and a Korean
from BearFoot FX (a Honey Beest OD, a Pale Green compressor, Klon Centaur clone. All the cables were built by Kidd Candelario,
and a Baby Pink booster), Catalinbread (an OctaPussy, an amps are switched with a Divided by 13 Switchazel A/B box, and
Echorec, a Montavillian echo, a Belle Epoch Tape Echo, and tuning is accomplished with a TC Electronic PolyTune 2 Noir.
premierguitar.com
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For more on Commerfords
Tim Commerford
Rage Against the Machine and Prophets of Rage bass legend

Tim Commerford runs a 20' cable directly into an EBS
MultiComp, which feeds an Ampeg SCR-DI and a homemade
mute/splitter that also feeds a Peterson SC5000-II strobe tuner
(not shown). From there, Timmy Cs signal hits a Countryman
DI, an A/B box that switches between his two Ampeg heads,
a Custom Audio Electronics Line Driver, and a Dunlop Cry
Baby Mini Bass Wah. A TC Helicon Mic Mechanic is used for
vocals, and the entire pedalboard is powered by a Voodoo Lab
Pedal Power 2.
premierguitar.com
CELEBRATING THE 40TH
ANNIVERSARY OF
BOSS EFFECTS
Introducing the BOSS DS-1-4A Distortion, a limited-edition
stompbox that commemorates the 40th anniversary of BOSS
compact pedals. This special version of the long-running
DS-1 Distortion pedal features a unique black and gold
look and the classic tone thats been a favorite of
guitarists everywhere for nearly
four decades.
www.boss.info
For more on Band of Skulls
pedalboards, click here to
Band of Skulls
The pedalboard of Band of Skulls

cofounder Emma Richardson is
outfitted with an Electro-Harmonix
POG2, a Malekko B:Assmaster octave
fuzz, and a Crowther Audio Hotcake.
All the pedals are juiced by a T-Rex
Fuel Tank Chameleon power supply,
and Richardson tunes her basses with
the assistance of a Boss stomp.
Russell Marsden says his desert-
island effect is the Ernie Ball VP Jr.
volume pedal, which he says is the most
expressive tool under his control. The
noisemakers on his board include a
Fulltone OCD, four Electro-Harmonix
pedals (a Big Muff, a POG2, a Cathedral,
and a Bass Soul Food that he sniped
from bandmate Richardson), a Strymon
El Capistan, a Boss DD-7 digital delay,
and a Danelectro Reel Echo. Everything
is controlled by a GigRig QuarterMaster
QMX 8 switcher, and it all stays in tune
thanks to a Boss TU-3 Tuner.
premierguitar.com
UNIQUE NATURAL CHANNEL COMPACT YET POWERFUL ALL-VALVE SIGNAL PATH
ONE CONTROL: MASTER VOLUME CUSTOM 10 SPEAKERS - 101dB SENSITIVITY EL84 OUTPUT SECTION

For more on Thrices
Thrice
The control center of Dustin Kensrues Pedaltrain Classic Pro Teppei Teranishis Pedaltrain board is stocked with a variety
(top) is an FAMC Liquid Foot+ Mini, which works with a pair of tone-shaping tools. He rocks a few JHS pedals (a Double
of Voodoo Lab Hex units to switch between pedals. The choices Barrel, a Pulp N Peel comp, and a Panther Cub analog delay),
available are plentiful and include a trio of Strymon pedals Walrus Audio gear (Descent reverb and Julia chorus/vibrato
(a TimeLine, a Mobius, and a BigSky), JHS Mini Foot and pedals, as well as an Aetos power supply and Transit 5 switcher),
Muffuletta fuzzes, a Walrus Audio Deep Six compressor, a Line a Line 6 M5, and a Mojo Hand Fx Bayou trem. A TC
6 M5 multi-effects, an Electro-Harmonix POG2, and a pair Electronic PolyTune 2 Mini is used for tuning, and a Mission
of custom Mojo Hand Fx Kensrue Rook overdrives. A TC Engineering continuous controller governs various Walrus
Electronic PolyTune 2 Noir aids with tuning. Descent parameters.
premierguitar.com
For more on Modest Mouses
Modest Mouse
Modest Mouse axeman Jim Fairchilds main board (bottom) starts Eterna, a DigiTech HardWire RV-7 Stereo Reverb, a Greer Amps
with a Seymour Duncan Shaper Shifter trem, and from there Fish Press comp, an old-school Pro Co RAT, and a Boss TU-3
the signal hits a Danelectro Cool Cat Chorus, an Ibanez DE7, tuner. A pair of MXR DC Bricks provides the power.
a Boss BD-2 Blues Driver, an MXR Uni-Vibe, an EarthQuaker Fairchild runs his acoustic guitar through a three-pedal board
Devices Dirt Transmitter, a Boss PS-5 Super Shifter, a Soursound that lives by his amps. This board hosts a Boss TU-3 tuner,
Hundred Dollar Boost, an EarthQuaker Devices The Depths an Electro-Harmonix Micro POG, and a Catalinbread SFT
optical vibe, an Electro-Harmonix Micro POG, a Mr. Black overdriveall powered by an MXR Brick.
premierguitar.com
For more on Whitfords
Brad Whitford
For his side project with former Ted Nugent vocalist Derek
St. Holmes, Aerosmith guitarist Brad Whitford uses a board
that mixes some of the most revered of old- and new-school
technologies. Two doors down from his original Klon Centaur
from the mid 90s is a state-of-the-art Eventide H9 digital
powerhouse. Hes also got an AC-Booster Comp and Wah
from Xotic Effects, a Catalinbread Pareidolia vibrato/tremolo,
and a Voodoo Lab Pedal Power 4x4.
premierguitar.com
ALWAYS ROCK
EVEN IN A HARD PLACE
Fly Rigs are travel-friendly solutions armed with sweet analog tones and expressive combinations you can use for any gig. In the foot-
print of a pixie, each embodies an entire, multi-application rig. Around the corner or across the globe, rule the road with a Fly Rig.
TECH21NYC.COM
For more on Bloc Partys
Bloc Party
Guitar tech Leif Bodnarchuk says the simplest way to explain B. The pedals rest on several Pedaltrain boards and are powered
guitarist Russell Lissacks pedal rig (bottom) is that it contains by Truetone 1 Spot CS7 power supplies.
two loops. Some of the pedals are dedicated to loop A, some are Block Party bassist Justin Harris is a big fuzz fan. His board
dedicated to loop B, and some float between both. The whole has a couple of Smallsound/Bigsound units (a Team Awesome
array is heavy on Boss products (13+), but also features Electro- Fuzz Machine and a Buzzz), a Rafferty Fuzz-Orius, and two
Harmonix stomps (a Deluxe Memory Man, a POG, and a Malekkos (a B:Assmaster and a Diabolik). He also uses Darkglass
Superego), an Eventide PitchFactor, a clone of a vintage Roland Electronics Super Symmetry comp and Vintage Deluxe pedals,
BeeBaa fuzz, and a Line 6 M5. The brain (the black box in an Xotic X-Blender, a Mad Professor Forest Green Compressor,
the middle of the array) was made by Steve Crow from Audio a Lehle 3AT1 SGOS, a Tech 21 SansAmp Bass Driver, and a
Kitchen in London, and is basically an amped-up A/B switcher Heavy Electronics Descend volume pedal. He stays in tune with
with dual outputs, a panic switch, a mute function, and a big a Korg DT-10 tuner, and navigates various pedal combinations
red footswitch that moves the signal between loop A and loop using a Voodoo Lab PX-8 and Commander switching system.
premierguitar.com
O F F - W O R L D A M B I E N C E
www.meris.us
For more on RHCPs
Red Hot Chili Peppers

When we met with RHCP guitarist Josh Klinghoffer in the DD-3, and DD-6 delays, a VB-2, vibrato, a CE-2 chorus,
summer of 2012, his pedal rig was one of the largest, most an RV-5 reverb, a DS-2 distortion, and a couple of FS-5L
sprawling wed ever seen. As of early 2017, plenty of the footswitches for activating a vintage Tone Bender MK 1.5 and
pedals have changed, but the extensive scale remains. While a Klon Centaur). A Bright Onion Pedals router enables various
Klinghoffers stomps were previously spread across three effects combinations via a Voodoo Lab Ground Control Pro,
boards, they now occupy two, plus four rack drawers. The and a Radial Engineering SGI-44 routes the signal from
larger board contains a Catalinbread CSIDMAN glitch/stutter Klinghoffers wireless receiver (not shown) to the board. In
delay, Electro-Harmonix Deluxe Memory Man and Holy addition to the Ground Control Pro, the smaller board (right)
Grail Nano pedals, a Death by Audio Interstellar Overdriver, features a Line 6 FM4 Filter Modeler, an EHX Cathedral, and
an Xotic Effects EP Booster, and a bunch of Bosses (DM-2, an expression pedal.
premierguitar.com
BEND IT!
The new BenDABLe RockBoARD
BenDeR75 connecToR
our connector will forever change

the way you set up your pedalboard.
2 15/16 in length
For more on RHCPs
Red Hot Chili Peppers Contd

One of Klinghoffers rack drawers is stocked with a Voodoo

Lab brick driving a Robot Pedal Factory Brain Freeze filter,
an Electro-Harmonix B9 Organ Machine, 80s Ibanez AF201
auto filter and BS10 Bass Stack stomps, an Xotic Effects SP
Compressor, a Wampler Tumnus, a JHS Firefly Fuzz, and a
Boss SP-1 Spectrum parametric EQ.
premierguitar.com
5 BOUTIQUE AMPS YOU NEED
WWW.NEUNABER.NET
MULTI-STRUCTURE OVERDRIVE
www.sinvertek.com

For more on RHCPs
Red Hot Chili Peppers Contd

In the nearly five years since our previous Rig Rundown with
Flea, the 4-string Renaissance mans stomp station has hardly
changed: Back then it had just four pedals, and today its got
fivethree of which are the same models as before. In addition
to the MXR Micro Amp, Electro-Harmonix Q-Tron, and
Malekko B:Assmaster mainstays (the latter of which now has a
box preventing accidental knob changes), Fleas current board
has a Boss GEB-7 equalizer and a Wilson Effects Freaker wah.
A Voodoo Lab Pedal Power 2 Plus provides volts and amps,
and a Radial Engineering SGI-44 gets the signal from Fleas
wireless receiver (not shown) to his pedalboard.
premierguitar.com
The
(Surprisingly Long)
HISTORY OF THE
GUITAR PICK
Guitar-like instruments played with some sort of plectrum
have existed for centuries, but nearly 100 years ago plectrum
innovations sparked a tone and technique revolution.
BY EMILE MENASCH
M
any of us have had the experience of picking up recipes. Combined, manufacturers produce hundreds
someone elses guitar and feeling instantly at home. of millions of picks every year in a vast array of the
But have you ever tried playing your own guitar with aforementioned characteristics.
someone elses pick? Unless it has a gauge, shape, and texture Yet strictly speaking, picks arent necessary. After all, classical
similar to your own, an alien pick can make playing even a guitarists rarely use them, and many players switch between
familiar axe feel like someone changed the locks on your house. flatpicks and fingerpicking, often in real time, to meet various
And today, weve got more choices than everfrom musical situations. Other players use their fingernails as picks.
handmade boutique picks made of unusual organic materials Some even use coins. Yet aside from the instrument itself, the pick
to mass-produced models with closely guarded polymer is the universal symbol of guitar playing. How did that happen?
Photo by Andy Ellis
premierguitar.com
The Plectrum Spectrum contributing the shellprimarily hawksbill neighborhood. But Luigi apparently was Top: Plectrums
The story starts at the dawn of recorded sea turtleswere giving up their bodies for a pretty driven guy and ready to take full have been used
history. The word plectrumwhich more than guitar picks. Overharvesting advantage of an opportunity that may to play stringed
instruments for
refers to a variety of picks used in for everything from combs to furniture come along. And one day it did. more than 2,000
everything from guitars to mandolins adornments and eyeglass frames years, as proven
to harpsichordscomes from Latin by endangered the turtles very existence, and From the Kitchen Table to by images such
way of the Ancient Greek word plktron, in 1973 it was officially listed as among World Stages as this close-up
of a circa-480
which, according to Henry George the worlds most endangered species. Since In the 1920s, the Manhattan
BCE Greek
Liddell and Robert Scotts A Greek-English then, it has been illegal to manufacture neighborhoods just north of the drinking vessel
Lexicon, means anything to strike with, picksor anything elsefrom financial district were full of factories. depicting a lyre
an instrument for striking the lyre, a tortoiseshell. In fact, to be legal, even old The downtown lofts that now serve as player.
spear point. Ancient Greek artifacts show tortoiseshell picks (which are highly prized homes for well-heeled New Yorkers were
Bottom:
lyre players holding their plectra, by collectors) require documentation sweatshops churning out everything from According
and theyre also mentioned in affirming their antique status. textiles to machine goods. to multiple
writings about music from Further, as Steve Stone put In those days, these small sources cited in
the period. In his book it in a 2008 issue of Vintage manufacturers would often drag any this story, Will
Hoovers 1995
Ancient Greek Music, M. Guitar, the forbidden excess inventory out to the sidewalk in
book, Picks! The
L. West describes how the material has plenty of front and display these items for sale, Colorful Saga of
plectrum was attached to drawbacks, chief among DAndrea writes. One day, walking down Vintage Celluloid
the lyre with a string and them being that its brittle, a street with many lofts, [Luigi] stopped Guitar Plectrums,
had a handle and a short, is easy to chip, and requires in front of a company that made ladies is the definitive
source of
pointed blade of ivory, bone, a lot of upkeep to maintain powder puffs and makeup compacts. information on
or wood. smooth edge bevels that dont get With the change in his pocket, he bought the evolution of
Other cultures played stringed hung up on the strings. A quarter-sized the items they had displayed for sale, the guitar pick
instruments with plectrums of different tortoise pick can end up being dime- namely: a few sheets of tortoiseshell- over the last
century.
sizes and materials. The Indian sarod, sized in a matter of six months of steady patterned celluloid, several small mallet
for example, is traditionally played with polishing and use, says Stone. dies, and the frames of makeup and
plectrums made from coconut shells Fortunately, an alternative was found compact cases and their decoration.
and that look a bit like modern teardrop a half-century before tortoiseshell was Back at his apartment, Luigi decided
picks. Others, like the Middle Eastern banned. The modern guitar pick traces its to use the tools and materials to create
oud, are played with implements that roots to the DAndrea company, which his own makeup compacts. As he started
bear little resemblance to contemporary introduced picks made from celluloid hammering out heart shapes from the
guitar picks. an early thermoplasticin early 1922. celluloida popular decoration for
According to Will At the time, the guitar was not yet the makeup cases at the timehis 8-year-old
Hoover, author of musical and cultural icon we know son Tony noticed the resemblance to the
Picks! The Colorful todayboth banjo and mandolin were tortoiseshell mandolin picks used by his
Saga of Vintage more popular. Its impossible to know if cousin, Primo. Sensing an opportunity,
Celluloid Guitar the guitar would have jumped to the top Luigi brought a box of these heart-shaped
Plectrums, feather of the pops without Luigi DAndrea picks to a local music store. With Tony,
quills were the most the man many regard as the Henry Ford who spoke better English, acting as
common material for picking guitars and of pick manufacturingbut theres no interpreter, DAndrea sold the box for
related instruments until the 19th century, disputing that his picks ended up in the $10over $135 in todays money, and a
when tortoiseshell became the material hands of countless guitar innovators. tidy sum at the time.
of choice. At the time, picks were all The elder DAndrea was an unlikely Celluloidwhich is still one of the
handmade, and there were no commercial candidate to start the revolution in most popular materials for pickswasnt
brands as we know them today. guitar picking. Born in Foggia, Italy, exactly new even in 1922. But as Tony Jr.
in 1886, he came to the U.S. in 1902. puts it, it was still the only commercially
The Shell Game By the dawn of World War I, he had available plastic in the world And
Top: Photo by Peintre de Brygos
Tortoiseshellwhich, once upon a time, married and settled with his wife, Flora, because of its strength and flexibility and
was also used for pickguardshad a lot in New York Citys Little Italy. According density, [it] made a great guitar pick
going for it in terms of both sound and to a company history written by his and still does. Made from a combination
feel: Stiff yet flexible, it holds its position grandson Tony DAndrea, Jr., he eked of nitrocellulose and camphor, celluloid
and produces a smooth striking surface for out a living for his family selling vacuum was patented in 1870 by John Wesley
the strings. Unfortunately, the tortoises cleaners to his Italian neighbors in the Hyatt, who built on the work of

The modern guitar pick traces its roots to the DAndrea company, which introduced
picks made from celluloidan early thermoplasticin early 1922.
Top: Early Alexander Parkes, a Briton who invented

20th-century and patented the first thermoplastic,
singer-guitarist
Parkesine, in 1862.
Nick Lucas,
shown in this Early 20th-century music catalogs
1930s image, is featured mandolin plectrums made from
considered the celluloid and shell, often with cork and
performer who other design features aimed at improving
first popularized
the notion of
the players grip. One interesting patent
playing guitar had several picks fit together, Swiss Army
with a pick knife-style, and some picks combined
specifically the early plastics with rubber, leather, and
DAndrea model
other materials.
351 that most
modern designs The standardization of the pick
descended from. combined with amplificationhad an
immediate impact on the guitars sound
Bottom: The and role. Because striking the guitar strings
plectrum
revolution
with a pick produced a much louder sound
began in the than could be made with the bare fingers,
1920s with guitarists in jazz and dance bands had to
the celluloid play with a pick to be heard above the other
DAndrea 351,
instruments on the bandstand, like the
which is still
manufactured in woodwinds, brass, and drums, explains
the companys Jon Chappell, co-author of the Guitar for became a template for country and folk, and watching players visit on a Saturday
Pennsylvania Dummies (Wiley) series. In the 1920s and Chappell says. And of course, the pick morning to bounce guitar picks on the
factory. 30s, musical styles dictated that guitars would later give rock players the power glass tabletop and discuss the different tonal
replace banjos, so performers like Eddie and attack that defined the sound of the qualities of celluloid versus real tortoiseshell,
Lang and Freddie Green became known electric guitar for decades. and the merits of one shape over another, as
as guitarists and no longer had to bring a the picks bounced, Tony Jr. says.
banjo along on their gigs. Green was the Birth of the 351 Luigi gave the shapes numberswhich
guitarist with the Count Basie Band for 50 Demand grew quickly, are still in use today. Famous examples
years and was famous for his signature four- and Luigis kitchen- include the small, pointy teardrop he
to-the-bar rhythm technique. Essentially, table business moved called the 358, the larger, rounder
Green would hammer out quarter-note to several factory spaces, teardrop he termed the 354, and the
chords, delivered as downstrokes, which including homes in a small ubiquitous rounded triangle of the 351,
served as the foundation of the bands building on 29th Street, which Tony Jr. calls the standard of the
rhythm, or accompaniment, sound. The a larger facility on Long Island, and industry [that] still represents the pick
pick was also essential for the techniques finally to its current Connecticut-based of choice for 98 percent of guitar players
developed by influential jazzmen like headquarters and Pennsylvania factory throughout the world.
Charlie Christian and Django Reinhardt, location. And though the company would The 351 was originally associated with
who took picking into the single-note realm expand into the businesses of importing Nick Lucas, an early 20th-century singer
Top: Photo by GAB Archive/Redferns Bottom: Photo courtesy of DAndrea

and demonstrated the guitars potential as a instruments and producing accessories, and guitarist regarded by many to be the
solo instrument alongside horns and strings. picks have remained its mainstay. first to popularize playing the instrument
Then there was Les Paul, Barney Kessel, But until DAndreas original epiphany, with a plectrum. But long after Lucas
and George Van Eps, as well as country most picks sold by major companies were faded from the pop charts, the unique
pickers like Jimmy Bryant, who adapted made in small shops under contract. Luigi traits of the 351 had come to define the
the bowing technique of his days playing both standardized and industrialized pick average persons conception of the guitar
violin to master double picking. On the making, and by 1928, was mass-producing pick. The latter was aided by the fact that
acoustic side, a whole school of high-speed picks on an unprecedented scale, using DAndrea never patented his designs
bluegrass playing was developed around the semi-automatic punching machines and but most of the competing brands were
flatpickits even called flatpicking. tumblers to smooth the edges. With input actually picks designed and manufactured
But picking wasnt just about speed. from players, he developed more than 50 by DAndrea. That would start to change
[Highly influential American folk celluloid-pick shapes, and dozens more in the ensuing decades.
group] the Carter Family used the pick to that were available in real tortoiseshell. I Concurrent with development of the
combine melody and chords in a way that remember being in my grandfathers office pick, the guitar itself was undergoing a
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rapid evolution in terms of technique, demanded the opportunity to use the to Will Hoovers book Picks! as a must-
tone, and popularity. As new generations equipment their heroes used, right have resource for collectors and anyone
of jazz, country, and pop players down to the guitar pick. Some of those interested in the plectrums history. As
expanded its potential as both a lead and players became collectors too, prizing she puts it, Will created a spark in
a rhythm instrument, the flatpick went picks by classic and new artists, as well the darkness for pick collectors. Other
from an accompanists basic strumming as classic examples in both celluloid and notable collector-historians include Joe
utensil to a precision tool that opened up tortoiseshell. Ann Pearson, founder of Macey and Brian Bouchard, both of
new realms of speed and accuracy. the Vintage Guitar Picks and Things whomlike Hoover and Pearsonare
website, has been offering a forum for contributors to Pick Collecting Quarterly,
The Name Game collectors for years. It began as a way an online resource for plectrum fanatics
Interestingly, another DAndrea of cataloguing my personal vintage worldwide. Though hard to find,
innovationprinting on pickswould guitar-pick collection as it grew in Bouchards Guitar Picks of Rock & Roll
spur an interest in collecting. It started size, she says. However, I started to is another important book used by
with the DAndrea brand name, later realize the need for a place one could collectors and fans to rate and identify
evolving to include other manufacturers go for information about collecting. items in their possession.
and, most notably, artists. In the 1950s, Its really the first and only resource Like collectors, manufacturers
DAndrea started making custom picks of its kind on the net. Daily, I receive sometimes themselves go to unusual
for manufacturers and players. For various questions from collectors seeking lengths to honor the picking choices of
example, Fenders popular pick was information on guitar picks, and I the greats. Django Reinhardt used a
actually a rebranded 351. always make every attempt to answer button as a pick, says DAndreas plant
By the next decade, the pop-music every question I receive. Even if its an manager Charlie Lusso, who has been
revolution that had started with Elvis Im sorry, I really dont know-type watching the pick business evolve since
was in full bloomand demand. Pick- of answer. he joined the company in 1981. At
manufacturing competition suddenly Like many of the manufacturers we one time, we supplied a vendor with a
soared as fans became players and spoke to for this story, Pearson refers knockoff of the button he used!

DAndrea and Pickboy in what Hoover a player stick with a particular pick. We
calls the Big Three. have great players who swear by different
At the time, electronics were rapidly models, but its interesting to see how the
changing the guitars sonic potential. same pick can work in different styles,
Distortion boxes and higher-gain amps Lusso says. Joe Pass used a 358, but
opened guitarists to tones with less chicken-pickin Tele players also use it
emphasis on attack. You no longer had to because its sharp point gives that bright,
Front and back Rise of the Big Three pick every note to be heard. articulate sound. The bigger 354 teardrop
of the Herco From the 1950s to the 1980s, pick Yet at the same time, some rock and became a favorite for Lee Ritenour and
Vintage 66a
manufacturing continued to evolve to fusion players were playing with more those L.A. jazz guys, but its also used by
pick made from
nylon, the first meet the demand spurred by the wave preciseand fasterpicking techniques David Gilmour. Pat Metheny uses a thin
material to rival of baby-boomer guitarists. Along the than ever before. Guys like Al Di pick but just uses the rounded edge of it
celluloid in way, new stylistic developments in both Meola and, later, Steve Vai pushed the with a close grip.
popularity. popular music and guitar playing itself boundaries, says Lusso, himself an All things being equal, a thick pick
spurred new designs and incorporation of accomplished guitarist. Then there will produce a faster attack and fatter
new materials. was the sweep-picking movement of the sound. But, as Lusso notes, many players
It was during this time that, says author 1980sthose fast arpeggios. They all carry alternatives for specific situations.
Will Hoover, DAndrea faced its first influenced how some players choose and For instance, many guitarists prefer a
serious competition from the Hershman use their picks. At the same time, people light pick to get the shimmery acoustic
Musical Instrument Companybetter like David Gilmour and many others sound heard on so many pop hits. In
known as Herco. Initially, Herco offered showed how different picking techniques fact, between composition, shape, size,
celluloid picks manufactured in Japan. could take advantage of the technology to and thickness, there is an overwhelming
However, the companys most lasting produce a range of sonic textures. number of ways to shape your tone and
contribution began in the 1960s, when In addition to nylon, other alternatives technique through use of different picks.
it offered picks made of nylon, the first to celluloid began appearing. In 1981, And while its been decades since the
material to rival celluloid in decades. The Jim Dunlop discovered Tortex material as most popular shapes came to be, theres
idea originated with Californian Joseph an alternative to celluloid, says Dunlop still plenty of innovation in the industry.
Moshay, but didnt catch on until Herco product manager Frank Aresti. Pick We make well over a thousand
brought it to the masses. manufacturers had long been trying to different models, Dunlops Aresti
Herco and DAndrea faced discover a material to achieve the properties says. Its safe to say a great deal of
competition from Japan, as well, of tortoiseshellat first it was celluloid, development goes into every pick, but
thanks to a company founded by Shoji then we discovered Tortex. Jim was a some picks require more than others.
NakanoPickboywhich by the mid machinist by trade, so he also thought to Take our Primetone series for example:
1970s was producing more than 700,000 give the picks more precise gaugesin This is a complicated pick with a great
picks a month. millimetersthan what was typical at deal of features and benefits that took
Though celluloid was more affordable the time. [Editors note: Prior to that, picks a lot of time and attention to develop.
and more popular among players, real simply came in light, medium, or heavy The grip is the first thing players notice
tortoiseshell still had its champions. Even gauges.] Aresti adds, Our colors made when they pick up the pick, and we were
before its trade was outlawed in 1973, the picks stand out in the store. Today keenly aware of what we wanted the
manufacturers began looking for other [Dunlop] picks are made from nylon, players experience to be, so a great deal
synthetics that could mimic the best Ultem [the thermoplastic polyetherimide], of time was spent on design for that. The
qualities of shell while simultaneously Delrin [another thermoplastic known as material and the beveled edge are the
eliminating some of its disadvantages, polyoxymethylene], graphite, polycarbonate, next things players notice, so we sweat
such as its brittleness and inconsistency. stainless steel, aluminum, and feltand over those details, as wellparticularly
Chemical engineer Jim Dunlop started were always looking at new materials. the bevel, since that is the primary point
designing musical-instrument accessories of contact with the string. A simpler pick,
in his native Scotland in 1965. Based The Many Personalities of the Pick by comparison, would be our new Tortex
on reading about player preferences Although a major identifying point for Flex picks, which we announced at
and his own research, Dunlop began many players preferred picks remains its NAMM 2017. We start with the material
Photo courtesy of Jim Dunlop
making picks out of nylon. Within a colorfrom faux tortoise to solid hues, and spend more time on the finishing
few years, hed left his job at a chemical- pearlescent models, and the abstract- process to achieve a certain feel when the
engineering company and built a factory impressionist color mix Lusso lovingly pick comes in contact with the strings.
in California. By the 80s, Dunlop would refers to as pukeits the shape, Today, the majority of mass-produced
own nylon pioneers Herco, and join thickness, bevel, and texture that makes picks are made using one of two processes:
premierguitar.com
moldingthe technique developed for needs to work on a massive level for us to V-Picks in 2007. That is where I initially
nylon but also used on some plastic- produce it. Making a new pick model is a learned the craft of pick making. Three
compound modelsand punching with big investment, and in terms of tooling, it and a half years of shaping little pieces of
tool dies that, Lusso says, resemble cookie costs us the same to make 200 as it does plastic will make anyone into a master
cutters. Once the picks come out of to make 250,000. Punch dies cost between picksmith. It is tedious, monotonous work.
the punch press, they undergo a process $5,000 and $10,000, while the molds Fortunately, I enjoy that type of work. The
called tumbling, which creates both the we use for nylon and Delrin cost tens of inspiration for Gravity Picks came from
finished feel and the smooth edges players thousands of dollars. Our original tooling looking at the other dozen or so handmade
expect, says Lusso. Its typically a two-step [for nylon picks] cost over $80,000 back in pick companies and seeing how I could do
process, with each step taking about a day the 1980s. something that they werent doing.
and a half. So a pick actually takes about Yet pick making isnt only about mass Fahey and Smith are part of a growing
a workweek to make. Today, we use such production. It continues on a more community of boutique makers. Other
environmentally friendly materials as corn grassroots level as well, thanks to a new notable companies include Wegen,
cobs in the tumbling process. The goal is to generation of handcrafters who make Brossard, Hot-Picks USA, Childs
get that nice beveled edge and finished feel. specialized picks of both traditional Custom Guitars (which handcrafts picks
As for new designs, were always getting and nontraditional materials. We use a from wood, mother-of-pearl, and other
ideas, both internally and from players, bench grinder that has a grinding wheel materials), StoneWorks, BlueChip Picks,
Lusso says. Since 2012, weve been owned on one side and a buffing wheel on and more. Does Fahey see a connection
by Delmar Products, Inc., which is the the other as the main tool, says Chris between todays small shops and the
exclusive distributor for celluloid, so we Fahey, founder of boutique outfit Gravity 20th-century pioneers? I feel that I have
can utilize these resources to develop new Picks. The pick is slowly shaped and a small amount of ingenuity and a lot
and unique designs, too. But we also have then buffed to a mirror finishslow and of tenacity to build upon what others
an archive of old designs from the 1950s, steady, no magic involved. started, he says. But the folks that
and we often find that a lot of new ideas Faheys apprenticeship began when created [the industry] from nothing are
were tried a long time ago. A design he started working with Vinni Smith of in a league of their own.

TONE TIPS
A Mini-Board is Born
BY PETER THORN
M
Pete Thorns anufacturers of advanced first is a Wampler Mini Ego Compressor,
recently digital pedals continue to pack which packs lots of compression
assembled
more tons of horsepower into versatility into a mini-format pedal and
mini-pedalboard
might only be ever-shrinking enclosures. There are also sounds great. Next up is a PhazeVibe
about a square more than a few pedals on the market from F-Pedals, a terrific-sounding, highly
foot in size, but that will take the place of a traditional tweakable Vibe-style pedal. Ive grown to
itll be able to guitar amp by including full-featured love the sound of Klon-inspired pedals,
stand on its
own just about
preamps, cabinet simulation, and more. and for a lead boost pushing an already
anywhere. Combined, these units open up all kinds dirty amp (or stacked with an amp-like
of possibilities by allowing us guitarists drive), they have become my go-to thing.
to run either direct to a console, into a The Wampler Tumnus delivers the Klon
clean power-amp, or the effects return magic in spades and its tiny, so its here
of a guitar amp. And consequently, its on my pedalboard.Ive also included the order is as follows: Mini Ego, PhazeVibe,
getting easier than ever to do that session F-Pedals EchoBandit because it does a Tumnus, Eclipse, EchoBandit, Ethos
or fly date. great job of capturing a warm, tape-delay Clean II, and Volume X Mini. The
This month, Im going to detail a character. And Im using it old-school, in output of the volume pedal runs to the
powerful mini-pedalboard that can cover front of my Ethos amp. right side of the board and the input for
a huge range of tones and serve as an Pedal No. 7. The Suhr Eclipse is a the two final pedals (the H9 and Flint) is
entire rig if necessaryno amp required. new dual overdrive/distortion pedal I also on the right side of the board. This
Be it compressed cleans with modulation, chose to include. It has two identical way, its easy to use a short patch cable
reverb, and delay, or on-the-edge rocking channelsboth with gain, volume, to run all the pedals in-line together and
crunch, I want it all in a 14" by 14" and full 3-band EQ. You can set one then direct the output of the last pedal
package. Can it be done? (Note: All the channel for an edgy overdrive or crunch (the Flint) to a guitar amp, a DI, or a
components from this wide variety of sound and the other for full-distortion power ampin mono or stereo.
manufacturers simply represent products meltdown. Combined with the Ethos Or, I could run the output of the front
I know and like, and are not intended to Clean II, youve got a 3-channel rig. end of the pedalboard (all the pedals up
be endorsements. There are a lot of other Pedal No. 8. Virtually any effect until the volume pedal) to a guitar-amp
excellent options out there.) under the sun is packed into the Eventide input and take the guitar amps effects
H9, from delays to verbs to flangers send and feed it to the H9 and Flint via
Small Footprint, Tons of Tone to choruses. Its a Swiss Army Knife the boards side jack. Then, the output of
Pedal No. 1. The Ethos Clean II preamp pedal for me and a must-have on my the Flint could be fed to the effect return
from Custom Tones Inc. was designed to pedalboards. of an amp, or the effect returns of two
essentially mimic the tone and response Pedal No. 9. The Strymon Flint has amps for a stereo rig.
of a guitar amplifier. It can be used as a become another favorite thanks to the There you have it! A miniature,
preamp and/or overdrive in front of a luscious tremolo and beautiful reverb it incredibly powerful guitar rig. It would be
traditional guitar amp, but it can also be produces. totally feasible to fit this mini powerhouse
patched into a power amp and cabinet, or Pedalboard and power supply.I into a decent-sized backpack or roller
direct into a PA or recording interface. And went with a 14" x 14" V Board Pro from suitcase and carry it on an airplane.
because its output is bufferedeven when V Boutique. Its an angled pedalboard Its also something you could take to a
bypassedthis supersedes the need for a with ample space underneath for session with ease. The producer will love
standalone buffer on the board to keep the power supplies, cables, etc. Speaking the great tones and your back will stay in
guitar signal strong and uncolored. of underneath, thats where a Strymon good shape for years to come. Until next
Pedal No. 2. I love having a volume Ojai power supply is living. (If youre month, I wish you great tone!
pedal for volume swells and maintaining wondering where the tuner is, I suggest
control over my level at my feet. Thanks using a good headstock tuner like TC PETER THORN
is an L.A.-based guitarist who has
to its tiny size, the smooth-action Volume Electronics PolyTune Clip to save toured with Chris Cornell, Melissa
X Mini from Dunlop fits the bill perfectly. valuable space on the pedalboard.) Etheridge, Tsuyoshi Nagabuchi, and
many others. He released a solo
Pedals No. 3, 4, 5, and 6. My attack Signal path and patching.The guitar album, Guitar Nerd, in 2011. Read
of the minis is a quartet of excellent plugs into an input on the right side more at peterthorn.com.
tiny pedals for our tiny pedalboard. The of the pedalboard and the signal path
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RAW BONES,
DRESSED
IN COLORS
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Kristin Hersh is a prolific singer-songwriter, published author,
and guitar-wielding frontwoman for 50 Foot Wave, and, a bit
more famously, Throwing Muses. On her ninth solo album,
Wyatt at the Coyote Palace, she sets her muscular, riff-heavy
epic aflame with ferocious flatpicking and bravura textures.
BY BILL MURPHY
N one other than Bob Dylan once

said about songwriting: Songs
dont just come to me. They
usually brew for a while, and you learn its
important to keep the pieces until theyre
soul-baring anthems like Hate My Way
(from their eponymous 1986 debut),
House Tornados episodic Walking in
the Dark, Red Heavens slow-building
gem Pearl, and, in 1995, the yearningly
FACTOID
Kristin Hershs
ninth studio album,
Wyatt at the
Coyote Palace, is
accampanied by a
64-page book of
completely formed and glued together. sweet, critically lauded but commercially essays and artwook,
Kristin Hersh might agree, if only to doomed University, their last album to be illustrated by
Throwing Muses
a certain extent, because for most of her distributed in the U.S. by a major label, drummer David
life, the songs havent simply brewed Sire/Warner. Narcizo.
theyve churned, cascaded, and crashed Along the way, Hersh and her
like an unrelenting flood of pictures,
sounds, memories, and emotions. As
bandmates helped set the stage for the
90s alt-rock craze, influencing the rise of
WYATT at THE
k r i s t i n h e r s h
she recounts in her memoir Rat Girl, it
all started after she sustained a double
the Pixies (who in their early days often
opened for the Muses), Pavement, the
COYOTE PALACE
concussion in a childhood accident. After Breeders, the Lemonheads, and, yes, even
a car struck her while she was riding Nirvana and Radiohead. By 1997, in the
a bike, the trauma literally flipped a wake of the aptly named album Limbo,
switch in her head, and the music kept the band went on hiatus, but Hersh was
coming, to the point where she felt less just getting revved up.
like a budding songwriter and more like a Wyatt at the Coyote Palace is her
constantly live wire, unable to shut down ninth solo album, going back to 1994s
the current that possessed her. She was Hips and Makers. Nearly five years in Love in all its permutations, in fact,
only 16 years old. the making, in a sense its her Physical is the driving force behind the music
Eventually the songs no longer tapped Graffitia beautiful and unruly 24-song, here. Hersh named the album for her
me on the shoulder, she wrote. They multi-instrumental, double-disc magnum third son, Wyatt, who made his own
slugged me in the jaw. Instead of singing opus that finds Hersh pushing open discoveries while exploring an abandoned
to me, they screamed, burrowing into strange new doors with her writing, apartment building near Stable Sound
my brain as electricity. Do you want your arranging, and recording chops. She that was taken over by coyotes (hence,
face grabbed and shouted at? Probably also plays every part, including bass the coyote palace). She was also
not; at the very least, its irritating. But and drums. Coproduced with longtime working through the painful dissolution
now that its happened to me, I know that friend and confidant Steve Rizzo at his of her 25-year marriage, lending songs
music is as close to religion as Ill ever get. Stable Sound Studios in Portsmouth, like the Bowie-esque Hemingways Tell,
Its a spiritually and biologically sound Rhode Island [see sidebar, Studio as with its sheets of distorted lap-steel guitar,
endeavorits healthy. Sanctuary], its a concept album thats a poignant aura of catharsis. Its just one
That energy fueled a string of rife with expertly layered acoustic and of many moments where Hersh sounds
explosive albums by Throwing Muses, the electric guitarsincluding Hershs go-to palpably inspired, excited, and maybe
defiantly eclectic indie-rock band Hersh Collings C10 cutaway acoustic, custom- even a little terrified by the possibilities of
cofounded with her stepsister Tanya shaped for her by Bill Collings himself in trying something new.
Donelly when the two were still in high 2008. She still refers to it as the guitar When I step into the studio, I always
school in Newport, Rhode Island. The that love built, because her fans helped know what Im gonna walk out with,
band blazed a humid trail of triumphs buy it for her after she lost her house, even if its five years laterand Im
and broken dreams, punctuated by and everything in it, in a flood. always completely wrong, she gushes.

Hersh reads Hersh speaks animatedly, with a sharp,
from her 2010 self-deprecating wit that goes a long
memoir, Rat Girl,
way toward explaining how her music
while another
of her favorite appeals to so many: shes always open and
guitars, an ESP authentic, never striking a pose.
Xtone, hangs on You can pretend, she warns, but the
her shoulders. songs know how they want to be raised
That became
my most solid,
up. They know what colors they want to
roadworthy wear. Its like telling your kids what to say
guitar for a and what to wear, when you shouldnt.
while, she says. You cant really, because when a song
It takes effects
presents itself to you in a superficial way,
well without
feeding back. its not skin deep. Its just using the colors
of this plane appropriately. I find that
charming, and humbling. So this time
I walked into the studio saying, Yeah,
Im gonna Nick Drake this shit up, and
then I suddenly realized, well, Im not
Nick Drake. It needed deconstruction as Overall, Wyatt at the Coyote Palace ass, you know? I dont want to be
well as incessant layering, which makes has a much bigger sound than your pretentious, but I needed something
no sense at first. I thought raw bones last solo album, Crooked. to catch peoples ears, and thats a
then you cant lie, and everybody knows Oh yeah, absolutely. Crooked was difficult thing to do. You dont want
youre not lying. But there are also layers almost like recording a garage band. to be willfully kooky. So I found that
of color. I can respect that as long as you I just couldnt make this one small, I was compulsively recording things
dont make any mistakes. and I really do love small. I like the all over planet Earth. At first, I would
Adding to the layers of color, wonder, character actors in every sphere, but just send them to friends because
and meaning, Wyatt at the Coyote Palace this just isnt one. Its so big. Wyatt they were funny or interesting, but
is packaged as two CDs accompanied by likes to call it my big-budget home then I thought Id try treating them
a 64-page hardcover book designed by movie. [Laughs.] like instruments.
Throwing Muses drummer David Narcizo,
complete with lyrics, photographs, and Did you talk with Steve Rizzo There are street sounds like that in
interstitial prose passages. Its the third beforehand about what you had Soma Gone Slapstick or Elysian
time Hersh has released an album this in mind? Fields, for instance.
way, starting with her 2010 solo album Poor Steve. He never knows what to I worked on Elysian Fields for a few
Crooked, and followed in 2013 by the expect when I walk into the studio yearsintermittently anyway. I cant
Muses Purgatory/Paradise, which was their every day! I mean, theres never been remember everything that went into it
first full-length release in 10 years, and a a harsh word between us, but I walk right now, and I dont want to make
harbinger of things to come. The band has in, and he knows thats when the shit up, but its about a street in New
tentative plans to begin work on a new mad scientist part begins. Sometimes Orleans, like a bunch of my songs.
album in early 2017. it means breaking instruments or
Hopefully what Im doing is ear- building instruments, and layering Youre doing some nice flatpicking
catching without turning everybody off, them or using these field recordings there. Youve said the Collings guitar
Hersh quips. I know that what I do I made, which seemed to replace the figures prominently in all your
isnt for everybody, but I wouldnt want to room mic this time. The room mic solo albums.
come between them and the music. Thats is useful when you dont feel like It just has a nice bite. I dont always
why I thought a book would be a nicer the listener is being invited into the like sparkle, but it has an edge. I went
gift than a piece of plastic. Vinyl, as much atmosphere. If you can identify the for something more percussive on this
as we like it, is still kind of presumptuous. track-within-the-track thats too dry record, too. Thats more a reflection
Its like suggesting that someone adopt or too removed from the human body, of the foam that I stuck under the
your soundtrack or your religion. But a then you just bring up the room in strings, and the duct tape and all the
Photo by Tony Nelson
book is a nice little keyhole view of the that track. crap that I used. Sometimes I would
world. Its saying, Heres some pictures. And yet this time that wasnt put down eight tracks of the same
Heres some stories. You can come in. Its enough. I needed more idiosyncrasy guitar, so it sounds like brush strokes.
like a sweetness, I guess. without just crawling up my own Thats a little hint of the versatility
premierguitar.com
KRISTEN HERSHS GEAR
GUITARS
Collings C10 cutaway (custom)
Nashville-tuned Gibson J-45
Fender Telecaster Thinline (vintage)
Fender Stratocaster (vintage)
80s Michael Allison LP-style
Danelectro Double Cutaway 59 reissue
Reverend Rumblefish bass
62 Fender Jazz Bass
Fender Classic Series 69
Telecaster Thinline (live)
ESPXtone (live)
AMPS
Supro 16T
Vox Cambridge Reverb
Harmony H410
Ampeg Rocket
Fender Twin Reverb (live)
Fender Bassman (live)
EFFECTS
Electro-Harmonix Crying Bass Wah/Fuzz
STRINGS
DAddario EXP13 80/20 Bronze,
Custom Light (.011.052; acoustic)
DAddario ECG26 Chromes
Medium Gauge (.013.056)
Kristin Hershs that a Collings affords, because the kid, but I took classical for so many years
favorite acoustic sustain inherent in that instrument is that it sort of kicked my sensibilities out
is a one-of-a- so similar to an electric that you can of my hands. This isnt uncommon. You
kind, Collings
C10 cutaway, play leads that dont sound like Spanish learn the rules before you learn to break It has a little more character, a little more
handbuilt for her guitar. Its a striking sound. It almost them, and yet youre born knowing how balance, and I can put chromes on it and
by Bill Collings. reminds me of a banjo, sometimes. to break them. You just need to get back the character doesnt suffer. These songs
She selected the Theres a slight slap, because theres an to the musical language that youre born need that kind of clarity. Its full-bodied
body shape.
attack and then a sustain. knowing. That was thrust upon me in for a Tele, and yet it still has that clarity.
Its similar to playing an electric, but the car accident, where I started hearing It was tough to find the right guitar
you can relate to the muscles. You can music. I guess it was just the music that for this stuff when Im playing it live,
hear that its being played physically. Thats I wouldve written if I had remained because obviously Im solo, so it doesnt
been a frustration for me with electric, unsocialized in my playing. sound anything like all the layering thats
because youre sort of lying. You use pedals on the record, but the songs still need to
to mimic muscles, and with acoustics, you Theres a lot of electric guitar on this be realized. An acoustic wasnt gonna do
dont do that. Its all about the body. album, too, and I noticed thats how it. Its just not the right feel.
youre playing these songs on the road.
You even play with a sense of I have an ESP Xtone that became my That layering youre talking about
physicality and instinctive movement. most solid, roadworthy guitar for a really comes through in songs like
Is that because youve been so close to while. It takes effects well without Diving Bell, with the cello parts near
the guitar for such a long time? feeding back, but I dont have it out right the end, and especially on Detox.
Ive been playing it longer than Ive been now. Im playing a Tele Thinline, and Even though that song seems to change
writing songs. I started when I was a little thats what I used on most of the record. time signatures, from the opening bass
premierguitar.com
You learn the rules before you learn to break them, and yet
youre born knowing how to break them. You just need to
get back to the musical language that youre born knowing.
line to the main guitar riff, the pulse is reason, but I found that the lead guitar signature sound for a while. I found that
actually constant and consistent. parts were akin to the field recordings, as at Kingsway Studios, Daniel Lanois place
Ive been playing that live and noticing an extension of the room mic. So the leads in New Orleans, where we made a bunch
that. That song, like a lot of the other were more [about] singing than singing of records. It distorts at the top of the
ones, is not played to a click. If you do, could ever be. I guess what it is, you hit wave and mellows at the bottom into
it sounds mathy and rude. It has to be a point where your body isnt enough. I this 70s bass sound. It can carry a whole
performance-based, especially if other mean, why else would you be in a studio song. Its hypnotic. It doesnt have the
songs are supposed to be hypnotic and playing instruments? Sometimes they effect youd think a fuzz wah would have.
need to be played to a click. And I love can say more than you can, so the most I dont knowits just really charming
bass. Its so much fun. Drums are the chaotic leads were telling a truth that and awful, and I love it. Its on a lot of 50
most fun, but bass is a close second. Im I wasnt able to articulate. That sounds Foot Wave stuff, but the Throwing Muses
playing a Reverend on that. Its just a dry kind of pretentious, but I cant think of song where its the loudest is probably
acoustic sound that I really like. any other way to put it. Its like vomiting No Way in Hell from University.
electric guitar, which is a lot more Then I lost it in my house flood
Did you use any effects on the album? charming than actually vomiting [laughs]. with all my other equipment. Id always
Not really. Its mostly the different slide wanted another one, even though I was
parts that are on the most chaotic leads. It So no Electro-Harmonix fuzz wah scared to let myself play it again because I
seems to have replaced singing for me. My anywhere? get so annoying with them. Then a friend
voice is actually what I want it to be for Ha! Thats my favorite pedal, which picked one up for me for my birthday,
the first time ever, for a long and unusual is embarrassing because its been my and I was so psyched. I brought it to the
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studioit was like, Yeah, I have my
sound back! And it sounded like a beer
Studio as Sanctuary
commercial. I couldnt figure out what Steve Rizzos Stable Sound Studios gets its name from being
was wrong. Do I suck now? Is it 50 adjacent to an actual horse stable, but for more than 20
Foot Wave that was good, not me? And years, its also provided a no-nonsense, down-to-earth,
then I realized its because the old one and relaxed environment for Kristin Hersh and Throwing
was totally screwed up, and thats why Muses to commit their music to tape (or Pro Tools, to be
it sounded so cool. So I soaked the new precise). Over the course of more than a dozen albums and
one in water, and now it works perfectly. countless hours of tracking and mixing sessions, Hersh and
Rizzo have forged a creative partnership that comes down
Would that have been salt water or to one thing: trust.
fresh water? I think Ive said this before, but for us its like the William Tell routine,
Hey, there you go! Something about Rizzo jokes. Some days the apples on my head, and some days its on her
degrading it is awfully attractive. head. Kris trusts me, I trust her, and thats it. I dont think weve ever had
a disagreement musically in the studio. If I have some ideas, its more like
Is every day in the studio different Im hearing something in my head, and Ill just say, Hey, what do you think
for you? of this? And shell be like, Yeah, lets try it. She just comes in and we
Yeah. Its probably like being an record, and as its happening, its developing into something.
athlete, but Im allowed to determine To capture the sound that Hersh wanted out of her Collings C10, which
my flexibility for each event. If I go is the key guitar on Wyatt at the Coyote Palace, Rizzo would usually start
in and Im big and raw, then I can with a Shure KSM44A and a Miktek C7, with one microphone positioned in
take on starting a song. I can take on front of the guitar, about a foot away from the 12th fret, and the other as
basics and work. But if Im more subtle a room mic above Hershs right shoulder. From there, hed run the signal
about detail, and my muscles are finely through a MartinSound Martech MSS-10 mic preamp, primarily just to stay
tuned, then I have to work under the true to the sound that Hersh was hearing in the room.
auspices of a song, filling in the blanks. When she started recording, I remembered it would be cool to put
A producer would recognize those some foam under the strings, Rizzo says. Weve done that before.
strengths and weaknesses in the artist he When you hear that chung chung chung that sounds almost like staccato
or she is working with, but I have to do cello lines, thats the guitar. Theres some real cello on the recordwe
it myself. I have to boss myself around, have some samples in there, and then we used the faders to give them a
and give myself shit, and fire myself. dynamic feel, like at the end of Diving Bellbut for the guitar, the foam
on the strings just keeps them from ringing too much.
But I get the sense that you record, Another distinctive acoustic sound comes from a Nashville-tuned
mix, and produce a song as youre Gibson J-45. Weve been using that on almost every solo record, Rizzo
working on it. says. A lot of people think shes playing a 12-string, but whats happening
Yeah, I think you have to. I wouldnt is its the 6-string and the Nashville played together. She can play the
know what we had unless I was tweaking exact same thing from take to take so they sound like a 12-string, which is
and backing up, and tweaking more and pretty cool. And sometimes it sounds very physical. Her hands can be so
backing up. I know now why people strong that its like, How the hell is she playing that?
paint, because you can just see it. You Once the album was ready for mixing, Hersh gave him the green light
take a few steps back, and you know to Rizzofy the mix. Shes never overly detail-oriented, so its never
what it is. Records are okay. Books are like, Give me a dB of this or that. I think she just enjoyed the process of
impossible. But for me, Stable Sound is having the luxury of time, because it gives you perspective. You record
already a church, so when the real song it, you live with it, and then you can go back and try different things. And
walks in, everybody knows it. Its really thats really the beauty of Pro Tools. The analog-digital argument is kind
hard to fuck up because the atmosphere of moot these days. If youre a modern musician, composing and editing in
is already in place. I dont know if thats the studio, thats how you work now.
spiritual practice or what, but why else
would we have buildings called churches
unless that effect was real? So I step
YOUTUBE IT
Heres a look at Kristin Hersh and producer Steve Rizzo at work
through that doorway, and I just think, in Stable Sound Studios, Hershs recording refuge. While her
Okay, I worship here. It would be very reputation largely rests on her masterful songwriting, shes also a
ripping guitarist, as the solo shes cutting on Morning Birds 1, from
difficult to lie if you thought God was Throwing Muses Purgatory/Paradise, displays.
watching, you know? YouTube search term: Kristin Hersh in the studio
premierguitar.com
The Raster a digital delay with three pitch shifting modes. Controls
are carefully tuned for exploration of self-oscillation and feedback. Delay
time extends from 20 to 750 ms with multiple feedback arrangements.
Harmonized delays
Shifted echoes
Tuned feedback
Infinite noise loops
Atmospheric textures
Chaotic self-oscillation

Alt-rock weirdo Dean Ween stays twisted on his solo
debutbringing his Fender-fueled A-game to a new
group that bears his name and new songs packed
with fat riffs, killer hooks, and wild-ass sounds.
BY PAUL KOBYLENSKY
Deans 2000
Gibson Les Paul
Standard sports
Lindy Fralin
pickups. Fralin
also modded
M ickey Melchiondo is like a lot of Premier Guitar
readers. Hes obsessed with all things guitar,
loves vintage gear, and believes in the power of
great rock n roll. The difference is that Mickey also goes by the
name Dean Ween, is coleader of the successful band Ween, has
diverse playing influences, that inform the sound of the
recording. I wanted to make a record heavy on the guitar,
and go out and play behind it. And Im doing it, and its been
awesome, he says.
Heavy on the guitar it is. There are multiple instrumentals
the electronics legions of loyal fans throughout the world, and for three decades that showcase Deans love of iconic players, such as Dickie
so that both has made a career out of writing off-kilter, sometimes humor- Betts, and a tribute to the anti-Santa, Schwartze Pete.
pickups are ous, and undeniably catchy songs. There is also a tip of the hat to electric-guitar pioneer Les
controlled by
just one Maybe known best for the hit Push th Little Daisies, Ween Paul. And when Dean does step up to the microphone on
volume knob. began its journey when Melchiondo met Aaron Freeman (aka rockers like Bundle of Joy and Ill Take It (and Break It),
Gene Ween) in junior high school and they adopted their stage its still his raunchy and slippery guitar style that powers
names. The two quickly combined their love for a wide variety the tunes.
of musical styles to create a sound thats equal parts rock, sonic But no matter how guitar-rich The Deaner Album is, for
experimentation, and playful art-project weirdness. After nine Dean Ween, the song is still always the priority. I think the
studio albums, the band threw in the towel in 2012, leaving records, like, half-instrumental, he explains, but the focus
Dean Ween with some time on his hands. has all been on the songs, with me singing, which is a real
At first, Dean fell into a depression, putting his guitar down confidence-booster.
completely for several years. But inspiration struck again and The sound of The Deaner Album is undeniably linked
he found himself as busy as ever, working on material with his to the band Ween, which recently announced a string
Photo by Jenny Baniszewski
band the Moistboyz, building a recording studio, and releasing of reunion performances. But judging by Deans own
his first solo record as the Dean Ween Group (DWG), titled musical output and history of writing great music in
The Deaner Album. whatever style thats inspiring him at thetime, he has a lot
While The Deaner Album will definitely appeal to Ween more adventurous material coming, and hes sure to keep
fans, its Deans passion for tones and vintage gear, and his branching out.
premierguitar.com
Your passion for writing great songs I heard those two songs, which have FACTOID
has been evident throughout your one thing in common: the scratch on Dean Ween
recorded The
career. What led you to become the strings at the start of both. It scared Deaner Album in
a songwriter? the crap out of me. I remember both his new studio.
At first we just liked to hear ourselves on incidents. I heard Are You Experienced? We built it from
the ground up
tape. We were fascinated that we could in a locker room when boom boxes were every nail, every
put something down and listen back first coming around, and it stopped me stud, with all the
considerations
to it. Anything we got down that had dead in my tracks. It actually put me on youd want,
drums, guitar, and vocals we thought the path with music. I was just terrified he says.
was music. Like, Its official, were a by the mystery of it. I went out and I got
band! [Laughs.] it, and that was all she wrote.
We gave it a name, Ween, immedi-
ately. We were, like, 13, you know? And What inspired you to create such a
then I learned how to tune the guitar. guitar-focused new album after all
Originally I would tune it all up to one these years? songs and choose the best ones. If they
chord, like a lap steel. I would play barre That was the primary goal for this record. got vocals on them, they got vocals on
chords on it with my thumb. And even I had a million ideas over the years with them. If they dontif the playing is so
with those limitations, we were starting Weenconcepts I wanted to do. Like, good or the melody is so good that it
to write passable stuff. But we wanted I always wanted to do a straight-up doesnt need themthen thats what goes
more. When you write something thats Les Paul-sounding record the guitar on there.
good, that youre going to play for player Les Paul. And theres a song on
somebody, that youre confident in as a the new album, Schwartze Pete, that What guitars did you use on
songwriter, you can never backpedal from does that. And I wanted to do a Miles the album?
that. Youve got to keep going forward. Davis strung-out thing. And Ive been I used everything. I always come back
And that was what did it. pleasantly surprised to find that the thing to my Strat, seems like. The studio is
Then my dad bought me my first real that people have focused on most are the a lot different than live. In the studio,
guitar, which was a Squier Stratone of songs which have a lot of guitar in them. all bets are off. Everything is in play.
the early ones. Its a great guitar, made Everything is possible if it serves the
in Japan. He hid it, but I knew the day Your instrumental tracks have a vocal song well. If I want a Tele sound, I have
it entered the house. When nobody was sense of melody. How do you determine an old 65 Twin and a bunch of Teles. I
home I would just play it all day. The which songs will be instrumental and know exactly how to make it get that
body and the pickguard were all scratched which will have singing? thing. I have a huge, huge vintage pedal
when I got it on Christmas Day. They This record is about half and half. I collection. If I hear a Fuzz Face, I grab
knew and they didnt care. I never got didnt know who my audience was going my Fuzz Face, you know?
a better gift in my entire life, before or to be. I wanted to focus on the guitar,
since. And I started taking guitar lessons. but I also knew I had to sing and write What are some of your favorite
And then I just had a love affair with my songs, because without a song, youve got vintage pedals?
guitar, which lasts to this day. nothing. Unless youre a master like The Mu-Tron stuff, for sure. Mu-Tron
Jeff Becks Blow by Blow or something. phasers and the envelope filter. And I
What was it that initially inspired you Which is so fucking badass. have an original spaghetti-logo Cry Baby.
to pick up the guitar? I write tons of instrumentals. I do a Its Italian, from the late 60s. And for
Jimi Hendrixs Are You Experienced? lot of both. But I dont think Im going some reason Ive never been able to get
and then Van Halens Atomic Punk. to change much. Im going to write another wah-wah to sound that good.
Over the years I found that it takes a crowd

to get me to the next level. We can jam here in
the rehearsal room, but put me in a room full
of people and Ill elevate my game.

I dont use a distortion DEAN WEENS GEAR
pedal. I never have in GUITARS AND BASSES
my life. I use the amps

1960 Dakota Red Fender Stratocaster
(Lace Sensor Gold pickups in the neck and middle,
natural gain. And I use

and a Seymour Duncan Hot Rails in the bridge)
1966 Fender Stratocaster (stripped finish with
my guitars volume knob

Seymour Duncan Antiquity pickups in the neck
and middle, and a Duncan Hot Rails in the bridge)
as my gain channel.
Fender parts Frankenstrat (with 61 Jazzmaster
neck, 1956 Road Worn body, Fender Pure
Vintage 59 pickups in neck and middle, and a
Duncan Hot Rails pickup in the bridge)
2000 Gibson Les Paul Standard
with Lindy Fralin pickups
Fender Telecasters
Fender Precision Bass
Fender Jazzmaster
Fender Musicmaster
G&L SC-2
Jerry Jones Master Sitar
Alembic Further
Martin 1969 D-28
AMPS
Fender 212 Hot Rod DeVille
Fender Super-Sonic 100
Fender Twin Reverb
Fender Rumble 200 bass combo
John Dandry Little Devil
Mesa/Boogie Trem-O-Verb
Mesa/Boogie Mark IV
Music Man HD-130
Fender 1x12 cab
Fender 4x12 cab
Mesa/Boogie 2x12 cab
Mesa/Boogie 4x12 cab
EFFECTS
Mu-Tron Phasor
Mu-Tron III Envelope Filter
Dean Weens Roland Space Echo
return to
recording and 60s Cry Baby wah-wah
the road ended Jimi Hendrix Signature Wah
a spell of MXR Blue Box
depression and MXR Carbon Copy
guitar-avoidance
Photo by Tamara Lee/Atlas Icons
after the band MXR Phase 90

Ween initially Electro-Harmonix Micro Synth
broke up in DigiTech Whammy V
2012. Its very Rocktron Banshee Talk Box
important to not
put the guitar Boss TU-3 tuner
down for too
long, he says. STRINGS
Ill never do
DAddario EXL110 (.010.046)
that again.
premierguitar.com
G6134T 58 Penguin
Vintage White Lacquer
Vintage Select Edition

LIVE IN TRUE VINTAGE HI-FI
gretschguitars.com
2017 Fender Musical Instruments Corporation. Gretsch, Penguin and Bigsby are trademarks of Fred W. Gretsch Enterprises, Ltd. and used herein under license. All rights reserved.
after years of playing through Rectifiers I used to be real sensitive to how a
and Mark IVs, I just found that it was guitar was set up. Now it doesnt even
too generic of a sound. I didnt like the matter. Ive played so many guitars, I
gain of it as much as I like the Fender have so many guitars here, and I switch
gain. Its more round. Im not a gearhead, them up on the road to make myself
but this is a guitar magazine and this is play differently sometimes. Like one
fun to talk about! night, or just before a tour, Ill say,
Bring the Paul out, or Grab the Strat
Absolutely! and the Teles.
Lindy Fralin pickups changed my life.
As I cut my volume for rhythm guitar, What was it like making the
like to 3, say, Lindy Fralin pickups help adjustment from doing your thing in
the high end stay there. You know what Ween to being the frontman in the
I mean? It adjusts naturally. Dean Ween Group?
I had Lindy, for my Les Paul, take It was hard, but you know, you get
a volume and tone knob out. Both confident. Playing against a push-pull
pickups are on one volume knob. I thing with your vocals and your guitar ...
dont know why no one ever did that. Im getting better at it.
I love my Les Paul, but I cant deal The best thing about that with the
with two volume knobs onstage. When Dean Ween Group is that I have my
I asked Lindy if that was possible, he whole band sing, and we really work on
laughed! He was like, Dude, youre the it. Even with the Ween stuff, its great.
only person thats ever asked me. I do Were covering a lot more parts that
it to every one of my Les Pauls. And Aaron sang on the records. Since the
he hooked me up. Suddenly the Paul DWG got together, Ive noticed that
became a part of my rig. its helped Ween immensely, with Dave
Dreiwitz [bass], Glenn McClelland
Does Fralin custom-wind the pickups [keys], and Claude Coleman [drums] all
for you? on the mic. [Editors note: All three also
I always come Did that wah make it on the album? Yeah. Theyre expensive, but theyre perform with Ween.] And we sound good.
back to my Strat, Oh yeah. If theres a wah-wah, that worth every penny. And I would have I never thought I would say that. My
seems like,
says Dean Ween,
would be it. I love tape echoes. I have an it no other way. I dont want free shit voice hasnt sounded good since I was 13
shown here old Echoplex and a Roland Space Echo. from someone thats a master. He really in high school chorus.
digging into one But onstage I use the Boss RE-20 Space stands behind his shit. And you hear it.
of his three go- Echo pedal, which has a tap function. I Anyone that picks up my guitar goes, Did that fall together naturally or was
to Fendersa dont use a distortion pedal. I never have Dude, I love this thing! it something you focused on?
1960 Dakota
Red model with in my life. I use the amps natural gain. Both. We worked on it at rehearsal
Lace Sensor And I use my guitars volume knob as How are your newer guitar-forward and onstage. But were still getting
Gold pickups in my gain channel. When its on 10, that tunes translating to your live shows? better. I learned a million little tricks
the middle and means Im ripping! Its the biggest rush in the world, man. on the guitar, but you can really work
neck positions
and a Seymour
Through this process, and playing Totally. I mean my chops have never a microphone, you know? There are
Duncan Hot Rails with a lot of different guys to make been better than they are right now. masters of it: Frank Sinatra, Marvin
at the bridge. this record, I found the guys where we Ive been playing for about two years, Gaye. You get a little further back and
have the Keith and Ronnie thing going. every day and every night. Im either sing something from your throat. You
We all have like-minded taste in gear. rehearsing, recording, or gigging. And can sing something from your belly, and
We use Fender amps and Fender and you know when you get to that point, when you scream yeah, it should be
Gibson guitars, wah-wahs, phasers, and you dont want to let it go at all. You from your toes, you know?
echoes, basically. dont want that shit to get dull.
Its very important to not put the Do you prefer the creativity of
What amps do you use live? guitar down for too long. Its important working in your studio or the energy
Photo by Tim Bugbee
I use a Fender Super-Sonic 100, and I use to put it down for a little while, if its a of a live show?
a 4x12 Fender cab. And for bar gigs I use conscious decision. But to set it down There used to be no contest. All I wanted
my Fender DeVille combo. I have two for real, for a long time like I did? Well, to do is make records. I thought Ween
or three of them. I was a Boogie guy, but Ill never do that again. was going to be anonymous from the
premierguitar.com
start. And then when we got signed, we dust settled, I got an opportunity to build have done in the past. Its like Im
went on tour and found that we were a a studio in my home town. Then it was usually too busy or Im just not in that
really good live band. Over the years I time to get serious about my record. I headspace. But when you are hearing
found that it takes a crowd to get me to had a few tunes, but coming in here was melodies and you are writing riffs,
the next level. We can jam here in the basically a restart, so the studio really you got to get that shit down. Because
rehearsal room, but put me in a room full inspired the record, I would say. when you arent writing, youre going
of people and Ill elevate my game. So I I ended up with my dream studio. to have this huge catalog of stuff to go
love them both, but its like choosing a I own it. We built it from the ground out and start playing on tour. And that
favorite kid to me. upevery nail, every stud, with all the inspires you again. And then all of a
considerations youd want. Comfort, sudden youre back.
You recently built your own recording vibe, soundproofing, big live room We actually already have a second
studio. What influence did that have on you know? A beautiful control room, record thats better than the first one.
The Deaner Album? a kitchen, lounge, big flat-screen TVs, Its done. I cant wait to put it out. And
Well, I started this record, like, four Pro Tools, an API console, and a tape by the time we do get it out, hopefully I
years ago. I brought my other band, the machineeverything that I ever would would have written more tunes.
Moistboyz, from Austin to work on our want. The live room has a full PA and
fifth album and the Dean Ween Group side fills for rehearsal. And its all miked Any idea when that album will
record at the same time. And it was a very up so we can record it through the API to come out?
bad plan. There was no focus. It was like, have a studio-sounding album. Nah. I dont want to muzzle the first one
Whoa! What song goes on which record? or beat people over the head with one
They all sounded like the Moistboyz, Coming into The Deaner Album, you right on its heels. And Ween is going. So
because were cowriting together. spoke about finding a new creative Im plenty busy.
So I put my record on the back burner place where you were really on fire.
and put my best foot forward for the Yeah. I still got it going, man. Ive been Any plans for new music with Ween?
Moistboyz. When that was done and the writing on the road, which I never Not at the moment. Thats all I can say.

As guitar What is it about the guitar that still
intensive as
inspires you to pick it up today?
Weens solo
debut is, he still The fact that I dont know anything.
puts a premium I would love to be able to play like
on songcraft. Django. Id love to be able to play like
Without a Eddie Van Halen. I mean, theres so
song, youve
got nothing,
much out there. Ive developed my
he says. Here, style and my tendencies, and I have my
he strips his influences, but theres so much more to
music to the conquer. And you never know when its
essence with a
going to hit you.
Guild acoustic.
Like, Willie Nelson doesnt get nearly
enough props for his guitar playing.
The guitar playing is beautiful and sin-
gular. He plays a classical Martin, which
is what I have. More than steel strings,
thats what I like to play. I saw him
recently, and I came home and I just
couldnt wait to get my hands on mine.
You know Eddie Van Halen wishes
he could play like Django. You got your
YOUTUBE IT
The Dean Ween Group meets the Meat Puppets in the guitar-mad
thing, and thats great and all. But you video for The Exercise Man, a tune stoked by Ween-esque humor
can never stop learning. And when you and abundant hooks. The highlight comes about a minute in, when
Dean, on a Telecaster, and the Puppets Curt Kirkwood, picking a Les
stop searching, then youre fucked.
Paul, trade dizzy solos as the camera zooms in on their fingers.
You know? YouTube search term: The Exercise Man
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XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
THE
SNAKE
STRIKES
AGAIN!
Psychedelic blues guitar hero
Harvey Mandel returns, uncoiling a
lifetime of trippy techniques like
tapping, extreme vibrato, and backwards
soloing in a new album and box set.
BY MICHAEL ROSS
Illustration by Rosemary Fanti
XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
M
In Mandels still- any listeners first exposure to the unique, slithering Jive Samba and the
expanding sonic
guitar sound of Harvey Mandel came when the funky Poontang to more
universe, green
isnt just the Rolling Stones Hot Stuff hit the airwaves in distorted effects on the
color of aliens. 1976. But Mandels story begins more than a swampy Love of Life
This graphic decade earlier, when young white guitarists roamed Chicagos and the slow blues Just a
self-portrait blues clubs, learning to play at the feet of legends like Buddy Hair More.
celebrates his
image as a
Guy, Otis Rush, and Magic Sam. The release of The Paul One of the most
longstanding Butterfield Blues Band in 1965, with its back-cover exhortation successful blues bands of
psychedelic to play it loud, and the groups East-West in 1966 showcased the late 60s was Canned Heat, who cracked the pop charts
warrior. the incendiary playing of one of those nascent guitar heroes, with On the Road Again and Goin Up the Country.
Michael Bloomfield, whose raw performances on both records Following the release of their fourth record, original guitarist
spoke to a new generation of players. Henry Vestine quit after an onstage argument with bassist
Harvey Mandel was also on the Chicago scene, cutting Larry Taylor at the Fillmore West. The next night Mandel and
his teeth sitting in with blues legends. Bloomfield was more Mike Bloomfield sat in with the band, after which Mandel was
on the South Side, and I hung more at the club Twist City, recruited as Vestines replacementjust in time for Woodstock.
which is the West Side, says Mandel. Born in 1945, he was Mandel left Canned Heat in 1970, but soon joined Larry
a few years younger than the Butterfield Band guitarist, but Taylor in British blues legend John Mayalls band to record
by his late teens he was consistently jamming with the likes USA Union. For that drummer-less album, the guitarist fully
of Buddy Guy. I wasnt legally allowed in a lot of clubs abandoned distortion and sustain for a more country-ish clean
because I wasnt 21, but the owners didnt mind, he says. tone, leaving the majority of the soloing to Mayalls piano and
They would sneak me in and out, making sure no one Don Sugarcane Harris electric blues violin. Mandel and
fed me liquor so they wouldnt lose their licenses. Shortly Harris would briefly join forces a few years later for the group
after becoming legal, Mandel made his recording debut Pure Food and Drug Act, but not before the guitarist recorded
on Stand Back! Here Comes Charley Musselwhites Southside one of his best solo records, 1971s Baby Batter.
Band, with a singing tone already hinting at the sustain that For The Snake, released in 1972, the guitarist added some
would help define his sound. new sounds and techniques. Uni-Vibe modulated tones
To many suburban blues guitarists, Stand Back was almost are prevalent, while the song Lynda Love offers pull-offs
as influential as the Butterfield records, but because it was on open strings that create wide intervallic jumps. Mandel
released in 1967, Mandels emerging style was overshadowed further expands his technical palette on 1973s Shangrenade,
by Claptons work with John Mayalls Bluesbreakers and delivering an explosion of two-handed tapping a full five
the arrival of Jimi Hendrix. Still, Bill Graham deemed the years before Van Halens first record.
Musselwhite band worthy to share a bill with Bloomfields The year 1976 brought the guitarists famous Rolling
Electric Flag and Eric Claptons new group Cream at his San Stones audition, which resulted in Mandel appearing on two
Francisco-based Fillmore West. I ended up staying in San singles from the Black and Blue album, Memory Motel and
Francisco, because after that show the group disbanded and Hot Stuff. His tasteful melodic licks on the former enhance
everyone went their own way, Mandel recalls. the tune, but it is his limitless sustain and backwards-
There, the guitarist met Abe Voco Kesh (Keshishian), sounding licks on the latter that show the added colors and
a radio DJ and producer for the Mercury/Philips labels. creativity Mandel might have brought to the band had they
A fan of the Musselwhite band, Kesh had just produced not opted to go with Ron Woods virtual cloning of Keith.
a No. 1 record for Blue Cheer. This let him get Mandel In the subsequent 40 years, Mandel has toured with
a solo deal with Phillips without so much as an audition. versions of Canned Heat and continued to make solo
His first solo record, Cristo Redentor, in 1968, contained records, including his most recent, 2016s Snake Pit. This
many of the markers Mandel would revisit over more than release finds the guitarist at the top of his game, mostly
a dozen records and almost five decades: funky grooves fingerpicking his heart out, despite spending the last
with strings and horns filling out the sound, along with few years fighting off cancer and undergoing a series of
psychedelic production techniques like guitars panning operations. Last year also saw the release of Snake Box, a
across the stereo spectrum and flipping the tape over to set of five full Mandel classicsCristo Redentor, Righteous,
achieve backwards guitar effects. Even without recording Games Guitars Play, Baby Batter, and The Snake, along with a
tricks, Mandels distinctive licks seemed at times to be going bonus disc, Live at the Matrix.
Artwork by By Harvey Mandel
backwards, creating the serpentine sound that earned him Surveying the collected works and latest release, as well
his nickname, Snake. as interviewing the man, reveals a portrait of an artist who
The next year saw the release of Righteous, cementing developed a personal voice early on, yet continues to grow,
the eclecticism that would mark all of Mandels music, willing to incorporate new sounds, skills, and technology as
ranging from the clean tones on Cannonball Adderleys long as they help him achieve his vision.
premierguitar.com
Inspiration can come in many shapes and forms a touch, a sound, a color,a fine instrument.
The Premium RGs are designed to inspire your creativity and imagination. Your job is to inspire the world.
R G 3 0 T H A N N I V E R S A R Y
HARVEY MANDELS GEAR
GUITARS
Parker Fly Mojo with DiMarzio pickups
AMPS
Fender Hot Rod DeVille 4x10
EFFECTS
Keeley Fuzz Head
Keeley Compressor
Roland VG-99
PICKS & STRINGS

Dean Markley (.009.042)
Dava medium picks
Live, Mandel Were you born in Chicago?

employs modern
stompboxes
I am from Chicago. I just happened to I have the action set where I can slip
pop out at the wrong time, when my
and a VG-99
to reproduce father was working in Detroit, but I the G string or B string underneath the D and
effects he
created decades
never really lived there. I was an infant A string if I have to. Thats the only way you
when we moved back to Chicago.
ago in the
studio. His
can do certain bends or vibratos.
Parker Fly Mojo How did you start playing guitar?
sports an aptly I was going on 16, jamming on bongo Butterfield, and keyboardist Barry Having those other influences mixed in
psychedelic drums with this guy who played the Goldberg? makes my blues and rock playing better.
finishflames guitara kind of a beatnik thing. I asked Barry Goldberg and I played in a couple
and a snakeskin-
patterned
him to show me a chord, and from that of groups together, including on Charlie How do you do some of your more
lower bout. moment I was hypnotized. My dad got Musselwhites first record. I didnt know extreme string bends?
me my first instrument, which was a Mike Bloomfield well. We jammed a I have the action set where I can slip the
$16 Harmony acoustic. A guy in school couple of times. We were all pretty much G string or B string underneath the D
showed me how to take a phonograph from the same era, playing a lot of the and A string if I have to. Thats the only
cartridge, put it on the guitar, and drill a black clubs. way you can do certain bends or vibratos.
hole in a radio to use it as an amplifier. I use .009.042s, so my E, B, and G are
That became my first electric guitar. Early on, you covered tunes by saxist light enough to push into the other ones.
When my dad saw I was that inventive, Cannonball Adderley and pianist
he took me to Sears, where I got a Horace Silver. Was jazz a big influence? You seem to both push and pull the
Silvertone with a Silvertone amp. Every I listened to all kinds of stuff back in strings.
few months I graduated from one guitar those days and it would all have some I do every type of vibrato and bend you
to the next, until I went through all the influence. Even though I am primarily a have ever seen. I have my Eric Clapton
Strats and Gibsons. I have been mostly blues-rock player, I still like jazz. I can do vibrato. There is the Albert King vibrato,
playing Parker guitars for the last 12 years. some within my style. I also like country. which is pulled down. Theres my Otis
For a while I did nothing but country Rush vibrato, which is real smooth.
Did you come up in the same Chicago licks. I actually played with a country When I first started playing blues, I spent
scene as Mike Bloomfield, Paul band for about six or seven months. lots of time perfecting those techniques.
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What led you to seek almost infinite sustain? you to fly out tomorrow. The next would play fancy guitar licks in
I was trying to imitate horn, violin, synthesizer, day I got a ticket, took my stuff, and the background and let them do
harmonica, and steel guitar sounds. You get an idea went there. their thing. Unfortunately I lost
in your head and you find a way to do it. Now, I knew at the time it was an out to Ron Wood because Keith
they have 500 different pedals to give you sustain, audition, because Mick Taylor Richards wanted to keep the band
distortion, and fuzz. When I started we had to had just left. He wasnt part of the all-English. Keith grew up with
get it from an amplifier. We had to figure out the showmanship stuff. He didnt jump Ron and they were buddies. Still, I
proper amp to use and the way to set it. When I around and go crazy like Jagger. He did come real close to becoming a
did the Baby Batter record, I was using a Bogen PA stayed in the background and just Rolling Stone.
amplifier. I took out one or two of the tubes, so it played cool guitar. Jagger wanted
wasnt real loud, and fed it into a 12" speaker. To this me because, like Mick Taylor, I How had Mick heard of you?
day that is one of my best sounds. I did all kinds of
crazy experimenting with different stuff. Now, Im an
expert on effects so I can consistently get the magic
sound. Back in the day it was hit or miss.
You also experimented with backwards

guitar sounds.
I started by flipping the tapes over. Its all in
learning how to play to make the sound natural
and make sense with what you are doing when
you reverse it. You cant just reverse anything and
expect it to sound good. Now I use certain effects
that emulate the backwards sound.
Sometimes you sound like you are getting a

reverse sound without effects.
I became able to sustain those notes to let them
bend down and do all these weird little twists and
turns that you get when you do the backward
tapes. I was always emulating that sound.
Was 1973s Shangrenade the first time you

really started two-hand tapping?
That entire record is tapping.
What led you to that technique?

When I was in the Pure Food and Drug Act, the
other guitar player, Randy Resnick, did a little
tapping. Others had done it before, but that was
the first time I saw it. I just took it and did my own
thing. Van Halen got the credit for tapping, but I
was definitely the first rock guy to do it on a record.
Nobody realized I was tapping on Shangrenade.
They thought I was a jazz player with long fingers
who was able to do these incredible intervals.
Tell us about the Rolling Stones audition.

I was living in Los Angeles, when I got a call at
3 or 4 oclock in the morning from Mick Jagger.
I thought it was somebody goofing around, but
after I talked to him a minute or two I could tell it
was really him. He said, Id like you to come play
on this record. Were in Munich, Germany. I want

I lost out to Ron Wood because Keith Richards wanted to keep the band
all-English. Still, I did come real close to becoming a Rolling Stone.
A young Mandel We crossed paths somewhere when I Snake Pit is your first studio record in
(left) performing
at Woodstock with
was with Canned Heat. So, through over a decade. Why now?
somebody, he got my number. I guess people started getting interested
Photo by Jason Laure / Frank White Photo Agency
Canned Heat. A
vocabulary built in me lately because of my past notoriety
around sinuous How did the Snake Box set come about? and the illness that I was going through.
leads and bold, When he cut 1970s Games Guitars
My manager, Timm Martin, from Out Josh Rosenthal [of Tompkins Square Play, Mandel was wrangling a Fender
varied vibrato
helped Mandel the Box Records, is also in charge of the Records] reached me through my Stratocaster. The album includes
Chicago Blues Reunion Band, which manager and came up with the offer to bassist Larry Taylor and covers of I
earn his reptilian Dont Need No Doctor, which Humble
nickname, the is Barry Goldberg, me, and some other do this record at Fantasy Studios. All the Pie would also record live the next
Snake, at around the Chicago players. He had a connection tracks were one to two takes live, but it year, and Leaving Trunk, Taj Mahals
time of his debut take on Sleepy John Estes Milk Cow
solo album, 1968s
with Cleopatra Records and they made was recorded with earphones in separate Blues. The LP is now part of the
Cristo Redentor. an offer. rooms. I did some conducting through Snake Box reissue set.
premierguitar.com
the glass. The musicians were really good. There is a ribbon controller on the Have you gotten any kind of
Once I told them what to do, I could just VG-99 to modify effects parameters. I remuneration from anyone?
sit back and play. Despite the fact that I did that with my finger on the controller. Are you kidding?
have gone through a bunch of medical I used it to filter the sound. It was the
weirdness these past few years, I can play first time I ever did it, just for fun. It How are you doing health-wise?
better than ever. Thats the only thing I produces a tone you cant get with the I have been over the cancer for the last
can still do in my old age. [Laughs.] regular wah pedal. couple of years, but have been limited
because every four to six weeks I had
What pedals are you using these days? A lot of your tracks over the years to go for reconstructive surgery. One
I play through a Roland VG-99 and some resemble what they started calling or two more operations and that will
Keeley pedals I keep on the side, like acid jazz. Many of those old acid be done, and then I can concentrate
fuzz, delay, and compressor. The VG-99 jazz records ended up as samples on on touring and performing. Its been
is great because it has a million effects hip-hop records. Have your records like a never-ending nightmare, but
built in. I can sit there and create a bunch been sampled? now the end is finally in sight and I
of my own patches, so I can have the Sure. They can take certain chords, a can concentrate on getting my full
perfect rhythm sound, the perfect Jimi good beat with a magic rhythm, and do strength back. I would say in the next
Hendrix sound, and a perfect backward all kinds of crazy stuff with it. I know six months to a year, I should be back
tape sound at the flip of a button. I use it that has happened for sure. in full swing again.
mostly for the effects, through a Hot Rod
DeVille 4x10. Sometimes I will run one
of its amp model effects and still run it
YOUTUBE IT
Caught live in Lucilles restaurant at B.B. Kings Club in New York
through an amp. City, Harvey Mandel is in top psychedelic form on his Parker Fly
Mojo, conjuring his way through backwards guitar lines and vibrato-
drenched riffs as he dips his toes into the traditional spiritual Wade
On Buckaroo theres a sound that is in the Water.
like a wah-wah, only not quite. YouTube search term: HARVEY MANDEL -- WADE IN THE WATER
the legend
perfected
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turn off
the
rational brain
Psych-folk songwriter
Luke Temple of Here We Go Magic
follows the flow, using intricate
nylon-string picking patterns and
space-conscious arrangements to
craft an enchanting
new solo album.
| BY FREDDY VILLANO |
L
Temple was uke Temple has such a deep, personal connection to I had a sense that I could sing, he recalls. But, like guitar,
trained in what he sings and writes about that it seems as if he I started because it is something you can do by yourself. He
art school as
a painter to was born doing it. Listen to the electronic-acoustic also developed a keen compositional perspective as a painter
understand the psychedelia of his band Here We Go Magic, or the avant-garde at Tufts that he would eventually apply to songwriting. Even
compositional traditionalism of his solo work, and it becomes quite clear his deft fingerpicked licks seem to resonate from the pattern-
values of light that over the past 10 years or so Temple has matured into the oriented headspace he discovered in college. My natural
and dark. As a
quintessential folk artist of our time. His lonesome falsetto has inclination, he says, was to figure out patterns [on guitar]
sonic artist, he
applies the same conjured comparisons to Nick Drake and Jeff Buckley, and and then write little songs from those ideas.
principles of his songcraft is weighed against other contemporary masters, After Tufts, and struggling to make it as a visual artist,
shading to his including Cass McCombs. Still, musically he nods to Hank Temple recorded two folk albums under his own name, Hold
use of space Williams and Roger Miller. a Match for a Gasoline World (2005) and Snowbeast (2007),
and dynamics.
Temples career in music didnt start with the concentrated, before forming the New York-based indie-rock band Here We
intuitive focus he possesses today. His current trajectory can Go Magic in 2008. Their eponymous debut was released the
be traced back to his freshman year in college. Born in Salem, next year. It was recorded almost entirely alone by Temple on
Massachusetts, Temple initially got into playing with his high a simple 4-track recorder with nothing more than a drum,
school friends when he picked up bass as a teenager, but when one microphone, a synth, and an acoustic guitar. Here We Go
Photo by Michael Leviton
he enrolled at Tufts School of the Museum of Fine Arts in Magic eventually morphed into a five-piece, gaining critical
Boston, he didnt have anyone to make music with. acclaim for The January EP (2011) and A Different Ship (2012).
Bass is an ensemble instrument, for the most part, he But whether working with a band or alone, Temple seems to
explains. So I started teaching myself guitar and it just evolved prefer a songwriting palette that blends stream-of-conscious
from there. He even admits he was too shy, initially, to sing. lyrics and melodies with groove-inflected bedroom folk music.
premierguitar.com
On A Hand Through the Cellar Door, Temples latest album, figurative image. Reminiscences such as these abound on A
this auricular template once again manifests itself in quirky, Hand Through the Cellar Door, set in relief by the role space
compelling songs. Musically, the set is a whimsical expression of plays in the songs minimalist arrangements.
minimalism featuring the trio of Temple on guitar and vocals, The symbiotic relationship between influence and expression
Ben Davis on bass, and Austin Vaughn on drums. Lyrically, in Temples songs illuminates an organic approach that is both
Temples meditations on life take the listener inside the head familiar and refreshingly original. His storytelling demonstrates
of someone seemingly immersed within his own thoughts. On an inimitable intuition for the fascinatingly askew. And his FACTOID
Birds of Late December, Temple traverses a memory he has guitar playing skips and hiccups unpredictably and effortlessly An element of A
Hand Through
about his parents divorce, while his gently twined vocal and within the sparse soundscapes he creates as a backdrop for the Cellar Doors
guitar melody evokes Elizabeth Cottens Freight Train. In musical and personal nostalgia. Yet his trips down Memory seductive sound is
bleed. The album
The Case of Lewis Warren, Temple sings about a former high Lane are never sappy. was recorded live
school classmate as he channels the 70s folk-crooner vibe of PG recently caught up with Temple at his adopted home in with minimal
miking, including
Fred Neil and Tim Hardin. Smashing Glass touches on the Los Angeles to discuss the influence of musical traditions, the a Telefunken U47
destructive aspects of anger in its lyrics, and Temples fluttering, illusion of space in music, the cathartic aspects of songwriting, for vocals that also
picked up Temples
nimble fingerpicking sonically paints an Eric Fischl-like his artistic evolution, and his unpretentious oddball gear. nylon-string guitar.
When you first picked up an instrument, room for that. It could be considered a by the brain in the same way. It goes
was the catalyst to write your own songs clich, but theres always a different way to into the darkness and then it is just
or learn cover songs? reinterpret that. And right there Im being information. There are a lot of similar
I always wanted to write my own music. influenced by American songwriting via considerations writing a record and Luke Temple,
I started just jamming with friends and Scotch-Irish music that goes way back. working on a painting. warming up on
his Guitarras
improvising. We never really learned covers, Whether or not youre learning covers Madrigal Modelo
even back then in high school. I always felt youre still influenced by the lineage of What is your songwriting process? 98C nylon
like it was much cooler to write my own music that predates you. Actually going in It usually starts off with throwing shit at string before a
material. Maybe it was my compositional and learning covers and different forms the wall and then editing out the parts November 2016
brain coming from painting. Now, in probably enriches your palette. that dont work and finding the narrative performance at
the Co-Cathedral
retrospect, I wish I had come up learning thread in there. It starts from a more of St. Joseph
more covers and, at this point, Im interested You have a strong, educated subconscious place. Or Ill have an idea in Brooklyn,
in going back and learning more covers. background in painting. Does that ever about what I want to write about, but pursues
cross over or influence your music? then I just let that spring up from the songwriting via
inspiration and
Why? I dont think about them both at the subconscious. If I dont try to be too perspiration.
I think theres strength in tradition. same time. But Im probably utilizing literal about it, it eventually just sort of He says he
Whether I realize it or not, theres always the same part of my brain. There are shows itself. And then the rational brain lets songs
some attempt to avoid clichslittle similar considerations with regard to takes over and you have to roll up your begin from a
subconscious
songwriting tropesas a songwriter. But composition and bookending narratives sleeves and get into the editing part.
place, and then
inevitably Im influenced. Like the 12-bar and things like that. Whether its visual Thats always the hardest part for me, but rolls up
progression, for instance. Theres always or auditory, it comes in and is processed its really important. his sleeves.
Photo by Taylor Swaim

Temple explains
that his well-
played nylon-
string Guitarras
Madrigal is on
permanent
loan from a
friend. Its also
all over A Hand
Through the
Cellar Door.
The first time you show something to a band, the vibe is sort of perfect
because everyone is on their toes. They are playing really intuitively.
Why do you find thats so hard? Do you apply the same approach to I was listening to some North African
Because part of me wants every tiny little the musical components of your songs? music, if I remember correctly, like Tuareg
pearl and jewel in there, and every little Thats the most intuitive part, and that stuff. Theres a little guitar line in the
metaphor, but you have to remember not usually comes first. Maryann started middle of the song that is a Tuareg rip-
to try to impress too much and just get with lyrics, which is pretty rare for me. off, in my mind, but the vocal delivery is
the idea acrossthe story. To get stuck Usually it starts with the music, like maybe [composer] Arthur Russell, a little
in minutia can be a trap. some sort of rhythmic feel that I want to bit. That song is less narrative than the
use, then the music, and then the lyrics. others. The title says it all. Were always
Many of your lyrics seem to be estimating and going on statistics, but we
personal tales. What were you thinking, conceptually, really have no idea whats going to happen.
There are two songs on the record, about Maryann Was Quiet? That song is more about the groovegoing
Maryann Was Quiet and The Case Musically I was thinking Velvet from E to F#, back and forth. I was also
of Lewis Warren, that are about people Underground. There are so many thinking Fire on the Mountain by the
I actually know. Those are true stories. lyrics and its very conversational, so it Grateful Dead, which is just A to G over
Usually I start with something that Ive seemed ridiculous to make the music and over again. A lot of Talking Heads
been through and I have an idea about too baroque or too modal. The music songs have that whole-step movement.
what I want to write about, but then I just needed to be really simple to tell Its an easy progression to float over. I also
have to turn off my rational brain that story. really like holding a whole-step above in the
to allow the images to pop through. bass while the other chordal instruments
Just think about the situation, then I hear some interesting influences in move down a whole-step, like keeping an
free associate, and then edit it Estimated World. Where does the A over a G. I think thats a beautiful sound.
slowly together. rhythmic figure come from? That was the vibe of that song.
premierguitar.com
Bass was
Temples first
instrument, but
when he found
himself without
playing partners
in art school, he
began to explore
acoustic guitar
and singing,
which put
him on his
current path.
Tell me about the band and the

recording process. The record has a real
live vibe to it.
Inside Temples Gear Sanctum
Its just a trioBen Davis on bass and Some players subscribe to the guitar-as-hammer-and-nails philosophy
Austin Vaughn on drumsand we the notion that the instruments so many of us drool over are simply
recorded it in two days. We did a bunch tools for getting a job done. Luke Temple is one of them. Despite his
of rehearsing and then went into the sonic conjuring, he says his needs are basic and he makes the most out
studio and recorded it live. Everything is of whatever is at his disposal, to the extent that he sometimes doesnt
live. There are a couple of overdubs here remember what hes actually used to record.
and there, but the bulk of itthe vocals, On A Hand Through the Cellar Door, Temple says he played a Guitarras
bass and drumswere all done together. Madrigal Modelo 98C nylon string that he says is on permanent loan from
a friend. At home he plays and writes on an inexpensive Yamaha FG-30
Did you write what they played or did 12-string acoustic that is nowhere to be heard on the album. With Here
they come up with their own parts? We Go Magic, he relies on his trusty, well-worn 1965 Valco-made National
Im with Miles Davis, in that its not N-644 solidbody, which is also absent from Cellar Door.
about writing parts for people. Its about The sole amp he used on the album is a small Vox that was provided
picking the right people. If you pick the by the studio where he cut Cellar Door. He admits he doesnt remember
the amp model, or the make of the contact mic he used to translate his
right people, they are going to play stuff
Madrigal 98Cs vibrations to it. Temples own go-to amp for live shows, a
that works. You have to start there and let
Fender Concert Pro, was recently stolen. And while he doesnt declare a
them be themselves. If they are the right
preference for any particular brand of strings, he does use .011 sets on his
musicians they are going to understand
nylon-string and 12-string guitars. He does not use a pick.
the tone. Theyre going to know it needs
to be sparse, or whatever kind of thing
youre working with. Those guys were the
right fit for this particular batch of songs.
And they loved rehearsing so there was The music is pretty simple, so it might this weird illusion you can create with
no twisting their ears to go in and work seem like I just showed them the song space and that takes a lot of work. At
on the songs. and they just came up with the first thing least it did for this record.
on their minds, but it was a lot of work,
Theres sparseness to the music actually. To work with such a simple How do you balance over- and under-
that must be challenging to capture palette like that, its like less is more. rehearsing for such a session?
convincingly. You have to be loose, The more space you utilize the more you The first time you show something to a
but tight. actually hearthe fuller it seems. Its like band, the vibe is sort of perfect because
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everyone is on their toes. They dont How would you describe the phases of everyone had the songs under their belts
really know whats coming, and they are development in the rehearsal process? completely and we could just play with
playing really intuitively. But usually At the beginning, the vibe is right, it. Its a whole process.
people hit wrong notes or make mistakes but inevitably theres going to be some
because they dont really understand kinks to work out. And then theres this You have to have structure to break
the songespecially if its a bit more whole middle period where everyone free from. Even most jazz musicians are
complex. My songs usually have little basically figures out what they want to improvising over chord changes.
turns that no one would really be able play, but it starts to get really uptight I always think of someone like John
to predict intuitively. There are certain because they are thinking about it Coltrane. These master musicians
songwriters, like Bob Dylan for instance, too much. And then it gets to a point practiced probably 10 or 13 hours a day
who would just come in and show the whereand maybe youve played it live in such a formal way that they just broke
song to the band right there and they a few timesyou actually transcend that through some other side. His ascension
would be hanging on for dear life. You and you get back to the innocence of on those records, from A Love Supreme
can hear that in a lot of his recordings. knowing the song so well you can relax onits just this completely free music. In
in it and just have fun with it. And you a sense, rehearsing for a record is a little
Blood on the Tracks was reportedly can kind of improvise again within the microcosm of that. You want to get to the
done that wayat least partially. parts that youve written for yourself. point where youre free past the form, but
And I feel like you can hear it. You can hear I knew it was time to record when its not like my music is free music.
the bassist just listening or looking at Dylans
fingers for when theyre going to change.
And that adds real electricity to a recording.
YOUTUBE IT
Luke Temples belief in keeping things sweet and simple resonates
With a lot of my songs, you couldnt really through this solo performance of Here We Go Magics Miracle of
do that because theyre a bit more baroque Mary on his nylon-string guitar, recorded at the Vondel Hotel in
Amsterdam in 2012.
in the way that they are written, so there YouTube search term: Here We Go Magic - Miracle Of Mary (Live)
needs to be some rehearsing.
the Straight Truth About Pickups by Jason Lollar

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You only play acoustic guitar on this out the vocal without taking out the more narrative songs would feel weird
record. How did you track guitar. Or the vocal was in the guitar for me to labor over. This record needed
your instrument? track. It just was impossible. to be conversational, so playing live with
We miked it and also had a contact mic other people gives it that vibe.
going through an amp. I think it was a Do you prefer acoustic or
small Vox that was blown out a little. I electric guitar? Is there anything cathartic about the
dont think we used much of that track In Here We Go Magic I play electric, but writing process for you?
other than to beef it up or give it a little I think I prefer playing acoustic. Its the My insides are a big jumble and my
grit occasionally. For the most part we instrument that I write all my music on, mind is constantly going. Im constantly
used the guitar mic. I sang through a mostly because I write at home. I actually thinking about the next thing, so its
Telefunken U47, and that invariably have a 12-string I like to play a lot when hard for me to reflect and say whether
picked up a bunch of guitar, also. Im kicking around the house. something is cathartic or that Ive worked
through a problem. Im just always on to
Did that kind of bleed cause Youve done albums at home by the next thing.
mixing issues? yourself on a 4-track and in a studio But it feels that way when I perform.
Nowadays when you mix and master with a band. Do you have a preference? Writing feels like a lot of work. Theres
a record you do a vocal version and a They both have their place. Im recording a certain satisfaction when you finish
non-vocal version, because if you hope right now by myself. I love working alone a song, but its not always enjoyable,
to sync your music to a commercial and just being in a world of overdubs necessarily. I love doing it and I
or a film, everyone always wants the where I play everything. But theres understand that I have to do it every
instrumental version. And that was the something you cant get with overdubbing day. Im writing all day, every day. But it
one thing about this record I couldnt that you can capture live with other doesnt feel cathartic until its finished and
do, because everything is bleeding into human beings. Its just a case-by-case I perform it or record it really well and I
everything else. Theres no way of taking situation that depends on the song. The listen back. Then it feels like a success.
premierguitar.com
ACOUSTIC SOUNDBOARD
A Master Builders Tips for Choosing the Right Pickup

BY MARK DALTON
A
Installed in coustic guitar pickups have been
one of Huss & written about extensively in
Daltons OM Premier Guitar by knowledgeable
models, this
bridge-plate
folks like Larry Fishman, but this month
contact pickup Id like to touch on the subject through
will serve a the lens of a guitar builder. Ill avoid
player with plans comparison between different pickup
to play noisier
models and instead concentrate on the
rooms, where
an internally different types of pickups, along with
mounted mic considerations for choosing the right
might not be up system for you and your guitar.
to the job. So, where do you play that requires
you to plug in? Its the very first question
Ill ask anyone who asks me what pickup
they should install. Its a simple question,
but its critical to getting the best
system for you. Over the years, I have
identified roughly five different levels
of performance/background noise that
necessitate the use of particular systems. Given the relatively low-volume (gain) level that
Level 1. If you play at home on you will need in this scenario, any guitar builder
your ownor maybe with one other will likely tell you to go with a mic.
acoustic playerand you want to do
some recording, I would question the
need for a pickup at all. I believe that a this situation, Id suggest going with at gain needed and the tremendous feedback
good external condenser mic would be least a combo pickup that incorporates opportunities involved, Id recommend
the better choice if this is where you find an internal mic with another source such finding a good under-saddle transducer.
yourself. A mic will usually give you the as a bridge-plate contact pickup. This Remember: If nobody hears that great
best tone for recording and you can easily way, you can mix the mic signal in higher break that you just played, it doesnt matter
try out a number of different models and when the room is quieter for better tone, how great it was. Im reminded of a friend
different mic positions to get the tone you but you can dial it back and use more (who is a terrific flatpicker) and the time
hear in your head. Given the relatively of the secondary source when the room he told me about a night where the sound
low-volume (gain) level that you will need youre playing in is noisier. was particularly bad at the venue they were
in this scenario, any guitar builder will Level 4. Okay, now add several other playing. After the show, a friend of his came
likely tell you to go with a mic. players and a bit more noise. At this up and said, Man, those were some great-
Level 2. Lets say you want to venture point, forget the miceither internal looking breaks you were playing tonight.
out into a quiet coffeehouse or church or external. I would use a bridge-plate While no acoustic-guitar builder will
setting, either solo or along with another contact pickup for tone and also consider necessarily tell you that using a pickup is
player. This is where you might want to adding an under-saddle transducer, and ideal, its certainly necessary sometimes
invest in a pickup so you can concentrate then mix the two signals. In the best in order to be heard. I hope these quick
on your playing and not have to overplay rooms, the contact pickup will likely guidelines will help you in achieving the
in order to be heard. For this level, you work well on its own. But when its loud, absolute best tonewhich is always my
might consider an internally mounted having the under-saddle transducer is the focusat a listenable level of volume.
microphone. These will give you good only way your guitar will be heard at all.
tone and still allow you to have some Level 5. This is a full-blown band with MARK DALTON is a founding
partner of Huss & Dalton Guitar
control over the mic and placement when drums and electric bass. At this point, Company. When not building
youre outside of your home studio. you need to concentrate on simply being guitars, Mark and his wife,
Kimberly, tend to the draft horses
Level 3. What if that coffeehouse is heard and worry less about tone. While and mules that inhabit their farm
not so quiet, and youd also like to throw it pains me to say that, its the reality of in the Piedmont region of Virginia.
in the occasional acoustic-duo bar gig? In these situations. Considering the high
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soundclips.
A Study In Stereo Miking

BY JOE GORE
This still from

the PG video
DIY: How
to Mic Your
Acoustic Like a
Pro, by senior
editor Andy
Ellis, captures
Nashville studio
pros Bryan
Clark and Adam
Fluhrer at work.
N
ot that I deserved it, but Santa
was very kind this year. And by
Santa, I mean my father-in-
You dont need a stereo mic for these
law, Allan Malmberg. Hes an ace record- techniquesyou can use any good-sounding
ing engineer whose business, Opus One,
specialized in classical recording. Allan
pair, subject to a few limitations.
was winnowing down his gear collection
and he gifted us several superb mics. A changing the instrument, the mic, or favor sound from straight ahead over
merry Christmas indeed! their relative positions. This provides a sound coming from the sides.
The bequest includes an AKG C 426 B, reasonably objective basis of comparison. Check out the two examples in
a great-sounding and ultra-versatile stereo Note that you dont need a stereo mic Clip 1. (Headphones recommended.)
mic. Among other things, its perfect for for these techniques. You can use any First you hear both mics set to figure-
comparing and contrasting various stereo- good-sounding pair, subject to a few eight patterns, and then both mics set
miking techniques for acoustic guitar. limitations well discuss. to cardioid. The instrument is an old
Nashville know-how. This isnt the SeX/Y stereo. In x/y stereo recording, rosewood classical guitar strung with
first time Premier Guitar has covered this two mics are positioned as close as Thomastik-Infeld rope-core strings and
topic. One of my fave PG items ever is the possible to each other, with one angled tuned low.
Andy Ellis video DIY: How to Mic Your left and one angled right at something The figure-eight mics produce a
Acoustic Like a Pro in which Nashville like a 90-degree angle. That way the nice, fat stereo image, with some room
studio pros Bryan Clark and Adam sound reaches the two mikes at nearly color via the rear sides of the mics. The
Fluhrer demonstrate several stereo miking the same instant, minimizing phase cardioid version has less stereo drama,
techniques. Check it out! Ill wait. problems. You set the mics to directional but the guitar commands center stage
I cover similar turf, but with one patterns (assuming your mic patterns with more impact and presence. Your
difference: Thanks to the stereo mic, are switchable). They can be cardioid, choice might be a matter of how hard-
I can compare the techniques without hypercardioid, or figure eight, all of which hitting you want to sound, or whether
premierguitar.com
A: You can
swivel the
upper capsule
of this stereo
AKG mic for
various stereo
techniques.
B: Two small-
diaphragm
Schoeps
condenser mics
in a typical x-y
pattern. C: The
AKG 414 on
the left faces
forward. The
second mic
is oriented
sideways and set
to a figure-eight
pattern for m-s
the ambience in your recording room is stereo.) Its like magicat least if youre featuring this particular instrument, Id recording.
worth capturing. not an acoustician. probably go with the m-s arrangements
Mid vs. side. Mid-side technique Clip 2 starts with the forward-facing with the front-facing mic set to cardioid
(m-s for short) can be bewildering at mic also set to figure eight for a nice, (strictly a personal call). Or I might
first, though Clark explains it well in the naturalistic stereo spread with a touch choose something a lot simpler: plain old
video. To further complicate matters, of room color. Then I switch the mic to mono, as heard in Clip 4.
you usually dont hear the effect till after cardioid for a more center-forward sound. Mono has advantages: ease of setup,
youve recorded it. But m-s recordings Finally, you hear the front mic set to omni no phasing issues, and, with some skill
have two advantages: They always for a more diffuse and roomy effect. Again, and luck, great sound. What it lacks is
sound good when heard in mono. your choice might depend on how much stereothe topic of this article! Granted,
(Phase problems can arise with other center impact you desire and whether the Im cheating a bit. While the other
techniques when summing to mono.) room sound is worth capturing. examples are bone-dry, here Ive added
Also, you can change the stereo width To A/B or not to A/B. What about light EQ, compression, and stereo reverb.
after youve recorded. just setting up two mics some distance But thats just to demonstrate that mono
The side-facing mic must be set to apart and angled inward, as if they were acoustic guitar need not sound flat and
figure eight, so it hears equally from stereo speakers? This A/B technique unappealing. Many, if not most, of
left and right. The front-facing mic provides a realistic stereo effect, though the greatest solo guitar recordings were
can be cardioid, figure eight, or omni the two sides can often be out of balance, tracked in good ol mono. (I covered
(youll hear all three). After recording like the left-heavy sound of Clip 3. mono acoustic guitar recording in
you must duplicate the side-mic track in Conventional studio wisdom dictates Tracking Yourself on Acoustic in the
your DAW, and then flip the duplicate at least three times the distance between November 2014 issue.)
out of phase with the original. (Some the two mics as between the mics and I hope Ive provided a clear overview of
DAWs have a phase-reverse switch on the sound source, and thats what you the options so you can zero in on the best
the channel strip. Otherslike my DAW hear first. After that I break the law, technique for your needs the next time
of choice, Logic Prorequire a plugin.) arranging the guitar and mics so that all you take a walk on the stereo side.
Pan the side-mic tracks far left and three objects are about 18 inches apart.
right. If you solo these two tracks, you This produces a warmer sound thanks JOE GORE has recorded and
hear only silence. Its 100 percent phase to the proximity of the mics, though performed with Tom Waits, PJ
Harvey, Tracy Chapman, Courtney
cancellation. But if you start with the theres a slight loss of sparkle due to phase Love, Marianne Faithfull, Les
front-facing recording in the center and conflicts. Still, its still an attractive and Claypool, Flea, DJ Shadow, John
Cale, and many other artists. Joe
gradually raise the two side-facing tracks, usable sound. has written thousands of articles
a stereo image appears. (The louder Mono me. There are many appealing about music and helps develop
music tools for Apple and other
the side signal, the more dramatic the options here. For a solo guitar recording clients. He blogs at tonefiend.com.

SPEAKER GEEKS
The Lowdown on Power Handling

BY JOHN PAICE
P
More important ower handling. Its one of the The same principle of maximum amp
than a speakers most fundamental loudspeaker power also applies to multiple speakers.
groovy color:
specifications, and yet one of the If you run a 2x12 cab with that 50-watt
Can it handle
your amps most misunderstood. Heres what you amp, Id recommend using a minimum of
power output? really need to know about choosing the two 25-watt speakers. Similarly a 2x12 cab
right speaker for your setup. with dual 60-watt speakers provides you
As guitar players, were all comfortable 120 watts to play with, which is still great.
with the idea of our amps power rating. Its perfectly okay to mix two speakers
Its a handy means of quantifying how of differing power ratings. If you do this,
much boost we can apply to our guitar then the overall cabinet rating will be
signal, how much bigger we can make the twice the lowest rated value. So a 2x12
output. A guitar speakers rating considers cab loaded with both a 25- and a 60-watt
power from the opposite direction. speaker will have an overall power rating
This rating represents the maximum of 50 watts. At Celestion, we test speakers in a
amount of amplifier power the speaker Where to draw the line? Theres a number of ways: We play guitar through
can safely tolerate over a period of time. school of thought that suggests you need them, we play recorded music through
If the power input from the amp to the to be driving a speaker to a certain level them, and basically we do everything
speaker is lower than the specified power- perhaps somewhere between half and full possible to find the limits of the speakers
handling figure of the speaker itself, then powerto make it do its thing. The best performance and what it takes to break
the speaker ought to deliver trouble-free option, so the thinking goes, is to choose it. More scientifically, we also feed the
operation for a lifetime. But if you feed a speaker with a power handling close to speaker with an RMS test signal
a speaker anything beyond its stated the max power output of the amp. While random noise with a consistent level of
maximum, problems can occur. its true the more you crank up the power, sound energy thats averaged over time.
By subjecting the outcomes of these
tests to experienced interpretation, we can
Its perfectly okay to mix two speakers of differing arrive at a meaningful power-handling
power ratings. If you do this, then the overall cabinet value. Averaged over time is perhaps the
most critical statement here. For example,
rating will be twice the lowest rated value. if we know that a guitar speaker can cope
both mechanically and thermally with a
In practical terms, this means if you the more gnarly (I believe thats a technical constant 50-watt input signal for 100 hours
connect a 50-watt amp to a speaker rated term) the speaker output will likely become, with no adverse effects, then we can safely
at 50 watts (or more), then youre good to the truth is a guitar speaker actually begins assume that the same speaker will have little
go. However, connect a 20-watt speaker adding its tonal mojo at very low levels problem withstanding a cranked 50-watt
to the same 50-watt amp and you run mere fractions of a watt. So whatever level tube-amp signal thats apt to produce
an increased risk of the speaker failing at youre playing at, you can be sure youre higher transients from time to time.
some point down the line ... probably in already getting oodles of the lovely speaker Power handling neednt be a barrier
the middle of your showpiece solo. tone you crave. Ever wondered if you could to speaker choice. In fact, once youre
Avoiding disaster. Operationally, use that cute little 5-watt lunchbox amp armed with the knowledge of what it is
choosing a speaker you can safely use with a 90-watt speaker? Sure you can, and I (and isnt), you can confidently choose
is simply a matter of getting to know bet itll sound fantastic. from a bigger selection of speakers, and
which speaker is going to work with What dictates power handling? that can only broaden the range of tonal
your amplifier without breaking. For that Testing a speaker to find its power handling possibilities available to you.
50-watt amp, a 50-watt speaker will work gives us an insight into how the speaker copes
fine, but so will any speaker with a power with a sustained input both mechanically JOHN PAICE has worked in
Image courtesy of Celestion
product marketing at Celestion

rating greater than 50 watts. It could be (in the repeated back-and-forth motion of for nearly 14 years. With a degree
in acoustics and another in
60, 75, 100, or even 150 watts. In terms the cone, voice coil, and suspension) and physics, alongside a passion for
of functionality, it doesnt matter. Beyond thermally (with the heat generated when you guitar music, Paice figures it was
somehow inevitable he would end
that its simply down to your tonal send a powerful signal into the speaker) over up working in the tech end of the
music industry.
preference as to which speaker you select. an extended period of time.
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a ni c s E
r g
O OFFE N
Armed with Zack Weils naturally technical yet
rhythmic guitar playing and Kevin Cribbins unclean,
Photo by Joe Martinez Jr
nasty lead bass tones, Chicago thrash trio Oozing

Wound takes the crude metal shtick outside the norm.
X BY TZVI GLUCKIN X
Oozing Wound
like their venues
the same
way they like
their music:
no frills, dark,
and unclean.
C laiming to be Tipper Gores worst fears incarnate,
Oozing Wound isnt exactly a serious act. Check
out their videos: They murder posers, trample lion
cubs to death, and pay tribute to recreational activities like
shot-gunning beer and ripping bong hits. Their song titles
include Call Your Guy and Everything Sucks, and My
Its an aesthetic Cribbin shares with guitarist Zack Weil,
although Weil keeps a stomp-free signal chain. Im not huge
on pedals, he says. Every pedal I ever bought, I was like,
Okay, it makes this one sound. Cool. I can do that in part of
one song. And then youre just carrying this pedal around.
After further examination, Oozing Wounds shtick turns
Theyre shown
here playing Life Is a Lie. Irreverence is more than a byword for them out to be much more than fuzz overload and cultivated bad
the Windmill in its a core value. taste. Their musical depth is rooted in disparate influences.
London on The Chicago-based thrash trio spew juicy sarcasm on Everything I listen to is from the 70s, Weil says. Thats
Dec. 3, 2016. albums like Retrash, Earth Suck, and now Whatever Forever where my mind is always at, then every so often I come up
nothings sacred and to hell with convention. Their music is for air. Theyre as happy listening to bands like the Beach
fast and raucousas thrash metal should beand dripping Boys, Yes, and Frank Zappa as they are listening to Lightning
in fuzz. And their sound, as youd expect, is an exercise in Bolt and fellow Midwestern heroes, the Platinum Boys. That
excess. I can always figure out how to sound properly gross diversity is part of what keeps the bands music fresh and mul-
in the mixgetting the grossness just right, bassist Kevin tidimensional. Inside jokes and faux bravado aside, theyre also
Cribbin says. Oozing Wound is gross, and thats the point. sophisticated songwriters, with a keen ear for melody and a
But they do it with a certain finesse thats more than meets daredevil approach to odd meters, feedback, and noise.
the eye. Cribbin, for his part, is armed with a bevy of ZVEX We want to be serious at making it as good as we can on
fuzz pedals. He works the bands bottom end and keeps the craft level, Cribbin says. And they do that while raising
Photo by Kevin Gras
things gnarly. But despite his penchant for nasty, his formi- a middle finger at decorum. Weil and Cribbin discuss their
dable chops enable him to maintain the musics intensity tonal formulas, go-to gear, and organic songwriting approach,
with clarity and definition. plus Weil confesses his fear of changing guitar strings onstage.
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YamahaMusicUSA
Dave Keuning / the killers
yamaha.com/revstar
ZACK WEILS GEAR
GUITARS
Gibson Flying V
AMPS
Peavey 6505 Plus
Marshall cabinet
PEDALS
Boss Tuner TU-2
Boss DD-3 Digital Delay
STINGS AND PICKS

Ernie Ball Regular Slinky strings
(.010-.046)
Purple Dunlop 1.14 mm picks
How does listening to pop music influ-

ence your metal writing?
Weil: We do breakdowns, go against
rhythms, and do things that a band try-
Zack Weil is a ing to play to a style would probably
minimalist when never think to do or would never want
it comes to gear.
A Gibson Flying to do. We try to keep things interesting
V is the only or catchy or at least bizarre. Playing off
guitar he plays, Kevin helps because I write way more
so he makes it straight than he does. I come up with
a point to
two parts that I think will go good back
never break a
string onstage. and forth and its usually rhythmically
strict. Hell come in and put something
Who are your musical influences? of ABBA lately, too. People never believe over the top of that. You couldnt tran-
Weil: Ive been listening to a lot of Beach me about this stuff, but thats what I scribe what Kevin does, but its pedals
Boystheyre my favorite bandIm listen to. Its pop music. I get a lot of and noises and he plays with his fingers
always listening to them. Five or six years ideas from that, way more than I ever do in a way that makes most people, if they
ago I was probably only listening to from metal. start watching him, go dead in the face
metal, which is right around when I start- Cribbin: The obvious answer is that I staring at his hands. I would say the com-
ed Oozing Wound, but the Beach Boys was really into Les Claypool. But my bination of the two of us writing against
have been a constant for so much longer. mom and my uncles were all heads in the one another is how we come up with
Its just something I always go back to. 70s, so I was exposed to a lot of Devo, these weird things. If we were only listen-
I cant write music like that, so its fasci- Frank Zappa, the Police, Deep Purple, ing to metal, I dont think we would do it
nating to me in a way that Metallica or Black Sabbath, and all those bands. Bass the same way.
Kreator is not as amazingI hear what was an interesting component to all those
theyre doing, I get how theyre doing it. recordstheir presence. Everyone in When writing songs, do you bring in
Whereas there is a real mystery behind Oozing Wound is into strange, non-metal riffs or do you do a lot of jamming
Photo by Kevin Gras
what the Beach Boys do or Yesprobably music. We listen to different genres that at rehearsals?
being my second favorite band that Im dont resemble what we produce. We like Weil: Ive structured out songs before
always listening to. Im listening to a lot the Beach Boys and shit like that. and I was like, Heres the four parts.
premierguitar.com
FACTOID and you hear this thing and youre like, I can
To create a huge wall of guitar sound on Whatever do that rhythm. Then you play it and every-
Forever, guitarist Zack Weil recorded one track of guitars
on the neck pickup of his Flying V, and a second guitar part one is like, Wow, thats difficult. And youre
on the bridge pickup. Weil also uses two or three amps, like, I guess so? To me, I never feel like Im
then doubles them, so the effect is like hearing six guitars.
pushing my ability too hard, but sometimes
listening back Im kind of shocked at the stuff
I hear. But theres no real technique or thing
Im practicing or anything like that. Ive got-
ten better at speed pickingit doesnt hurt
my arm anymore.
How so?
Weil: When I first started, I had to change
how I held the pick. But a few little changes
and suddenly everything was super simple.
Im sure touring helps a lot, as well.

Weil: Kind of. You get tighter and looser at
the same time. You start screwing up things
that youve never even questioned before. I
Heres how were going to do it. And it never get freaked out halfway through a tour. The
turns out the way I think it will. That used guitar playing part is always easy, but all the
to bum me out. But now thats the magic of vocal stuff, I start losing my voice about half-
it all. Its always a collaboration, no matter way into itor just even a couple of days. I
how much Im doing. If I write 90 percent of get real moody and I cant drink as much or
it, the other 10 percent is really important. I have to drink room temperature water and
Kevins brought in a couple riffs, but for the try not to talk. Its kind of maddening.
most part its me wanting to move onto the
next thing and hes good at making what I Does playing loud help? It can loosen up
do weirder and more interesting. Its a real your attack.
partnership. Weil: Yeah. I used to play some folkie stuff,
Cribbin: Zack comes up with these really but eventually I realized I would rather see
weird riffs, so, do I play what hes doing? Do people having a good time in the crowd than
I emphasize certain notes? Do I treat it rhyth- crying, weeping, or moping. Loud goes with
mically? Do I play his riff backwards over it the territory. Its more fun. If you could be
and make it sound weird? Anything goes. A really fun and quiet then maybe I would do
lot of that stuff is organically trying to make it, but I have yet to see that happen.
things interesting on a personal level.
What amps do you use?
Zack, your rhythm playing is intricate and Weil: I use a Peavey 6505 Plus. Before that
pretty difficult. Do you have different tech- I was using a Peavey Ultra Plus. I worked
niques you use either for playing that way, with the guy who records us, Matt Russell,
for practice, or to maintain consistency? at a Whole Foods right when I was starting
Weil: Not really [laughs]. I never used to Oozing Wound. He was the most metal guy
play metalthat was a discovery in my mid- I knew who recorded bands. I asked him,
20s that I could even do it. For example, What do I need to do to get that sound?
for some people palm muting is impossible He said, Buy a Peavey Ultra Plus. Get a
and they get caught up on that. You build Marshall 1969 cab. And put Zakk Wylde
up these small little things that eventually pickups in your guitar. And it totally worked
you can combine. There were skills I picked [laughs]. Hes kind of a genius in that sense.
up when I was a teenager. I listened to some It was a real budget way to get the right
proggier, mathier stuff when I was in my tone. Ive been using the exact same thing
early 20s and that all fed into it. I was play- ever since. Same pickups. Ive been trying to
ing with a bunch of different people in bands use different cab setups, but the restriction

WW_CS_LTD2017_2,5x9,875_USA.indd 1 12.01.17 17:15
is always money and finding this shit. How about guitars? You have the V. Do soundscapes and weird stuff. I had some
I want to have giant orange and green you have a backup on the road as well? songs that I would play like that, but it
cabs or something, that kind of thing, Weil: Ive magically never broken a string was all really slow. Then I started playing
the loudest most horrifying thing, and onstage with Oozing Wound. Ive had with Zack and Kyle [Reynolds, Oozing
someday maybe I will. it happen in other bands. The last time Wounds previous drummer; current
it happened, I changed it in less than a drummer Casey Marnocha joined in
Do you get your distortion from minute. I feel confident that I can do it 2016] and they were playing thrashy, fast,
the amp? onstage. Even though thats the weirdest crazy metal riffs. I wasnt used to play-
Weil: Yeah. Its built in. There are two feeling in the world. ing like that, but it was the only thing
levels of distortion on the 6505there is that made sense because I never learned
a crunch and then a high-gain channel. I Why? Because everybodys staring to play with a pick. It would have been
keep it on the high gain, cranked, every- at you? too awkward and strange to learn picking
thing to full. It is the most basic thing you Weil: Staring at you trying to do essen- technique because I was already playing
can possibly do. That has always been my tially one of the simplest tasks on guitar for about 10 years with my hands. So, by
goal, to keep it simple and dont mess with that is somehow impossible to do in front playing loud and moving your hand really
it. You dont need to add to this. It is good of peoplebecause youre also panicking. fast, you dont have to dig into ityou
on its own. Its probably going to be out of tune when dont have to physically play like a jack-
you play and youre going to try and fix it hammer to play that fast.
Do you use any reverb? while you play. Great feeling.
Kevin Cribbin Weil: No. The amp might have a built-in Are you saying the volume helps because
got a Peavey reverb, but I think it was broken, so Ive Kevin, you have an amazing technique you can have a light touch yet still get a
Milestone II bass never used that. Also, with the amount where it looks like you use your index huge sound?
for Christmas
of chugging that we do, its already hard finger as a pick. Talk about that. Cribbin: Yeah. Its anchoring your hand
at age 15. Its
the same bass to discern what were doing to a certain Cribbin: I have this other band called with your thumb and wiggling your
Im still playing extent. I feel that reverb would just make Unmanned Ship, its a more spacey, finger around really fast. Basically, I just
now, he says. it impossible. instrumental band and we do a lot of turn it into a pick and that way you are
KEVIN CRIBBINS GEAR
BASS
Peavey Milestone II
AMPS
Hartke LH1000
Fender 6x10 cabinet
Carvin 2x15 cabinet
PEDALS
ZVEX Woolly Mammoth
ZVEX Jonny Octave
ZVEX Machine
ZVEX Fuzz Factory
Electro-Harmonix Memory Boy
with expression pedal
Photo by Kevin Gras
STRINGS
Any brand, usually GHS Bass Boomers
(.050.115)
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Think of an Effect Here.
free to do whatever else when youre not
picking. People would ask me about it and Make it Happen Here.
Id be confused because it just sort of hap-
pened organically playing with Zack and
Kyle in this new format.
Otherwise you use alternate fingering.

Do you add a third at times as well?
Cribbin: Sometimes. Its whatever makes
sense or feels good. Theres some three-
finger stuff, theres just strumming it with
your hand, some Les Claypool thumb rip-
off shit, or whatever makes sense. Because
Im playing stuff that is so distorted all the
time, its easy to make it sound like com-
plete garbage and muddy and fucked up,
so I do a lot of muting. Whatever fingers
are working are also doing something else.
Simple. Intuitive. Wireless Touch Effects.
Kevin, talk about your bass tone.
Is the fuzz from your amp or are you
using pedals?
Cribbin: Ive always had just a clean amp. Your Sound, Our Technology
But over the last 14 years Ive collected
this chain of ZVEX pedals. My tone is all gtcsound.com
that stuff cranked in different combina-
evolution
tions. For Oozing Wound, specifically,
its designed to be as gross, broken, and
distorted-sounding as possible. When I
started playing with Oozing Wound I was
like, Im just going to use one pedal. Just
one thing so I dont have to worry about
anything and I can force myself to have a
limited palette. The only thing that made
sense when playing with them was the
Superior Sound
ZVEX Woolly Mammoth pedal and that in an
thing is pretty much on all the time. Evolutionary Jacket
On our new record, its pretty much
that, but then Ill sometimes use a Jonny
Octave, the ZVEX Machine, and the
ZVEX Fuzz Factory. I have an Electro-
Harmonix Memory Boy with an expres-
sion pedal to make a lot of weird, chorus-
y, fucked-up noises. Any combination of
those pedals is all the distortion and weird
noises I need. ZVEX pedals are killer I have been using Proco Evolution cables
pedals. Each pedal is its own instrument exclusively since they rst came out. I am a
unto itself. For about a decade, pretty solid believer in the quality and sound they
much all my tone has been ZVEX stuff have provided. Not a single one has failed
and figuring out how to make this insane,
to date and I couldnt be happier with the
unwieldy, fucked-up tone controllable.
product and the company behind it.
Do you sometimes kick them all on?
Cribbin: Oh yeah.
800.253.7360
www.procosound.com

Do you find that using multiple distor- time to experiment with some stuff and Peavey. Im running out of two or three of
tion pedals sometimes has an opposite tonally things I think are more representa- those at the same time and then I double
effect and limits the sound? tive of how we sound live on this record. that. So technically there are six guitars.
Cribbin: Totally. But generally, those There was time to fix stuff, experiment,
pedals work nice together and playing get that right weird little sound there, get Your riffs are often in an odd meter. Do
them all at once sounds insane. My tone the right feedback. Thats another thing, you do that on purpose or does it just
is generally the Woolly Mammoth all the feedback is great, but suddenly youre in work out that way?
time with other things to make it more or the studio and you cant make it work how Weil: More times than not I am like, Its
less insane. One of those pedals by itself is you want. easy guys, this is in four. Come on you can
like the color blue, and then two together get this. Well work on it for an hour, Im
are two other colors, and you get this new Do you find its harder to generate feed- counting it out, and Im like, Sorry, this
thing. Its like a puzzle to figure out how back in the studio? is in five or seven or nine or a compound
to make these tonal options work for you Cribbin: Yeah, it istrying to find a live seven and eight. All that stuff sounds
in a song. What does this need? Is Zack room that can duplicate your weird prac- natural to me like, What? You dont feel
playing a high shreddy riff? I should get tice space or basement that youre used to this? Just listen to the flow. It loops back
really low and disgusting. playing in. You want everything to be con- around. But Ive never purposely said,
trolled, so you are in this box and every- Im going to write a song in seven. At
Do you ever go clean? thing is dry. A lot of times all this distorted least, I havent in a long time. I used to do
Cribbin: Nah [laughs]. Not in this band, bass stuff sounds like a dumb synth blast- that stuff as an exercise, but now they all
not yet. ing in your face and the feedback sounds sound the same to me. Seven sounds the
disproportionately loud. Basically, trying same as four, eight sounds the same as five.
When you record, do you generally to get a live room for my bass shit was the Cribbin: It definitely isnt planned. Zack
show up with your live rig and go for it? goal and we succeeded for sure. You get might come up with a weird riff and say,
Weil: Yeah. I wish we were capable of that weird room noise and that feeling you This is a weird riff in five or something, I
doing something different, but its because get listening to the bass through your toes dont know. But were not geeking out on,
of the amount of material that we have and not like in your ear. Whoa, check out this fucked-up time
to cover and how the performance has to signature. Its more how the riffs and
sound. We do everything live and then try Do your second guitar parts double the parts connect and how we play over them
to do punch-ins. In the past, Kyle would first or do you create variations? that dictates that stuff more than any sort
do a perfect take, or close to it, and thats Weil: It all depends. There were a handful of preconceived tech ethos or anything
the take wed use. Then we fix the stupid of times Ive done variations, but for the like that.
crap that we somehow messed up on gui- most part its just exactly what Ive played
tar or bass. Then I do a second guitar over before. I remember reading that Keith Thats probably why it works, because
the top of it to balance it out. Thats how Richards says that you should have a dif- its organic.
we go. Its the fastest possible way we can ferent guitar for your second tracklike Weil: Yeah. I remember Soundgarden used
do it and still, there is never enough time. tracking only Telecasters is going to sound to talk about that a lot. Everyones like,
Even with the four days we had in the like one giant Telecaster. The way weve You play this song in 11. And theyre
studio, we could have easily doubled that done it is, I usually record on the neck like, Its just what it is. Thats what the
to make it sound better, to add more stuff. pickup and then I do the second guitar riff is. Its what sounded catchy.
There is always some song where were on the bridge pickup. It creates this huge
like, We could put horns right here, that guitar sound. They sound funny on their You arent one of these 70s prog bands.
would sound cool. Well, we dont know own, but together it creates this big wall of Cribbin: No. Wed like to be. Wed like
any horn people right now and we only guitars. When we do that, Im also playing to do a Yes Relayer album if we had the
have three hours left. So, I guess were not out of two or three amps. Matty [Russell, time. If we didnt have day jobs and we
doing that. recording engineer] rigs some stuff up, could get government funding, wed make
hell use a second headwhatever he can the most fucked-up Emerson, Lake, and
I cant imagine horns on an Oozing find that matches or complements the Palmer thrash album ever.
Wound song.
Weil: Ive heard them in my head a couple
of times. I wish they were on there. It
YOUTUBE IT
This clip gives a good view of the fury behind Oozing Wound bassist
makes me sad that people dont get to hear Kevin Cribbins fingers. His bass gymnastics are formidable, as is the
it the way that I do. But it is what it is. unique way he and Kevin Weil play off each other.
YouTube search term: Oozing Wound Death by Audio 2014
Cribbin: Were always chasing the clock.
Its kind of insane. We had a little bit more
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ON BASS
Stick to Your Resolutions

BY VICTOR BRODN
B
Intent on y the time you read this, we will trust us and enjoy playing
traveling to be well into 2017possibly far with us. But to execute
Cuba this year
enough that the many people Caribbean or Central and
to study and
develop his who made resolutions to work out more South American rhythms
Afro-Cuban and have already evacuated the gyms. As Im wellwhere there is often
Latin rhythms writing this, however, it is Christmas no bass on the downbeat
technique, our Day. And about an hour ago the really feeling these patterns
columnist keeps
this photo on his
untimely and premature death of another (and not counting them in
wall to keep his great musician, George Michael, was your head) is a key skill.
2017 resolution announced. This instantly lit a fire in me Its the opposite of what a
front of mind. about the responsibility those of us in player like myself has drilled
the arts have to be at our best and most into his backbone. However,
productive at all times. Its a profound I want to alter that animal
responsibility to make better music and instinct and lifetime of downbeat-centric Occasionally, at a recording session,
to be curious and adventurous for those experience by shifting how I feel music. Ill catch myself rushing or dragging
who left us too soonwho might be But I dont want to just buy a book and in spots where I didnt intend to. Yes,
looking down on us wishing they had some key albums. I want to immerse being able to intentionally play around
the opportunity to play or write just one myself in the culture and the sound. the beat to add emotion, tension, and
more song. This is my belief. So here, Id Anytime I see street bands from Cuba groove is one of the most important
like to share my New Years resolutions online, the unknown bassists always skills for a musicianespecially for a
for bass. completely floor me with the intent bassist. But these slight, rhythmic errors
Afro-Cuban and Latin rhythms. I of their attack, their passion, and their have happened enough to where Ill
attended school for bass for a few years, rhythmic fluidity. So I want to spend a leave a session underwhelmed with my
where a lot of the schooling focused week in Cuba and take private lessons performance, in spite of the producer
more on jazz-oriented material. During this year. Part two of my resolution will or client being happy. So, bass New
my tenure in theses institutes of higher be to continue the private lessons when Years resolution No. 2 is getting back to
learning, I experienced a feeling that I return to the U.S., since most major practicing everything I do to a click, and
was similar to what I experienced in cities here have world-class Afro-Cuban also implementing the old trick of playing
high-school algebra: that maybe this bassists. And finally, I resolve to devote the same exercise at different tempos.
information wouldnt be that relevant in part of my practice time to the style so it (Youll find that playing very slowly in
the real world. doesnt just become a passing fad in my time can be excruciatingly difficult.)
I make a living playing commercial musical development. A natural understanding of non-
music: pop, country, R&B, or hard rock. Back to the Metronome. Speaking downbeat-centric rhythms and a more
I will still never be a jazz lover, but have of practice habits, I used to have better accurate groove are the two hopeful main
grown to appreciate it tremendously. ones. When I was in college and in the results of my two resolutions. George
When I studied it, a small part of my years immediately following, before I Michael would want me to be funkier,
schooling touched on Afro-Cuban and had landed any bigger gigs, I practiced and I am pretty sure Prince would too.
Latin rhythms, and how they are applied more. Having more time and my Life can be short, so hold yourself to a
in the jazz world. As I have grown older ambition to really get somewhere in my higher artistic standard for your sake
and toured through numerous cities bass-playing career helped inspire this. I and for theirs.
where a lot of Latin music is played on also practiced more with a metronome.
radio and television, Ive come to realize All that said, music for me is about VICTOR BRODN is a Nashville
bassist and producer who has
that the influence of these rhythms in communication with people. Time toured and recorded with more
rock and pop is tremendous. spent alone is never as inspirational than 25 major-label artists,
including LeAnn Rimes, Richard
I grew up playing styles that are very as time spent in a room sweating it Marx, Casting Crowns, and Randy
Houser. His credits also include
focused on the downbeat: be it the funk out, improving, and learning with Grammy-winning albums and
of the Gap Band or the punk rock of other players. And its definitely not as numerous television specials
on CMT and GAC, as well as
Green Day. Absolutely dominating the inspirational as playing a great gig in performances on The Tonight
downbeat is our main job as bassists in front of people and seeing their faces Show and The Ellen DeGeneres
Show. You can reach him at
order for the rest of our bandmates to light up as a result of what you are doing. vbroden@yahoo.com.
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BASS BENCH
2
The Pros and Cons of Neck Joints
BY HEIKO HOEPFINGER
I
n the world of classic acoustic
1
stringed instruments, the only way
to connect the body and neck has
always been to glue the two together.
Today we refer to this as set-neck
construction. Over the centuries, luthiers
used various types of glue and explored
variations in the form and shape of the
contact surface, yet the principle remained
the same. This only changed when the
first electrics became popular and Leo
Fender introduced basses and guitars
with bolt-on necks. This became Fenders Looking back, it seems surprising that it took
standard for bass, as well as the standard
for many other builders (Photo 1). until the 70s for the third formneck-through
Looking back, it seems surprising constructionto receive wider recognition.
that it took until the 70s for the third
formneck-through constructionto
receive wider recognition. Its even more repairability, so its no surprise he came Neck-through. Naturally, repairability
surprising since the very first electric bass up with this design. If you accidentally and flexibility couldnt be any less than
designed by Paul Trutmarc, the Audiovox break off the headstock, replacing on a neck-through, so the expectations
Bass Fiddle Model 736, had this in 1937. the neck can be cheaper than hiring of the builder and customer are most
Over the years other instrumentssuch a woodworker to try to restore the likely to be the samea perceived tonal
as the Bigsby/Travis guitar from the late headstocks initial rigidity. Also, if you benefit. But theres one other thing that
40s, various Rickenbacker models during need more down pressure at the bridge also makes them popular: The transition
the 50s, and a few Gibsonsalso used or run out of saddle adjustment range, between the body and neck can be very
this approach (Photo 2). its easy to simply shim the neck. Even smooth, allowing easier access to the
There have been a few other attempts swapping the neck for a shorter or longer higher frets. Its not surprising neck-
to experiment with other ways to attach scale length is an option. through instruments gained renewed
the neck to the body, but they were more Most builders use four screws (a triple- attention at a time when more bassists
or less variations of set-neck, bolt-on, screw design has a bad reputation, but stepped out of the dark corners of the
or neck-through design. One of these, thats another story) and some boutique stage to indulge in soloing. This was at
which appeared in the late 70s, could be builders even use up to 12. Four screws the same time more players were asking
described as a half-through. A longer can hold a lot of tension, so I suspect for 24 frets.
neck reached further into the body using many more is principally a way Okay: We know that the more
often as far as the bridgewhile the to visually differentiate a bass from its elaborate builds can cost more to repair.
rest of the body was classically bolt-on. competitors. So that brings us back to sound: What
S.D. Curlee basses were known for this Set-neck. This construction lacks are the attributed tonal effects of each
construction. most of the above advantages, but its the particular design? Are they as influential
The neck joint must influence a bass classic design and in this tradition-driven as their location on the instrument
sonic character, right? Were talking business, that alone can be an argument implies? It wont be easy, but lets see
about a big area thats right where the for using it. A set-neck build is more if we can get to the bottom of this
strings vibrate the most, and its here elaborate than a bolt-on, as the gaps next month.
that the involved forces are at their between the parts need to be small. This
highest. Well, before we get to the requires precisiontraditional wood glue HEIKO HOEPFINGER is a
Photos courtesy of basslab.de
German physicist and long-time

alleged tonal influences of each type of isnt able to bridge larger gaps. So when bassist, classical guitarist, and
construction, lets examine their physical builders choose a set-neck connection motorcycle enthusiast. His work
on fuel cells for the European
pros and cons. with its reduced repairability, theyre orbital glider Hermes led him to
Bolt-on. Leo Fender is well known probably expecting it to deliver at least form BassLab (basslab.de)a
manufacturer of monocoque
for his cost-cutting designs and easy some tonal benefits. guitars and basses.
premierguitar.com
Legendary bassist Dave Holland
and fingerstyle master Lionel Loueke
reveal the origins and vision behind Aziza,
their star-packed jazz quartet.
BY JASON SHADRICK
T
he origins of Aziza, a collective project, The River. The tour was an joyous platform for Potters soprano
jazz supergroup of sorts, started immediate success with each member sax flourishes. I wrote a counterline
back in 2014 when legendary bringing in specific compositions for the specifically for Lionel, says Holland. I
bassist Dave Holland and saxophonist band. From day one, it was just all about wanted it to be a layered thing.
Chris Potter were brainstorming for a the music, says Loueke. Youre playing It was one of Louekes compositions,
project to tour with in 2015. I just with musicians that just listen so closely Aziza Dance, that gave Holland the
love playing with Chris, says Holland, to whatever youre doing and are very idea for the name of the group. During
who brought Potter into his funky and open-minded. Were ready to take some the original tour, Holland took Loueke
soulful quintet in the early 2000s. After risks and see where the music takes us. aside and asked him about the origins
bouncing some ideas around, the duo Halfway through that first tour, of the name. Loueke explained that
decided to bring in guitarist Lionel the band decided that their intense Aziza is the name of a god of inspiration
Loueke and drummer Eric Harland. interplay and chemistry needed to be taken from Dahomey mythology, which
Lionel approaches the instrument in documented in the studio. The group is from his homeland of Benin. It just
a unique way and blends his African booked two days at Sear Sound Studio, sparked me, says Holland. I thought it
heritage and guitar styles with all the and each member brought in a pair of would be a wonderful name for the band.
language and harmony of jazz music. compositions for what became their self- When we spoke with Holland
Opposite Page Photo by Douglas Mason
None of the members were strangers: titled debut. By now, the tunes had been and Loueke, they had just finished
Loueke and Harland had spent time in road-tested with twists and turns added a lengthy European tour. We asked
trumpeter Terrance Blanchards group, to each. One of Hollands contributions, them to describe recording Aziza and
and Holland, Loueke, and Potter all Finding the Light, is an introspective, what it takes to channel their worldly
worked with pianist Herbie Hancock odd-time piece built around a slightly influences into one of jazzs most
on the tour for his Joni Mitchell tribute off-putting ostinato that provides a electrifying quartets.
Above: Aziza is (left to right), Eric Harland, Dave Holland, Chris Potter, and Lionel Loueke. Though each musician has racked up a
staggering amount of recording and performing credits, this marks the first time theyve played together as a quartet.
premierguitar.com
Once the band members were selected, Loueke: I use a Kemper Profiler. On that FACTOID
what was the overall vibe you had in patch, I used my regular sound with a lot The bands name
came from ancient
mind in terms of composing for Aziza? of wah and two types of whammy. One African mythology.
Holland: Its the players involved. When is an octave higher to make the chords a Aziza is known
we were all considering what music to little fatter. For the intro, I used that plus as the god of
inspiration.
bring in, we were really thinking about a whammy setting that bends an octave
an idea of what the four of us playing down. That gives me flexibility. The idea
together would sound likeeven was to imitate the sound of a talking drum.
though we hadnt heard it. Were writing I also have a ring modulator with different
music for improvisers. Were thinking frequencies connected to the expression
about how each person approaches their pedal. Theres a kind of crossfade between
instrument, what their concept is, and the whammy octave down and ring
what language they like to explore. Then modulator going up. I think on the intro, I
we try to find compositional vehicles probably opened up all the patches!
that allow for the maximum amount of Holland: The groove of Aziza Dance
freedom for those players. is just fun to lay into and explore. We African guitar styles, called GuitAfrica.
Loueke: You dont have to write much for look for new ways to bend it around and I did some research based on different
this band. Aziza Dance was written for interpret it. traditional instruments from different
my trio, but I knew that with these players, places, and I wrote some new tunes
it would go in a whole different direction. Dave, the fuzzy bass sound on Sleepless and grooves. By doing that research I
That makes it easy, yet sometimes very Nights seems a bit out of character. learned a lot about the gimbri, which is Below: From
challenging because you dont expect Whats the story behind that song? a traditional instrument from Morocco. day one it was
just all about
something that works one night to be the Holland: Back in the day when I was with Its something between a guitar and a the music,
same tomorrow. Were thinking of doing a Miles, I had a fuzz/wah pedal I used on the bass. When I wrote that tune, I had the remembers
live recording because its a whole different bass guitar. Ive worked with my engineer, gimbri tone in mind, so I tuned my low Loueke, shown
energy. When you play the same music James Farber, since the late 80s, and every string down to D and basically played the here with
Aziza at Rhode
every night for six weeks, it just keeps now and then hell say, How about the whole intro on that one string. Islands fabled
growing into different shapes and never fuzz on this one? Its a running joke at this Newport Jazz
goes in the same box or direction. point. But on this particular tune we tried In terms of composing, Aziza is a true Festival. With
it, and I liked it. But instead of a pedal, he collective. With such an accomplished these guys, you
dont have to
Speaking of Aziza Dance, the tones used some kind of Pro Tools plug-in. group of musicians, how do you
say muchit
youre getting on the intro and solo are Loueke: I wrote this tune based on communicate your vision of your just takes off
wild. What were you using there? an application I did for iOS about compositions in the studio? naturally.

When it comes to composition, my process is that after
recording 5 or 10 minutes of music, I go back and listen to it and
find something I like. Then I figure out what meter its in.
Lionel Loueke
LIONEL LOUEKES GEAR
GUITARS
Sadowsky Semi-Hollow
Private Stock PRS Singlecut Archtop
AMPS & EFFECTS

Kemper Profiler
Originally from Holland: Sometimes we had individual That level of focus and embracing the Sometimes that can scare people, but Im
the West African parts or just lead sheets. I think we all had music is important. not one of those guitarists who plays loud.
nation of Benin,
the same approachwhats on the paper Lionel, you mentioned that youre For me, its more about the range of the
Lionel Loueke
creates an is merely a suggestion or starting point. using a Kemper. Any digital all-in- cabinet. I dont crank it, but at least I get a
adventurous mix Speaking for myself, Im wide open to any one unit can be a real wormhole fat sound. Also, I mostly used my Sadowsky
of traditional kind of interpretation these wonderful sometimes. Where does your tone start on the album, but I have a few PRS guitars,
African styles players bring to the music. Very often, in this context? too. It just depends on the gig.
and modern jazz.
His explorations what they come up with is much more Loueke: As you know, for most guitar
led him to than whatever I could have thought of. players, sound is a big deal. When I got Dave, tell us about the upright bass
experiment with Its just a matter of postulating a starting the Kemper, I tried to get all the analog you used on Aziza.
a new tuning: point. The less you write, the more sounds from the pedals I had. The magic Holland: Ive had my current bass since
DADGBE,
opportunity you offer for the creative thing about it for me is to find the right about 1995. I found it in an antique
with the 5th
string on his power of the group to come through. amp profile. I basically use two amps shop in France. It had been in a caf
Sadowsky tuned I think Miles demonstrated that on the Kemper: an AC Morgan, mostly that had been closed for about 30 years.
an octave higher beautifully in the things he put together. for the distorted sounds, and then I use The antique shop owner had bought
than standard. There would often be a minimal amount another Morgan for clean sounds. It the entire contents of the caf. I was
When I play
some standard of written material, but conceptually, depends on what effects Im using on top just taking a walk before leaving for
voicings in the material would be very strong. Then of the amp. I also use some stereo reverb, the next gig when I saw the bass in the
this tuning, he would find the right people to come delay, and a phaser, but you cant really window and took down the number. A
they dont in and fill up the gaps with their own tell because the mix is very low. few weeks later I was back in the area
sound standard
creative ideas. and managed to see the bass and try it
anymore,
Loueke: With these guys, you dont Do you use the Kemper for gigs and out. I thought it had a lot of promise, so
Photo by Mathieu Bitton
says Loueke.
have to say muchit just takes off recording? I brought it back to New York and had
naturally. The tempo might be different Loueke: Yeah, for this album I took a direct David Gage renovate it. We believe its
or someone could come up with an idea stereo out from the Kemper. When I use about 200 years old and of French origin,
thats best for the song in that moment. it live, I have a Mesa/Boogie 4x12 onstage. but theres some discussion about that.
premierguitar.com
DAVE HOLLANDS GEAR
BASSES
Vintage French upright bass
David Gage Czech-Ease Road Bass
AMP
Gallien-Krueger 200MB
PICKUPS AND ACCESSORIES

David Gage Realist pickup
Underwood pickup
Klark Teknik DN 100 DI
DPA d:vote 4099B mic
Photo by Douglas Mason

Left: During the groups featured set at the
Newport Jazz Festival, Dave Holland plucks
away on a 200-year-old French bass that
he found in an antique shop.
Dave Hollands 6-String History

Even a cursory glance at Hollands extensive and impressive discography makes it obvious that he enjoys collaborating with
some of the most revered guitarists of our time. Its no surprise, considering his roots werent based in the low end. During
the early 50s in England, Holland was swept up in American rock n roll, and he soon found himself playing in a skiffle band
that mixed elements of rock and folk. My first bass was a skiffle bass made out of a box, broomstick, and a piece of string,
remembers Holland. On his 10th birthday, he received a guitar and started to learn popular songs on the radio. By 13 he had
shifted to bass. PG asked Holland to share memories of playing with some of his best-known 6-string collaborators.
Jim Hall thinks outside the box and has a very personal sound
I didnt do much recording with Jim, but we did some duo that is completely steeped in the tradition.
things together. Im hoping someday those recordings
can come out. I first heard him live in 65 with Jimmy Kevin Eubanks
Giuffre in London. It wasnt until we connected in New During the 80s I was running the Banff school
York in the 90s that we really started to play together. [the summer jazz workshop at the Banff Centre
for Arts and Creativity in Alberta, Canada] and one
Derek Bailey year Abercrombie couldnt make it. Robin Eubanks
I met Derek in London in the mid 60s and he had recommended his brother Kevin who was already
quite an extraordinary conceptual idea of the guitar. coming up to Banff. From the very first day we played
In fact, I heard him in 62 before I knew who he was. as a duo, I had this immediate connection with him. I
When I was 17, I happen to be on tour with a big band. asked Kevin if hed be interested in working together
We stayed in a hotel where a guitar trio was playing and that resulted in the Extensions album.
this Bill Evans-influenced music. I found out much
later that it was Derek. By the time I got to know him Pat Metheny
and play with him he had developed this completely We first met around the time of Bright Size Life. Pat had
unique language. He had a tremendous impact on the asked me to do that album, but because I was working
open-improvisation scene in London. with Sam Rivers I wasnt available. Thats probably the
best thing that could have happened because who
John Abercrombie could be better on that album than Jaco? We didnt get
I first heard John in the late 60s. Jack DeJohnette a chance to play together until the Parallel Realities
brought us together in the Gateway trio and we had tour with Jack DeJohnette. What Pat has accomplished
many, many great years of playing together. John really is quite extraordinary.
premierguitar.com
Thats so interesting that its not some accessible. Lionel, do you think
high-end boutique instrument you that came from years of listening to
sourced through a music store. traditional African music?
Holland: Yeahthere was something Loueke: Yeah. Personally, I dont like
about the way it looked. It has very The less you write, odd meters that make me feel like Im
narrow shoulders, but a very deep bout.
I thought the instrument had quite a
the more opportunity doing physics or math. When it comes
to composition, my process is that after
potential for some real depth of sound. you offer for the recording 5 or 10 minutes of music, I go
When I tried it, it certainly seemed that back and listen to it and find something I
way and worth taking back to New York creative power of like. Then I figure out what meter its in. It
to find out how good it could be.
the group to just happens naturally. If something comes
out at 21 1/2, then thats what its going
Do you bring it out on the road? come through. to be. If the bass line comes first, then Ill
Holland: Until about nine years ago, I use GarageBand to find a groove that is
used it for everything. That was around Dave Holland slightly against that bass line to give me
the time when the airline started to change some sort of cycle, or circular vibe, so it
their policy about checked baggage. I was Holland: I use two Klark Teknik DN 100 doesnt sound like a skipping CD. Which
increasingly having problems with them DIsone for the David Gage Realist pickup can be a challengeI spend a lot of time
checking it and Id been struggling with and the other for an Underwood pickup making the groove really sound natural.
it for a while. Then I discovered a travel that feeds my Gallien-Krueger 200MB
instrument that David Gage designed called onstage. The Klark DIs are wonderful. I also Growing up in Benin, was there any sort
the Czech-Ease bass, and now thats what use a DPA d:vote 4099B bass mic. of formal music education?
Ive been using on any gig I cant drive to. Loueke: It was all intuitive. There were no
Both of you have a reputation for schools to go toI just learned by playing
Whats your amp setup like? making odd-time signatures very traditional music. I grew up playing
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About 15 years percussion and then played bass for a while
ago, Lionel
before moving to guitar. Ive always said
Loueke ditched
his pick and Im a frustrated bassist and percussionist,
went for a and thats why I beat on the guitar.
fingerstyle
approach. I Dave, I must ask about that famous story
was starting to
develop my own
of the jam session you had with Jimi
language, he Hendrix. How did that come about?
says. For all the Jimi had Electric Lady Studios in the city,
polyrhythmic and I got a call one day to go down there
stuff, in terms
for a jam session with John McLaughlin
of harmony,
I couldnt get and Buddy Miles. It was just the four of us
that with just in the studio and an engineer. There was no
the pick. real plan, as far as I could tell. Jimi would
just start up a riff and wed pick it up and
jam on it. We were playing a lot of the same
festivals at the time, so our paths did cross
a bit. I wasnt a close friend or anything,
but I was a huge fan. He loved Miles Davis
and Miles loved him, and there had been
YOUTUBE IT some discussion of them doing something
Photo by Douglas Mason

Heres the result of Dave Hollands only time jamming with Jimi Hendrix.
Its a free form instrumental affair with the legendary John McLaughlin together, I think. Unfortunately, that was cut
on guitar and Buddy Miles on drums. Shortly after this session, Hendrix short. He was clearly moving on and looking
went on to form the Band of Gypsys with Miles and bassist Billy Cox.
YouTube search term: Jimi Hendrix & John McLaughlin Record Plant N.Y
for some new directions, and I think that
25 March 69 was just a chance to try something out.
a small company with

BIG CREATIVITY
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premierguitar.com
STATE OF THE STOMP
Chuck It in the Bucket

BY BENJAMIN HINZ
This schematic The Time: Time to go to the mall. devices, so its hard to get fired up
of a non-starter The Place: Car Guy Magazines coolest about something that cant beat what
pedal has all
family van three years running, aka weve already got. The business persons
the functions
necessary for a Dwarfcraft One. perspective is even harsher. Taking a
one-way trip to The Cast: Your old palmeand at gander at the latest issue of Real Cool
Palookaville. least three middle-school girls. Pedal Guy Magazine, I notice there Ugh. Chuck it in the fuck-it bucket.
are just under three billion handmade Music guy was a little sad. This wouldve
The girls were shouting. (Theyre always distortion pedals available. Thats not been a lot of fun to play with. Business
shouting. On a scale from 1 to 10, counting the self-oscillating fuzzes, of guy locked eyes with music guy and
middle-school girls only have feelings which there are roughly 23 million. did his best Tommy Lee Jones in The
above 9.) I tried to ignore the noise, but Business guy does not feel great about Fugitive, responding: I dont care.
the volume was too severe. Eventually trying to sell another one of those. Music At least the visual mockup came in
they began firing off funny rhymes guy cant even get excited about using it. handy for illustrating this article, and I
and sayings they enjoyed. This quickly Sorry neat fuzz, your next stop is the played it pretty close to the vest on social
became my scene, but they werent moved shelf for old ideas. Maybe Im pickier than media, so nobody outside the shop is
by my proud declaration of tune low, I need to be, but there are more than a going to be let down. And dont worry
play slow. But I guess they could tell few schematics and even prototypes from about music guy. He remembers how to
how dangerously cool I am, because one abandoned drive/fuzz/distortion pedals patch it up on the modular rig.
of my passengers shared something you rattling around my workshop. Id be lying if I said I didnt feel a
can only say in front of cool parents. A schematic is a great place to leave a bit of relief at being able to stop at that
In a full voice she spoke: You know project. Its easy! You put some work in, point. Ten years in the pedal industry has
what Maya always says chuck it in a few hours in front of the breadboard, shown me plenty of disasters, and once
the Long pause, giggles. Then, in a but its just not working. Hang on to I could visualize this one unfolding I
hushed tone, fuck-it bucket. that paper. You might come back to was glad to have dodged that bullet. On
The van erupted in laughter. Yes! Its a it some day, but probably not. It gets top of that, we sunk very little money
great rhyme and, as far as Im concerned, tougher the longer the project goes on. into the project, and did no marketing
a pretty powerful and healthy line to An intense focus, or the more effective or building, so I got to skip all that and
have at your disposal. I find in art and dangerous obsession, with a project can start on something new and exciting, like
business, sometimes you just have to really gum up the works when it comes modding a Tube Screamer! Has anyone
chuck it. to the practicalities of a pedal. We had done that yet?
We like to think of ourselves as one of these this year. I was deep into the Please dont read this as an
dedicated, hardworking types who dont artwork, front panel design, and circuit endorsement of just giving up. Weve
let the bumps in the road tear us apart. design for a pedal from day one. Im pretty toiled over pedals for a year-and-a-half,
Of course, lots of people are out there sure I thought about it at night instead of and had great success when they were
busting their humps and getting great sleeping. As soon as I got to work in the finally finished. I think its a good idea to
results. I think its great to tackle a project morning, Id add the features or tweaks Id take a few steps back and consider every
with all your might and to see it through. imagined earlier. This was gong to be the aspect of a project a few times during the
Im going to let you in on a secret, best pedal that ever did that one thing. process. Every once in a while, you might
though. For a variety of reasons, gear Yes, Id found nearly all the pathways. save yourself a real headache with those
companies chuck things. Weve ditched I managed to use mostly parts that were seven magical words: Chuck it in the
two circuits and put one on hold this currently availableand an expensive fuck-it bucket.
year. Multiply that by almost a decade in power converter that also required a P.S. Did you figure out that music guy
this industry and youll get an idea of our second circuit board. And an extra-large and business guy are both me?
pedal graveyard. enclosure. When considering all these
There are many roads to Abandon factors, it became clear Id dreamed up BENJAMIN HINZ is the Supreme
Commander at Dwarfcraft
Town. For example, its pretty tough the worlds least marketable one-trick Devices and Devi Ever FX. In
for me to put my weight behind any pony. And while it was technically not a addition to experimenting
with audio, he really enjoys
distortion circuit anymore. From a clipping-style distortion device, eight out Blade Runner and Tom Pettys
musical perspective, Ive already made of 10 players would hear it and say, real Wildflowers.
or purchased my favorite distortion cool fuzz, bro.
premierguitar.com
MOD GARAGE
The Super-flexible, Super-simple Telecaster Wiring

BY DIRK WACKER
I
At the heart of often get emails from guitarists
this mod is the asking if theres a way to increase
Oak Grigsby
a Telecasters sonic flexibility that
4-way Telecaster
switch, a drop-in doesnt involve a complicated switching
retrofit for the scheme. Most players who are attracted to
stock Fender a Telecaster in the first place want to keep
3-way pickup its classic look and dont want to mess
selector. Mounted
in a Tele, this
around with a lot of additional switches,
replacement pots, and the like. As a Tele player myself,
switch is visually I totally understand, which is why I want
indistinguishable to share my favorite Telecaster wiring
from the factory
the one I use in most of my personal
model, yet it
opens the door to Teles. This mod doesnt have a name, so
a powerful new if you have a cool suggestion for one,
soundsingle- please let me know.
coil pickups Overview. This wiring offers four
in series.
switchable sounds, a direct-through
option, and a mod to convert the
standard tone control into what I call a
warmth controlsomething I use to
simulate other pickups. The benefit of
this wiring is that it is easily reversible
and very flexible. Best of all, its externally
invisible: The Teles classic appearance
isnt altered in any way.
You dont need much for this mod.
Heres your shopping list: a Telecaster
4-way switch, a 2PDT push/pull or
push/push pot to replace your tone pot
(alternatively you can keep your tone pot
and add a 2PDT mini-toggle switch),
and a 3300 pF capacitor. Two single-coils in series can sound like a P-90 or
The switching matrix looks like this: a humbucker, and its easy to drive your amp into
saturation with this switching position.
Position #1: bridge pickup.
Position #2: bridge plus neck pickup
in parallel. get a big, beefy tone thats a lot louder search for Telecaster Series Wiring,
Position #3: neck pickup. than the other switching positions. This from the June 2015 issue. Please note that
Position #4: bridge plus neck pickup is perfect if you need a fat overdriven you need to prepare your neck pickup
in series. sound or a burly clean solo tone. Its even with separate ground connections for
suitable for some jazz playing, if you also the pickup itself and its metal cover, as
The details. A direct retrofit for the use the warmth control (more about this described in this article.
stock Fender 3-way pickup selector, the in a moment). Two single-coils in series Weve also discussed the direct-through
Telecaster 4-way switch is made by Oak can sound like a P-90 or a humbucker, switch in an earlier Stratocaster mod,
Photo courtesy of stewmac.com
Grigsby and available from Allparts, and its easy to drive your amp into but hey, it works great on a Tele, too.
Stewart-MacDonald, and other luthier saturation with this switching position. This particular mod lets you connect any
supply outfits. In addition to the three For me, this is one of the best Telecaster pickup or pickup combination directly
common Telecaster switching positions, mods ever. We previously explored series to the output jack, thus bypassing the
this switch provides a fourth option: With wiring in a different context, so for all master volume and master tone control.
both pickups connected in series, you the details go to premierguitar.com and For a description of this mod, search for
premierguitar.com
my Stratocaster Direct-Through Mod problem: The useable range on these caps sure to break the connection to ground
column, from the October 2009 issue, on is very small. After only a short rotation on the volume pot lug where the tone
PGs website. of the knob, the tone gets really dark and cap is soldered on the standard Telecaster
If you dont want to alter your Teles muddy, losing all its color and life. wiring. This is a common error, and
visual appearance, simply replace the A tone cap with less capacitance one to check if you find this setup isnt
stock tone pot with a 2PDT push-pull can instantly fix this problem. My working as expected.
or push-push switching pot. This stealth recommendation for this wiring is a 3300 Note: I showed the direct-through
approach makes the direct-through mod pF cap. I prefer an Orange Drop cap mod as a separate toggle switch because
invisible. But instead of using a switching for a Telecaster because its slightly mid- its much clearer to illustrate the
pot, I like to install an additional 2PDT scooped tone is a perfect match for any connections this way. That said, the
on/on mini-toggle switch right between Telecaster with vintage-flavored single- switching matrix of a 2PDT push-pull
the two stock knobs on the Teles metal coils. With a 3300 pF cap, you have full or push-push pot is identical, so if you
control plate. I find it easier to operate control over the whole rotation of the opt to take that route it should be easy to
this way, but I dont care too much about tone pot. Even with the full capacitance transfer the diagrammed wiring.
visual appearanceas long as its not a engaged, the tone remains defined and Thats it! Next month well return to
vintage guitar. If you take this mini-toggle transparent, yet warm (which explains the our exploration of pickup parameters.
route, youll have to drill a 6 mm hole warmth control moniker). This time well cover electrical phase and
into the control plate. Obviously, this is Its easy to mimic several pickup types learn how to build a professional pickup
not reversible. Either approach works fine, with the warmth control. For example, polarity tester for only a few bucks. Until
so its simply up to your personal taste. select position #4 to put both pickups in then ... keep on modding!
Now for the warmth control. This series and set the tone control between
Illustration courtesy of singlecoil.com
last step is easy because it only requires 4050 percent, and prestoyoure in
DIRK WACKER lives in Germany
replacing the existing tone cap with another the PAF humbucker ballpark. Try it! Im and has been a guitar addict since
age 5. Hes also a hardcore DIY-er
oneeverything else stays the same. confident that anyone who doesnt need for guitars, amps, and stompboxes
Usually in a Telecaster youll find those totally dark tones from common and runs a website on the subject
(singlecoil.com). When not
a 0.022 F tone cap, although more tone caps will find this mod very useful. working at his guitar workbench,
vintage-flavored models will have a 0.047 Now that weve discussed all the he plays country, rockabilly, surf,
and flamenco. Contact him at
or 0.1 F cap. Okay, we all know the details, check out the wiring in Fig. 1. Be info@singlecoil.com.

ASK AMP MAN
Beware the Clean Ones!

BY JEFF BOBER
H
ello Ask Amp Man readers
and man, it seems there are
a lot of you! Why? Because I
was recently informed by PGs fearless
leader, Shawn Hammond, that Ive been
writing this column for 10 years! Wow,
thats a long time, and Ive done my best
to keep from sounding like a broken
record. I would like to give my thanks
and appreciation to you for making the
column so successful for so long.
Now, lets continue with this months
installment, which I call Beware the
Clean Ones! Sounds like the opposite
of something your mother mightve told
you, right? Let me explain. After decades
of experience, I always tell people to
watch out for the clean examples of older
or vintage amps. I would get a call or
visit from a player or store owner who Fig. 1: A connector for the choke in the power supply circuit, while appearing to be
just found a vintage amp in such great attached, was very loose on its connecting post. This was causing voltage fluctuation.
condition that it looks like its been in
somebodys closet for 30 years. And you My beware the clean ones motto was The sound was still fading in and out and
know why it looks that way? Because it once again validated when a client brought exhibiting some very strange characteristics.
Below: This has! And why has it been in the closet for me a Fender Blues DeVille for servicing. Back in to troubleshoot we went!
Fender Blues
30 years? Because it never sounded good This was the cleanest example of a 20-plus- The first thing I noticed upon very
DeVille from
the 90s arrived or it had some mystery issue, and the years-old amp Ive seen. The footswitch scrutinous inspection is shown in Fig. 1.
at the shop in owner just decided to retire it and move was still in shrink wrap! It looked as One of the connectors for the choke in
suspiciously on to something different. Give me an though even its cover hadnt seen the the power supply circuit, while appearing
pristine old beat-up amp that looks like its been light of day since 1994 and it hadnt! to be attached, was very loose on its
condition. The
footswitch was
rode hard and put up wet and Ill show It was brought to me because the sound connecting post. This would definitely
still in its you an amp thats sounded great and was fading in and out. Okay, no problem. cause the high voltage in most of the
shrink wrap. given great service for many years. The typical solution is a good cleaning, amp to fluctuate up and down, causing
because, as with most amps with effects the signal to fade in and out. A quick
loops, inactivity leads to intermittency. If a tightening of said connector and we
series effects loop remains unused for long should be good to go.
periods of time, the switching contacts in Uh, nope. This amp was still
the loop jacks become dirty or oxidized exhibiting problems, but now the
and need to be cleaned, or possibly sound level seemed to be intermittently
replaced. That and a good cleaning of popping in and out. While probing
the pots, jacks, and the sockets, and the around with a scope (oscilloscope)
amp should be good to go. But it wasnt. probe, I seemed to be able to exacerbate
WARNING:
All tube amplifiers contain lethal voltages. The most dangerous voltages are
stored in electrolytic capacitors, even after the amp has been unplugged from
the wall. Before you touch anything inside the amp chassis, its imperative that
these capacitors are discharged. If you are unsure of this procedure, consult your
local amp tech.
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Fig. 3: A cap with a short lead was the
final culprit. That lead was touching the
solder in the hole, but was not really
soldered in place.
All right, it was time to repair this issue

and reassemble the amp. Good to go?
Uh no. The sound now appeared to
be solid, but the tone controls seemed to
Fig. 2: One of the plate resistors had a compromised solder joint. This is particularly
troublesome with single-sided circuit boards. be intermittently working. Okay: More
probing, pressing, and prodding to narrow
Below: Finallyfor job No. 3more troubleshooting was required beneath the tone down the location of the issue. This time,
controls, which were intermittent despite the two earlier repairs on the Blues DeVille. with little surprise, I was led to the area of
the tone controls. Since I was not focused
on that area before, maybe I missed a bad
solder joint there. One more time the
board came out and the inspection began.
All the solder joints on all the controls
looked good, but there was one solder
joint for one of the tone caps that just
didnt appear right. A closer look revealed
that there was no component lead sticking
through the hole. Removal of the cap
showed why. As you can see (Fig. 3), one
lead is just a bit shorter than the other.
What was happening was that the short
lead was initially touching the solder in the
the problem in one area of the board. loosened from what little solder was hole, but was not really soldered in place.
Okay, now the fun started. It was time connecting it. This is particularly Movement and vibration had now caused
to pull the circuit board to see what was troublesome on single-sided circuit it to just intermittently make contact, so
underneath, possibly reflow some solder boards, which is why I wont use them the tone stack was cutting in and out. I
joints, or maybe replace a couple of in my amps. Such boards are a far more replaced the bad cap with one having two
suspect components. cost-effective way to build an amp good leads and was finally done!
I prefer not to go through and especially one where the price point So, as I said, beware the clean ones my
re-solder a massive number of solder is a major concernbut on a quality friends. Sometimes theyre more trouble
joints on a whim, in hopes that it circuit board, where the holes are than you think.
just might fix the problem. I prefer to plated through, solder adheres to each
actually find the problem first! More component lead all the way through JEFF BOBER is one of the
intense perusal of the suspect area and its hole, making for a far more reliable godfathers of the low-wattage amp
revolution. He co-founded and was
there it was (Fig. 2): One of the plate connection. The other issue with single- originally the principal designer
resistors had a compromised solder sided boards is that traces can easily lift for Budda Amplification, though
he launched EAST Amplification
joint. It was probably soldered well off the boards during extensive servicing (eastamplification.com) in 2010.
You can catch his podcasts at
enough to pass initial inspection, but or modification, so these should be left ampsandaxescast.com or email
over time and from vibration became to an experienced solder hand. him at pgampman@gmail.com.
premierguitar.com
A N E W G E N E R AT I O N O F R O C K R O YA L T Y
From MESA comes a departure from Boogie and a new bloodline aimed at the Rock Throne. Gorgeous Cleans,
Classic Crunch and Gain Beyond (our highest ever), housed in a small, light, 50 Watt package with total flexibility.
The New Triple Crown TC-50
MESA/Boogie Ltd. | 1317 Ross Street | Petaluma, California 94954 | 707-778-6565 | mesaboogie.com
2017 MESA/Boogie Ltd.

TOOLS FOR THE TASK
Look for this icon
to click and
purchase the gear.
Buffers
If youre working with multiple pedals or long cable runs, youre building capacitance that can suck the life right out
of your tone. This can be remedied by placing a buffer devicelike the 10 options herein your signal chain.
1
JHS
Little Black Buffer
Integrating this little box into a signal chain is intended 1
to provide the perfect input impedance to your rig so it
can deliver clear, natural toneno matter how many
pedals youre using.
$75 street
jhspedals.com
2
EMPRESS EFFECTS 2
Buffer
Conceived to be the complete I/O interface for a pedalboard,
this compact, all-analog buffer provides a separate tuner
output to keep the tuner out of the audio path.
$99 street
empresseffects.com
3
TC ELECTRONIC
BonaFide Buffer
Designed to combat treble-eating constraints put on
tone from long cable runs, this buffer has a power-failure
3
mode that automatically switches to true bypass if the
power is cut.
$69 street
tcelectronic.com
4
PROVIDENCE
Vitalizer WV
Wah and volume pedals tend to degrade and color a high- 4
impedance signals tone, but players can minimize this
degradation by sending these pedals a low-impedance
signal via the Vitalizer.
$119 street
providence-ltd.com
5
EMERSON CUSTOM
Concord Utility Buffer
This handbuilt buffer can run at 9V or 18V and was
designed to bring clarity and high-end sparkle to your
input signal that may have been lost due to multiple
5
pedals and cables.
$79 street
emersoncustom.com
premierguitar.com
6
MOJO HAND FX
C-1
For use at the front or end of your pedalboard and
effective for lengthy cable runs, this buffering circuit in a
box was designed to restore vitality to your signal.
$75 street
6 mojohandfx.com
7
MESA/BOOGIE
Stowaway
This 100-percent discreet, class-A buffer provides
a stable, consistent load to remedy such issues as
impedance loading and mismatching that adversely
7
affect a pickups character.
$99 street
mesaboogie.com
8
RADIAL
SB-15 Tailbone StageBug
Designed to drive multiple pedals and long cable runs
8 without added noise, this buffer also allows a player to
combine two 9V outputs from a power brick and convert
them to 15V DC.
$79 street
tonebone.com
9
J. ROCKETT AUDIO DESIGNS
10 SOS Buffer
The single knob on this buffer allows you to subtly dial
in the highs to be exactly how you need them without
getting unwanted interaction with fuzz and wah pedals.
$79 street
rockettpedals.com
9
10
SUHR
Buffer
This transparent signal buffer/line driver employs unity
buffering to reverse the effects of capacitance without
impacting your instruments tone or output level.
$129 street
suhr.com

REVIEWS
Quick Hits
ROCK STOCK AMPTWEAKER
Skyline Bass TightMetal Jr.
By Shawn Hammond By Rich Osweiler
The Rock Stock Skyline Amptweakers James Brown knows dirt, and
Reverb aims to put authentic his compact Bass TightMetal Jr. was designed
spring-reverb sounds in a to move said dirt with a dash of high-gain
straightforward stompbox, and fury. Resting below its roll-bar-protected dials
to that end it succeeds in many for volume, tone, and gain is a slider switch
measures. As youd expect, the for thrash/normal/smooth EQ settings and a
tone knob shades reverberations second slider to govern the attack with settings
from a bit muted to bright and for fat, normal, and tight. Positioned between
splashy, and decay lengthens the sliders is the adjustable noise gate for
them from brief to longer than taming hum and dialing in harder stops.
most real spring units can go. This pedal delivers an edgy-yet-thick distortion thats not
But level and drive might stump for the faint-hearted, but its also not just for metal. The snarl
players expecting a response like I cooked up in the thrash setting with the tight attack engaged
two- and three-knob tube-driven and the gain at 3 oclock was intense and, yes, tightspot-on
units of yore. Level increases the for fast metal runs. But by setting the sliders to smooth and
volume of the wet signal, but no matter how high its set, fat, respectively, and dialing back the gain to about 1 oclock,
the dry signal doesnt remain just constant, but dominant. the tones thickened up nicely with a warmth that could fit
You cant dial in that drowning sound an old spring unit gets nicely in genres from modern punk to scuzzy slacker rock.
when you crank the mix knob. And the drive control, rather Low-end preservation is probably what I liked best about
than dialing in tube-like saturation and grit, increases the the distortion sounds. The weight and oomph of my notes
reverbs intensity in a way that seems more like an extension kept the word thin from ever entering the conversation.
of the decay control. Thats helped in big part by the dry-low knob housed on
On the plus side, the feel and response of the Skylines the pedals right side. It eases in the clean signal to taste, but
lovely fundamental tones have a lot of the boing and sproing primarily just the lows and mids. If youre a bassist fond of
of a real spring reverb. But a few refinements would help its crunch with an evil streak yet want to maintain a big bottom
odds in a competitive market. end, be good to yourself and check out this Jr.
TEST GEAR Baritone Jazzmaster with Seymour Duncan Antiquity TEST GEAR Fender Precision, Gallien-Krueger 800RB head,
IIs, Jaguar HC50 with Weber Gray Wolf Orange OBC212 cab, Focusrite Scarlett 2i4
PROS Reasonably convincing PROS Good low-end

$179 street, spring-reverb sounds with $169 street, amptweaker.com retention. The noise gate and
rockstockpedals.com extended decay possibilities. dry-low knob are welcome
features.
Tones Tones
CONS Hiss from high level
Ease of Use settings present when effect Ease of Use CONS Theres a wide range
is bypassed. Slight pitch- under the hood, but tones are
Build/Design Build/Design
modulation artifacts. No still relatively niche.
Value drowning surf sounds. Value
CLICK HERE TO HEAR this pedal. CLICK HERE TO HEAR this pedal.
premierguitar.com
IK MULTIMEDIA BAE
Fender Collection 2 Hot Fuzz
By Jason Shadrick By Charles Saufley
The latest plug-in for IK Vintage fuzz can be a tricky

Multimedias AmpliTube business for modern players. Its
modeling software goes after easy to be lured by legend and
a handful of iconic tweed lore, only to discover that the
and blackface tones from archaic fuzz you pined for is a
the golden era Fender amps. hard-to-handle little monster.
Included are models of BAEs Hot Fuzz strikes a crafty
tweed versions of the Deluxe, Champ, Pro, Twin, Bassman, balance between authentically
Bandmaster, and a blackface Super Reverb. Getting up wild and musically manageable
and running is rather easy: I just plugged straight into my thanks to a responsive tone stack, a gain range that moves
interface, fired up AmpliTube, and away I went. from mellow to mean, and a Rangemaster-inspired boost that
A hallmark of tweed amps is how important the guitars adds subtle texture shifts or heaps of attitude.
volume knob is to the equation. It can move you from a Hot Fuzzs basic voice is unmistakably rooted in the Tone
glassy funk tone to old-school Stones rather quickly if set up Bender family. Its crackling hot, sings at high gain settings,
correctly. I wore out the Layla album, so I headed straight for and delivers tones that run from scooped and nasal to
the 57 Custom Champ. The immediate response and feel stinging, depending on the guitar and how you set up your
was there, and the reaction with the single volume knob on volume and tone controls. The powerful tone controls suggest
the Champ allowed for rather believable tones. a Tone Bender MKIII or MKIV heritage, but Hot Fuzzs
As I maxed out the virtual Champs volume, there was dials are much more evolved. They add complex bass tones
plenty of grind and I found myself reaching for the volume and sizzling highs that never compromise the essence of the
knob on my guitar more than I had expected. I went for the authentically Tone Bender-styled voice. The Rangemaster-
Derek Trucks setting on the Super Reverb (treble all the derived hi freq boost section is a massive bonus. On its
way up) and that biting, but not piercing, tone was there. own, it adds subtle-to-robust volume and treble boost thats
Just a heads up: There is a bit of a learning curve in decoding awesome with tube amps verging on breakup. Mixed with the
the ins and outs of the AmpliTube software, but once you fuzz its positively viciousadding body or snorkely cocked-
get past that you access a stash of holy grail amps that require wah tones depending on the setting.
way less maintenance than the originals.
TEST GEAR Fender Jaguar, Fender Stratocaster, Fender Telecaster
TEST GEAR Fender Telecaster, Focusrite Scarlett 2i4 Deluxe, Silverface Fender Bassman, Fender Champ
PROS Very convincing amp PROS Beautifully balanced

$149 street, ikmultimedia.com tones. More options than youd $225 street, baeaudio.com between vintage character and
ever need. modern malleability. Super-
solid build quality.
Tones Tones
CONS Rather steep learning
Ease of Use curve. Ease of Use CONS Footswitches are
situated too close together.
Build/Design Build/Design
Value Value
CLICK HERE TO HEAR this modeler. CLICK HERE TO HEAR this pedal.

REVIEWS
PAUL REED SMITH

Sonzera 50
By Joe Charupakorn
P
aul Reed Smith started building amps in 2009, although ticket, and are now a staple in the rigs of artists including Derek
it happened through more serendipitous circumstances Trucks, David Grissom, and Warren Haynes.
than you might suspect. Smith met amp designer Doug The relatively affordable Asia-built Sonzera line are the
Sewell at the Dallas Guitar Show, where their respective booths newest members of the PRS amp stable. It includes a 50-watt
were back to back, and after trying Sewells offerings Smith was head or combo, and a 20-watt combo. For this review, I tested
so impressed that he bought every amp Sewell brought to the the two-channel 50-watt combo, which comes equipped with
show. Before long, Sewell was relocating to Maryland to spear- one 70-watt, 12" Celestion V-Type speaker, a JJ ECC835 and
head PRS amp division. PRS amps have since become a hot three 12AX7AC5 HG tubes in the preamp section, and two
Independent Drive and level controls

Volume and reverb controls for gain channel
master controls for
Presence control
clean channel
Two channels
premierguitar.com
Series effects loop
EL34s in the power section. (The 20-watt

combo features two 6L6 power tubes,
rather than EL34s).
Clean and Mean

Each channel on the Sonzera 50 has an
independent set of controls for reverb,
bass, mid, and treble. The clean channel
has its own master and volume controls, 12" Celestion
while the gain channel has independent V-Type speaker
level and drive knobs. The two channels
share a presence control. Sonzera comes
with a footswitch for channel switching
and activating the reverb, and theres a
series effects loop in the back for patching
in time-based effects. an aggressive attack. And while the on each channel. I set up the clean
I tested the Sonzera with an Ernie Sonzera is a two-channel amp, guitarists channel with a ton of reverb to get a nice,
Ball Music Man Axis Sport and a Fender accustomed to using guitar volume to lush pad of sound and set up my gain
Stratocaster. And on the amps clean tailor their gain may have a field day with channel with negligible reverb so I could
channel, its easy to hear a strong blackface the new PRS before they ever get around play sharp, percussive, and un-muddied
vibe. Thats no small coincidence. PRS to using the two-switch capabilities. riffs. With a shared reverb, the same
says Sewells ideal clean sound is built scenario would require two pedal
on elements of Eric Johnsons stereo Big and Beastly switches. This more-streamlined approach
Twin Reverbs and Stevie Ray Vaughans Speaking of gain, the Sonzera puts a enables fast, dramatic shifts.
Vibroverbs. And, in fact, in his pre-PRS ton at your disposal. Setting the drive
days, Sewell built an amp called the knob to 9 oclock delivers quintessential The Verdict
Texaverb designed around that formula. British-rock crunch. Even at this Though it looks understated, Sonzera
The Sonzeras clean tones sound like direct conservative setting, the Sonzera can delivers a wide range of killer sounds. It
descendants of that idea: bold, beautiful, and sound beastly, and simple open A-string can cover everything from pop to blues to
multi-dimensional with lots of headroom. chugs alternating against D-and-G-string math-metal with ease. That the Sonzera
The gain channel also provides a path dyads sounded massive. Moving the drive delivers this many sounds at around $900
to cool, cleanish tones. If I set the level knob past noon yields sounds reminiscent is equally impressive.
and all EQ knobs around noon, with the of a circa-80s modded Marshall. At
drive knob set to approximately 7:30, I near maximum drive levels, the Sonzera
got a beefy clean sound that was excellent produces what can fairly be called a wall CLICK HERE TO HEAR this amp.
for dark, woody, neck-pickup jazz lines of gain. But what astonished me was
(on a solidbody no less) and pop-rock the note definition that remains at these
arpeggio chords with ringing open strings. gain levels. Whether I played complex
(The latter sounded especially excellent chord voicings that I wouldnt dare play
with the bright switch activated.) on other hyper-juiced amps or detuned PRS Sonzera 50
The Sonzera is very touch sensitive, 16th-note riffs, the Sonzera stayed $899 street
and a variety of sounds are possible articulate and responsive. prsguitars.com
just by varying the force of your pick The Sonzera shines as a blues machine,
attackeven in high-gain mode. too. With my Strat in hand and the gain Tones
With a light touch, arpeggiated chords around 11 oclock, presence at 1 oclock, Ease of Use
sounded atmospheric and rich. With bass at 11 oclock, mid at 9 oclock, treble
Build/Design
a heavy-handed pick attack the same at 2 oclock, and the bright switch on, I
Value
arpeggios morphed into gritty, Sunny was deep into SRV tone realms. Bright,
Day Real Estate-style sounds. Strummed stinging (but never piercing) single-note
chords went from almost-pristine clean, licks and chordal riffs a la The Wind PROS Fantastic range of excellent
sounds. Affordable.
with the neck pickup engaged and the Cries Mary had a glassy snap that will
guitar volume notched back a hair, to make blues lovers drool. CONS Independent presence controls
light crunch when I used the bridge Its worth noting the payoff that comes would be a nice touch.
pickup, maximum guitar volume, and from having independent reverb controls

REVIEWS
SUPRO
Westbury
By Joe Gore
O
h man, am I experiencing dj vu! No, Im not The Supro Story
remembering the 1950s and 60s, when Valco- A quick Supro recap: Valco folded in 1967, but, early this
made brands such as Supro populated the musical century, esteemed amp designer Bruce Zinky acquired the name
instrument sections of those retail palaces we called department and began issuing new amps that both revived and improved
stores. Nor am I recalling the many Supro revivalists, from old Supro designs. Ownership eventually passed to New
Pagey to punks to post-rock artistes. No, Im flashing back Yorks Absara Audio, the folks behind Pigtronix pedals. Absara
to last summer, when I reviewed Supros Zep-tastic Black expanded on Zinkys work, transforming a long-dormant brand
Magick combo amp in the August 2016 issue, hailing its astute into a popular and critically acclaimed amp line.
compromise between vintage accuracy and cost-conscious Judging by Supros initial 6-string release, theyre approaching
modern production. guitar making much as they do amp building. Supro amps use
Something similar is happening with the first new Supro modern production methods such as circuit board electronics
guitars in 50 years, and its a brilliant balancing act. and wood-composite cabinets, making them eminently
Two gold foil pickups
Alder body
Trapeze tailpiece
Maple neck
premierguitar.com
affordable. At the same time, they are fatter and taller than on originals, but signature qualities regardless of body
reference Supros bitchin mid-century they feel sexy, are expertly installed, and composition.
visualsand, more important, their are great for the greasy blues and rock at
musical essence. Modern Supro amps which Supros excel. Kluson-style tuners Trapeze Act
usually sound as good as vintage models, are another modern update. I love the fact that Supro devised a trapeze
and often better. And now Supro is doing tailpiece, as opposed to taking the easy way
a similar thing with guitars. Foiled Again out with a typical stop tailpiece. The extra
The star sonic attractions, however, are string length contributes to Westburys
Islands and Ozarks the recreated gold-foil pickups. Gold foils zingy acoustic resonance and formidable
Supro is unveiling two new guitar are famed for their fat, full-frequency sustain. You can also create cool bell-like
lines. The Americana series includes tones, with hefty lows and ringing, effects by playing behind the bridge (as
10 models with chambered mahogany transparent highs. Theyre also remarkably heard at 1:49 in the demo audio clip).
bodies beneath modeled-plastic Res-O- quiet for single-coils. Westburys playability and consistency
Glass tops. Meanwhile, the dual-pickup Supro nailed the gold-foil vibe. Tones are likely to satisfy even choosy
Westbury is part of the solidbody Island are complex and compelling, with that professional players, but simple chords
series, whose models are all based on airy high end that can almost feel like a and unrefined strumming sound great
the 1962 Supro Ozark (famous as Jimi miked acoustic guitar. Its a fat, full-range too. Westbury would be a great choice for
Hendrixs first guitar). Westburys siblings sound aerated by interesting spectral a ham-fisted rhythm guitarist (pardon my
are the three-pickup Hampton and the nooks and crannies. Bright clean tones bluntness), because its airy tones wont
single-pickup Jamesport. shimmer without shrillness. Overdriven hog all the bands sonic space.
The Indonesia-built Westbury has an ones are meaty yet buoyant in an early
alder body and a set maple neck. Our Zeppelin way. The lows arent chunky in The Verdict
review models ocean blue metallic finish the modern rock/metal sense, but theyre Like Supros current amps, the companys
is flawless. (The guitar is also available smooth and satisfying. Westbury sounds debut guitar manages an impressive feat:
in black, white, turquoise, and tobacco substantial yet effervescent regardless of employing budget-conscious modern
burst.) The necks rear surface has a pickup setting. construction techniques while successfully
comfy matte texture. The body shape For the longest time, I partly conjuring the soul of the instruments that
mirrors the original lines with a subtle credited the wide-open gold-foil sound inspired it. Westbury is well made and
perimeter bevel. Other retro flourishes to chambered bodies made from light ultra-playable. It looks sharp. Its tones
include the asymmetric headstock with materials. But my time with Westbury, range from rude to angelic, oozing charm
its lightning-bolt logo, small plastic coupled with recent workbench and character. And it sells for under a
knobs, and a wave tailpiece. experiments using various gold foils, grand. Nicely done.
Meanwhile, a generic Tune-o-matic convinces me that the character resides
assembly replaces the original floating almost exclusively in the pickups. With
CLICK HERE TO WATCH A
wooden bridge. The 6100 jumbo frets good gold foils like these, you get their REVIEW DEMO of this guitar.
25 1/2"-scale fretboard Supro Westbury

with 22 jumbo frets
$999 street
suprousa.com
Tones
Playability
Build/Design
Value
PROS Cool retro looks. Solid

construction. Great-sounding gold foil
pickups. Good price.
CONS None.

REVIEWS
G&L
Kiloton
By Steve Cook
A
lthough the master, Leo Fender, is no longer with us, more comfortable, sleeker P-style bass and quickly became a
the engineers at G&L continue to push forward with favorite with players the world over. In the same breath, G&L
Leo-like moxie, rolling out highly respected instrument developed MFD (Magnetic Field Design) pickups, which allow
designs while still keeping them fiscally in reach for many play- for individual pole adjustments. The MFDs also offer more
ers. The latest bass to come out of Fullerton is the Kiloton, as in output while remaining super-quiet, making them popular in
1,000 tons of explosive power at your fingertips. When a com- bass circles as well.
pany names a product so boldly, there had better be something And now, in classic Reeses-peanut-butter-cup-moment
big behind it. So we took a close look and listen to find out fashion, two divergent forces have been joined together to make
what makes this bomb tick. a singular bass powerhouse. The body of the SB-2 has been
equipped with the large-pole MFD pickups, making for an
A Tale of Two Basses interesting combination of features and (ideally) tone.
G&L was founded when Leo, after his years with Fender and Straight out of the case, I was impressed with the overall
Music Man, felt he had more to offer the musical instrument presentation of the Kiloton. Our tester was finished in emerald-
world. His SB-2 design is evidence of this, as it introduced a blue metallic, which leans more toward the green side of things,
G&L MFD humbucker
G&L Saddle-Lock bridge
6-bolt maple neck
Series/split/parallel toggle
premierguitar.com
but its flashy nonetheless. The body is You put your humbucker on my P barks. Above that mark, the Kiloton can
alder and the hard rock maple neck felt bass! You built your P bass around be a mid-scooped little slap machine. It
nice from the get-go with its satin finish. my humbucker! feels like a great, active P/Music Man
(Custom wood, finish, neck-profile, To hear the electrified nuances of the hybrideven though its really neither. If
and pickguard options are available.) Kiloton, I plugged the bass into a PreSonus this were my No. 1 instrument, Id likely
Unplugged, the comfortable bass was FireStudio running Studio One Professional use the parallel setting with the tone at
responsive, with great tone and sustain. software. The Kilotons control set is pretty about 75 percent for the entire gigand
There is an air of familiarity with some simple: volume, tone, and a mini 3-way Im talking just about any gig, at that.
aspects of the design, but make no toggle for pickup tapping. The first position
mistake, its a very modern build with a of the 3-way is series modewhich is the The Verdict
whole new feel. most aggressiveso I decided to start there. G&L has done a nice job keeping Leos
Any great bass is the sum of its parts, With the tone and volume dials dimed, vision and innovative spirit alive, and with
and G&L has engineered some excellent the Kilotons MFD pickup sang with really the introduction of the Kiloton, they just
features into the Kiloton. One very hot output, yet kept its composure with pushed the bar up another notch. With
important (yet often overlooked) feature articulation and a solid attack. Tonally, its pointed and rich tone, the Kiloton lives
is the Leo Fender-designed Saddle-Lock the bass brought punch and clarity with a up to its name. One of the biggest secrets
bridge. Its unique in that there is a block noticeable mid bump. When rolling the of great bass tone is not big low-end: Its
of metal under the bridge that embeds tone back to halfway, however, the bass pointed and pronounced mids that allow
itself into the woodrather than just a got lost in a case of wet-blanket syndrome. a bass to be heard in live and studio mixes.
flush bridge resting on topand adds In series mode, Id suggest keeping the The Kilotons MFD pickup runs a good
sustain and another point of resonance to tone control dialed to at least 75 percent race in this middle section and will give
help give the unplugged bass its power. to get the Kilotons real voice. players a solid option that bridges the gap
Other great bits include the bone nut and When I switched to single-coil mode between a P and a full-on MM, though not
G&Ls Ultra-Lite tuners. The triple-ply (the neck-side row of coils), the Kiloton quite reaching either end of that range. The
(white/black/white) pickguard is a nice took on quite a different flavor. The tone setup from the factory was amazing and I
touch as well. was crisper than in series mode and quite just cant stress enough how silky and good
The neck of the U.S.-built Kiloton usable, even with the tone control dimed. the neck felt. The Kilotons tones might
is PLEKd to optimize string action. The location of this row of coils is closer not be for everyone, but I think if you have
Getting an instrument PLEKd is a high- to the pickup position of a traditional P, the chance to play one of these basses, you
dollar treatment if done aftermarket, so so the bass displayed a surprising amount likely wont put it down for a while.
I like the built-in value. As I pointed of beef utilizing just a single-coil. Im not
out earlier, the satin-finished neck felt saying the Kiloton will replace your P,
wonderful, but the point where the but itll give you a sonic punch that wont CLICK HERE TO WATCH A
REVIEW DEMO of this bass.
fretboard and neck meet could have used leave you wanting for too much more.
just a few more touches with the sander. The tone mellows out a little in
All said, the action was nothing short of parallel mode. To my taste, the tone
amazing, the frets felt great, and the bass control needs to be above, say, 60
was assembled very well overall. percent, or else the bass just sort of
G&L Kiloton
$1,399 street (as outfitted)
glguitars.com
Rosewood fretboard
Tones
Playability
Build/Design
Value
PROS Comfy bass to play. Fantastic-

feeling neck and fretboard. Very nice
features.
CONS The price seems a touch high.

Pickup tones might not be an ideal
match for traditional P or MM devotees.

REVIEWS
DIGITECH
Whammy Ricochet
By Joe Gore
W
hen DigiTech unveiled the first Whammy pedal
28 years ago, it was an instant hit. It wasnt
just that a pitch-shifting stompbox was a new
and inspiring idea. With its built-in controller pedal, the Toggled or
Whammy was fresh-sounding and expressive, allowing play- momentary
LED ladder effect
ers to vary the rate of their pitch bends, much as if they were indicates shift
playing, well, a whammy bar. direction
DigiTech recently marked the Whammys latest anniversary Independent
attack and
by removing the effects trademark pedal. Okay, not release controls
reallythe company still make the excellent fifth-generation
Whammy V, the Bass Whammy, and the Whammy DT
(which specializes in chordal pitch-shifting for simulated
drop-tuning effects), all with built-in treadles. But nixing Seven
the expression pedal, as they do here on the Ricochet, makes transposition
the Whammy effect accessible to a particular and growing settings
subset of guitarists: those with too many damn stompboxes to

accommodate the large-format Whammy on their pedalboards.
Is your beloved Whammy pedal gathering

dust just because it wont fit on your board?
A Smaller Shifter
The downscaling works. The Ricochet is roughly the size of
a standard B-sized stompbox. It resides in a tough, folded-
metal enclosure with quality knobs and a soft-touch relay
footswitch. Theres no battery compartment; you must use an
adapter with at least 300 mA of juice (not included). I found this streamlined system fun and musically useful.
Meanwhile, theres a clever workaround for the absence of a Will it satisfy an extant Whammy user? It depends how often
treadle. A pair of concentric knobs lets you independently set and how much you vary the speed of your pedal pushing. Do
attack and release times for the pitch effect, from instantaneous you work the effect rhythmically, carefully timing notes to arrive
shifts to excruciatingly slow builds and dive bombs. Another at a particular instant? Or, like most players, do you just whack
knob specifies the transposition interval. A toggle switch the thing on for instant range expansion? If youre the latter
selects between upward and downward bends. A second toggle type, Ricochet will probably cover your basses.
determines whether notes remain transposed until you press the
footswitch again, or only as long as you hold the switch down. Transposition Mission
The former setting would be handy for, say, playing an entire I confess that I havent used a DigiTech Whammy in
song in a transposed tuning, while the latter is good for injecting many yearsand holy cannoli, has the pitch-shift quality
impossibly high or low notes into standard-tuned solos. You can improved! Early versions couldnt handle chords well, and the
tell at a glance whether youre set for up or down, thanks to an transpositions had a bleating, obviously digitized quality. But
LED ladder that indicates the current direction. now the pitch shifting is damn good.

To demonstrate, allow me to matters. And again, dig how cleanly the
walk you through the audio clip that triads transpose!
accompanies the online version of this Most Ricochet transpositions solo
article. I start out with phased arpeggios the dry signal, though one setting, OCT
at standard pitch, and then bounce + DRY, mixes wet and dry, generating REVIEW DEMO of this pedal.
them up an octave while playing the dissonant tension as the two voices rub
same figure. (Clean-toned shifts in large against each other on their way to an
intervals are the real acid test for pitch- octave transposition. You hear this effect
transposition effects.) You can tell its a starting at 01:38. The final example,
digital effect, yet its perfectly listenable. at 02:10, uses the octave-down setting Digitech Whammy Ricochet
Next comes a distorted example for a pseudo 8-string-bass effect. The $187 street
with the same octave shift, but with other available transpositions are perfect digitech.com
slower rise and fall times. It certainly fourths and fifths and minor sevenths.
sounds like Im working a pedal, and You can use all seven settings in both Tones
the shifted power chords retain their ascending and descending modes. Ease of Use
chunky goodness. Build/Design
Another clean-toned example follows The Verdict
Value
at 1:00. Here I noodle over an Am/Gm Is your beloved Whammy gathering
progression, but Im actually fingering dust just because it wont fit on your
notes in A minor only, shifting down a board? Case closed: get a Ricochet. If
PROS Compact size. Excellent sound
quality. Good price.
whole-step for the G minor bits. Yeah, youre new to pitch-shift effects but
I can hear a tiny difference in timbre eager to explore, this great sounding, CONS For maximum timing precision, a
between the dry and pitch-shifted solidly built, and reasonably priced treadle still works best.
tones, but its so close that it hardly pedal provides a superb introduction.
Giveaways
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REVIEWS
BULLHEAD
Matador
By Shawn Hammond
W
hen you see a big ol head atop a
matching 4x12 cabparticularly 3-band EQ with Bright switch
presence control
bright red ones emblazoned with
the aggressive-sounding Bullheadyou cant
help but assume the pair will dish out blistering
distortion at bludgeoning volumes. But with his
Matador half-stack, Nashville amp builder Scott
VanFossen seems to be having a bit of fun with
both the art of amplifier design and guitar nerds
expectations. In many ways, the setup is a bit of
a red-cape sleight of hand: Fans of the imposing
half-stack form who charge toward it in anticipa-
tion of carnage may be surprised at whats behind
the red vinyl, while combo snobs who plug into it
may well reconsider their stance against big rigs for
the first time since their starry-eyed teen years.
Ol6V6s!
There are, of course, heads on the market driven
by a wide variety of valves, but the industrys bread-
and-butter designs typically run 6L6s or EL34s.
And while the Matador Bullhead is available in a
40-watt version burning the latter, we were excited
to get a crack at the 20-watt version powered by
6V6svalves most famous for defining the warm,
spongy sounds of small, classic American combos
like the Fender Champ, Princeton, and Deluxe.
The Matadors knob array, on the other hand, is
closer to what youd expect on a vintage Marshall.
There are presence, master, bass, middle, treble,
and gain knobs, and the preamps capabilities
are extended by two toggles: a 3-position EQ
character selector with U.K., Scoop, and
Mid options, and a bright on/off switch. Around
back, the options are simple and straightforward:
dual 1/4" jacks for the series effects loop, a 1/4"
speaker output, and a knob for selecting an My favorite moments reminded me of the sound
impedance of 4, 8, or 16 ohms. Ours was set to Kim Thayil gets on old Soundgarden tracks like
the middle position to accommodate the matching Holy Waterviscous, burnished, and mean,
Celestion Greenback-loaded Matador 4x12 cab,
which features finger-jointed 3/4" Baltic birch
though with greater clarity and note separation.
construction and recessed side handles.
premierguitar.com
Impedance selector
Three 12AX7s
Series effects loop
healthy, its also limited by the amps

moderate wattage (clean sounds will have
a tough time cutting through a band
without being miked). Routed through
my Jaguar HC50s oversized open-back
1x12 cab, the Matador lost some beef and
volume, but gained a more dimensional
and enveloping sound. Regardless, the
most salient point is that the Matador is
Inside the Matador heads beefy box harmonically rich raunchiness that was far more than one would expect from its
(also of Baltic birch), a class-AB circuit every bit British, yet never piercing. I appearance. Its not often that you find this
uses a mix of fastidiously neat point- imagine this is the sound many would level of vintage-Marshall sophistication
to-point and turret-board handwiring: expect from a vintage plexi stocked with in an amp thats super simple yet also has
Solder joints are pristine, with no excess new-old-stock tubes. Scoop mode took some astute tricks up its sleeve.
silver goop, and PVC connections linking this essential character and imbued it
the main turret board with the chassis- with a cushier, American-combo flavor
mounted pots, jacks, and the small rather than the deep, hollowed-out CLICK HERE TO HEAR this amp.
printed circuit board for the effects loop metal sound that some might expect
are kept as short as possible, with longer think Deluxe on steroids. Mid mode,
runs of adjacent wires carefully twisted meanwhile, boosts the 6-strings primary
together and routed to their destinations frequencies for a fuller, more present
at easy-to-track right angles. sound that feels slightly louder than
Bullhead Matador head
the other two modes. The differences
By the Horns between modes can seem subtle at first $2,649 street
bullheadamplification.com
I tested the Matador with a variety of flip, but their individual strengths shine
axes, including a Schecter Ultra III through the more you experiment with
Tones
with a TV Jones MagnaTron bridge playing nuance and attack.
Ease of Use
humbucker, a Curtis Novak-loaded Tele, Because I keep my Schecter in a lower
and a baritone Jazzmaster with Duncan tuning (D standard), some of my favorite Build/Design
Antiquity IIs. While each instruments moments reminded me of the sound Kim Value
tones were, naturally, oriented toward Thayil gets on old Soundgarden tracks
the guitars trademark traits, across the like Holy Waterviscous, burnished, PROS Lovely tones ranging from
board the biggest tonal takeaway was and mean, though with greater clarity vintage plexi to hot-rodded American.
that the Matador has a comfy, lived-in and note separation. That said, with Top-shelf build. Versatile EQ toggle.
responsiveness that you rarely find in a the other guitars, lower gain settings,
CONS Somewhat expensive. Subtle
brand-new amp. and some outboard reverb, the Matador bright toggle seems unnecessary.
In the end, I gravitated most toward easily pivoted to fare ranging from gritty
the Schecter/TV Jones comboand blues to skanky funk, soulful R&B, and
thats saying something, coming from a swaggering rock n roll.
single-coil guy. My favorite setting was
typically with master cranked, gain at The Verdict
2 oclock or higher, and presence, bass, Scott VanFossens Bullhead Matador
Bullhead Matador 4x12
middle, and treble between noon and exhibits an attention to quality and detail
$1,099 street
2 oclock. But even with every knob that you just dont see everyday, and bullheadamplification.com
at max, its virtually impossible to get the resulting designs ingenuity makes
a harsh or painful sound out of the one wonder why more amp builders Tones
Matador. It would be easy to attribute havent tried a similar formula. However,
Build/Design
this to the softer response of its 6V6s, whether it yields sounds youll dig will
Value
as well as the Greenback speakers, but depend largely on the selected speaker
that would certainly do an injustice to cab. With the included sealed-back
the care put into the amps design and 4x12, the Matador serves up a focused, PROS Solid, clean construction. Warm,
punchy Greenback tones.
preamp voicing. more mid-heavy sound than many will
In U.K. mode, the aforementioned be accustomed to hearing from 6V6s, CONS Pricey.
setting yielded a toothy, even, and while its thump factor is reasonably

Asymmetric REVIEWS
clipping switch
JOE GORE
Gross
By Charles Saufley
Two 12-position
clipping diode
selectors
I
f you check out Joe Gores website, joegore.com, its hard
not to come away infected with his spirit of irreverence and 9V AC or
adventure. Its peppered with videos of songs disassembled 9V battery
and rebuilt in unlikely styles, unconventional studio advice, and, power
above all, perverse guidance about how to mangle your tone to
creative ends. Disclosure: Gore is a contributing editor to PG
and his gear reviews and expertise in studio techniques are regu-
larly featured in our content.
Gores independent sensibilities manifest themselves in
the pedals he designs and sells under his name. (They are devices to recall them. I only wish hed reversed the left-right
built in Michigan by Cusack Music). In the case of the Gross orientation of the letter and number knobsmost players
Distortion reviewed here, Gores irreverence results in a very that checked out the pedal thought bingo-style letter-then-
flexible distortion with an unusual control set. And while it number designations were easier to remember. Players that spend
wont be immediately intuitive for every player, its ultimately a lot of time in parking garages may have a different opinion.
a very satisfying tool for chasing specific or elusive overdrive, The tone and gain controls are extremely transformative
distortion, and fuzz sounds. and interactive. Both controls are active, which means less
tone strangulation if you want to aggressively roll back the
Enter the Infinite bass or treble. They also have acres of range, which makes
When I say the Gross is less than intuitive at first, that doesnt fine-tuning a joy. The gain control has impressive range and
mean its unapproachable. On the contrary, the Gross invites sensitivity, too. At one extreme its relatively transparent. At
uncomplicated, impulsive sound shaping as much as it enables the other it generates fuzzy textures that are focused, complex,
surgical tone sculpture. Its hard to make a bad sound. And while and responsive to adjustments from the tone controls. (I found
it takes time to understand the myriad ways the controls interact trebly, high-gain sounds especially satisfying.)
with your guitar and affect your tone, its easy to find pleasing
tonesor radical onesthrough casual twists of the six knobs. Purrs Like a 156-Pound Kitty
The most critical of these controls are the two 12-position As I said, its easy to get great sounds out of the Gross. Getting
radial switches. These enable you to tap into the defining exactly the tone you want takes a little work, but well get to
quirk of the Grossa network of 25 clipping diodes (most that. Gross single-transistor design is loosely inspired by the
fuzz and distortion pedals have just a few) that color distortion Electra distortion, a super-simple circuit that arguably sounded
depending on how you combine them. A small toggle between great because of its simplicity, but which is also ideal for
the two-diode selector knobs adds a third diode to whatever pair circuit tweaking downstream from the transistor. That design
you select, to lend asymmetric distortion sounds to the already philosophy is at the heart of the Gross.
expansive tone palette. You can easily hear how nice the basic distortion architecture
The potential of these controls isnt always immediately is in the Grossand how clearly it communicates the voice
apparent. Small adjustments can result in tone differences so of your guitarby dialing in low-to-mid gain distortion,
minutely incremental that some ears wont hear the difference. setting the tone controls at noon, and cooking up a relatively
Monitor your amp in headphones, however, and youll hear transparent diode setting (my Stratocaster, humbucker-equipped
small shifts that can be critical when shaping tones and Telecaster Deluxe, and Jaguar all sounded very much themselves
pinpointing frequencies in a studio. Gore added one simple but at the 8-G setting, among others). The distortion tones have a
thoughtful detail that makes the labyrinthine possibilities easier rich, growling, and even-tempered essence that can be re-shaped
to navigate: One knob is labeled with numbers, the other with easily with guitar volume and tone attenuation. This is a
letters, which facilitates logging settings or using mnemonic strength of Gross at much more radical settings as well.

From there, how you proceed is The Verdict
really down to personal preference. I got Id guess resolutely minimalist players,
the best results by setting up a clipping the kind that scorn devices apart from
scheme that sounded like a natural fit for their guitar and a Fender Deluxe, wont CLICK HERE TO HEAR this pedal.
my guitar and the musical environment, have much time for Gores Gross. For just
then moving through clipping variations. about everyone else, Gross is a potential
While different clipping schemes may not tone feast. Do those tone combinations
radically alter the voice of your guitar, they also make it tricky to use? I suppose that
can have a pronounced boosting effect or depends on your appetite for adventure. If
thin the frequency bandwidth in extreme you welcome the open-ended, semi-chaotic
Joe Gore Gross
ways. Gross tone controls are so versatile, nature of modular synths and deep, multi- $279 direct
joegore.com
however, that they profoundly re-shape a function pedals, youll love every twist and
given clipping scheme. Even with narrow- turn Gross throws at you. Im not sure that
Tones
bandwidth clipping setups and tone profiles, Id risk radical changes on stage without a
Ease of Use
I could add corpulent bass and stinging top cheat sheet. But for chasing tones in the
end by maxing the bass and treble controls. more relaxed confines of a studio, Gross is Build/Design
I could probably spend another a distortion tone buffet without parallel. Value
1,000 words describing possible tone Its pretty expensive, even if the price is
permutations from these tweaks. The understandable given the R&D, labor- PROS Almost incalculable array of rich
point is, the Gross is highly responsiveto intensive circuitry, and high-quality distortion, overdrive, and fuzz sounds.
modifications from its own control set, U.S. build. But now that Ive tried it, Great range in gain and active tone
controls. Very responsive to guitar tone
from your guitar, or from your pick attack. I almost get anxious thinking about doing
and volume attenuation.
Gore may have aimed for 156 tone colors a recording session without it, and its
from the Gross. In fact, the real number of hard putting a price tag on that kind CONS Expensive.
available tone shades is exponentially more. of versatility.
aud io
/ p r o
rns .com
. b o u
www
premierguitar.com
Rodney Crowell
and Collings Guitars
Rodney Crowell and his 1993 Collings C10 Deluxe
Serious Guitars | www.collingsguitars.com

REVIEWS
EPIFANI
Piccolo 999
By David Abdo
H
ow would you like to sound like Matt Garrison? Or The Number of the Beast
Ron Carter? Well, thats a tall order, but you can While the Piccolo moniker is befitting for the 4 1/2-pound
employ the equipment used by Garrison and Carter class-D amp (piccolo is Italian for small), it contains full-bodied
to make a best attempt at replicating their signature sounds. For features and big power. The front panel lays out the necessities
a number of years now, their instrumentsand those of other for tone sculpting, including a gain section thats tied to an
top bassistshave been plugged into Epifani amplification. active/passive switch to optimize a variety of bass pickups.
Long recognized for excellence in cabinet design, Nick Epifani Neighboring the gain is a mid-cut dial and an adjacent mid-
and his team have developed a number of products that cater cut activation switch, which provides up to -8 dB at 800 Hz.
to players who are serious about their sound and appreciate Bassists will find the mid-cut section handy when seeking classic
straightforward features in a portable package. The companys slap-and-pop timbres, or mellowing out the harsh mids that
latest amplifier, the Piccolo 999, borrows characteristics from some upright pickups produce.
their popular Piccolo 600, but boosts the power to a massive To the right of the master volume (the large, guitar-pick-
1,000 watts. shaped dial with an Art Deco-esque E in the middle) lies
As a result of this responsiveness, I could play with a lighter

touch and serve up dynamic, articulated bass lines
all while maintaining a consistent low-end foundation.
3-band EQ
Mid-cut section
Master volume
Vintage tube-emulation switch
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the EQ section. Despite the sections Ive long been impressed with the cut through a powerful choir. It should
simplicity, the bass, mid, and treble capabilities of Epifanis mid-cut circuitry also be mentioned that the Piccolo 999
controls are expertly voiced for quick particularly when using an upright bass handled the 6th string with ease, and
tone-shaping with significant shelving or EUB. Epifani has voiced this dial to punched the congregation in the gut with
capabilities. Below the trio of tone near perfection by providing the means bowel-shaking bass notes.
controls is a switch for the companys to scoop out the artificial-sounding honks
proprietary vintage circuit, which Epifani and clacks of upright pickups. Not only The Verdict
contends will adjust the frequencies of does this bring the woody character Epifanis Piccolo 999 is like the ideal
the amp to replicate the timbres of classic back to amplified uprights, but it assists boxer: powerful, quick, and agile around
bass amplifiers. in creating a pleasing replication of an the musical ring. It preserves the best of
The rear panel contains an effects loop upright sound from EUBs. Epifanis past, but serves up enhanced
with a mix control, a tuner out, pedal Another key ingredient to the Epifani performance and portability. Its fan
input, and a DI section. The Piccolo 999 sound is characteristically clean tones, and might be a little loud for recording
component set makes it clear that Epifani the Piccolo 999 continues in this tradition. environments, but this little monster
understands the needs of the working I realized this when I took the amp (along can kick ass onstage. If you want a
bassist. Only the essentials are packed with two UL3 112s) to different stages, no-nonsense amp that treats the inherent
into this pint-sized powerhouse. and split time between a Nash P-style bass, sound of your instruments with the
an F Bass BN6, and the aforementioned utmost respect, the Piccolo 999 is a
Italian Stallion Jazz bass. The Epifani rig loved bridge- contender in that regard and worthy of
I ran the Piccolo 999 up against two of pickup sounds, and with a slight boost of some of your own time in the ring.
Epifanis other designsa Piccolo 600 the mid and bass EQ dials, I conjured up a
and a UL 501with each amp plugged beefy, barky tone that delivered 16th-note
into an Epifani UL3 112 cabinet. As I lines ideal for a jazz/fusion setting. CLICK HERE TO HEAR this amp.
listened for differences between the rigs, When it was time to transition to the
I alternated between a Fender American Nash for a Motown-tribute show, the
Standard Jazz and an F Bass BN6. Epifani rig nicely presented what the warm
All three elicited pleasing tones, P-style bass had to offer and allowed me
but the Piccolo 999 stood out with to attempt my best James Jamerson and Epifani Piccolo
its responsive delivery of each note by Bob Babbitt impressions. I did try using
$1,199 street
conveying tight lows, clean top-end, and the vintage switch during this show, but epifani.com
punchy, aggressive midrange. This is not I felt it took away a bit too much of the
to say the mids were harsh, but both midrange information that the rig was Tones
basses produced an authoritative voice expertly delivering. In fact, the Piccolo Ease of Use
in that region. Historically, Epifanis 999 sounded great in its flat setting, and
Build/Design
wares have been known for quick tonal I could simply adjust the tone control on
Value
transmission, and I was impressed by my bass to temper the amount of presence.
how the 999 actually improved on When it came to high-end content,
sonic sensitivity. As a result of this the Epifani turned my F Bass BN6 into PROS Punchy, responsive amplifier
with clean tone and easy-to-use fea-
responsiveness, I could play with a lighter a slap machine at a contemporary church tures. Portable design.
touch and serve up dynamic, articulated service. A slight boost in the treble EQ
linesall while maintaining a consistent gave pops a killer modern zing and CONS Fan a tad noisy.
low-end foundation. fingerstyle passages plenty of edge to

REVIEWS
DAREDEVIL
Red Light District
By Matthew Holliman
D
aredevil Pedals founder John Wator
designs and builds all of his companys
Midrange control Mid-scoop on/off switch
products. And his concepts are, for
the most part, driven by a few essentialsyears
of experience touring and recording, and his
taste for all things fuzzy. In fact, with the excep-
tion of the Atomic Cock, a filter that approxi-
mates a cocked wah pedal, Daredevil only pro-
duces dirt pedals: from even-tempered overdrives
and boosters to a plethora of killer fuzzes.
I loved the combination of craftsmanship,
vintage-inspired familiarity, and tones of the
Nova and the L.S.D. pedals (which I reviewed,
respectively, in the October 2013 and October
2104 issues of Premier Guitar). But the Red
Light District is more versatile than either of
those two fuzzes. Its built around Daredevils
Fearless Distortion, but adds a mid scoop and
a hi/lo gain footswitch (instead of the toggle Hi/lo gain
found on the Fearless) to expand the available footswitch
overdrive colors. In the process, it delivers
diabolical crunch thats ideal for hard rock and
stoner metal.
Dirty by Design putting it to use in the most obvious contexts, with an Orange
Red Light Districts medium-sized enclosure is home to three OR-50, a Fender Twin Reverb, a Gibson SG, a Les Paul and
knobs: volume, gain, and scoop. And the scoop control is a ton of volume.
what really sets the Red Light District apart from the simpler Coupling the SGs P-90s with the Orange made it easy to
Fearless distortionenabling players to carve out mids for access early Black Sabbath tones by pushing the Red Light
more pointed, thrashier snarl or bulbous, bottom-heavy growl. Districts gain and scoop controls to 3 oclock. The heavy mid
This feature may be deactivated by flipping the adjacent on/ scoop is pretty crucial for nailing that classic Iommi vibe, in
off switch. Its also worth noting that the switch is positioned particular when things start to get heavy. However, within the
so you can actually flip it pretty easily with your foot. In context of a full bandespecially one with two guitarists
addition to the bypass footswitch, theres a hi/lo footswitch that you may need to play around with this setting to find an EQ
snaps between two gain stages. The Red Light District may be position that cuts through the chaos. That said, Daredevil has
powered via a 9V barrel adaptor on the right-hand side of the plenty of horsepower to get you above the clamor once you get
unit, or by a 9V battery. The inside of the unit reveals neat the midrange right. Unity gain for this setup is just a hair past
hand-wiring and plenty of room for the battery. noon with the hi-gain setting engaged, though if you turn off
the mid-scoop toggle, youll notice a slight volume drop.
Suited for the Swamp Downshifting to the lo-gain setting, I was knocked out by the
With its hi/lo gain structure, possible applications of the Red wealth of usable overdrive tones. The basic overdrive color has
Light District add up to a long list. But it was hard to pass up a glassy character that evokes early English high-wattage heads.

The response is crisp, and the overdrive levels. Even so, the Red light District can range of tones you can summon from the
stays controlled and colorful well into sound fantastic in these more radical, control set make the $189 price tag seem
the second half of the gain knobs range. treble-heavy settings. And a Jaguar with very fair.
For versatilitys sake, I preferred this setup my Twin Reverbwith the Red Light
with the mid-scoop off, because the extra Districts gain sitting at 1 oclock, lo-gain
air in the midrange feels more dynamic engaged, and the scoop offproduced REVIEW DEMO of this pedal.
and helps the basic richness of the searing Roland S. Howard tones.
distortion profile show through. Even here, the Red Light District was
Studio players and home recording responsive and dynamic, exhibiting slight
artists will be psyched to know that breakup that got much more pronounced
smaller practice amplifiers like the when I really dug into the strings. Daredevil Red Light District
Fender Champion 600 and solid-state
$189 street
Vox Pathfinder are a great fit for the The Verdict daredevilpedals.com
Red Light Districts lower gain settings. Its little surprise that Red Light District
The high-gain tone profile sounds great can satiate the needs of most high-gain- Tones
too, but its much less articulate with oriented playersparticularly head Ease of Use
small amps than it is with bigger, high- bangers that tend to nod their skulls to
Build/Design
headroom amplifiers. slower, more Sabbath-oid grooves where
Value
The Red Light District feels and rich, classic high-gain sounds shine.
behaves pretty differently with Fender- But the Red Light District also excels
style single-coils. It sounded great with in low-gain applications that you might PROS Great range of low-to-high gain
tones. Dual-footswitch design.
Stratocaster and Jaguar pickups, but, otherwise call overdrive. It works best
perhaps predictably, you can expect to with amplifiers with high headroom. And CONS No real EQ apart from the
run into more white noise and feedback though the effective mid-scoop-based EQ mid scoop.
situations with single-coils at high gain might be limited for some players, the
Giveaways
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an Artist 60 Series
Dreadnought Electric !
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REVIEWS
DANGELICO
Premier SS
By Joe Gore
W
hen Italian-American luthier John DAngelico touched one. But thats what I hear from the big kids who get
opened his New York City guitar shop in 1932, the to play the nice instruments.)
Chrysler and Empire State buildings were less than Like many modern guitar and amp manufacturers
two years old. Inspired by the worlds then-tallest structures operating under brand names borrowed from the past, the new
and their American take on Frances Art Deco design move- DAngelico label has no direct connection to its namesake. Yet
ment, DAngelico bedecked his guitars with sleek, geometrically the new company is reviving more than just a moniker. All their
patterned pickguards, tailpieces, and hardware. The original instruments reprise design details from those storied archtops.
DAngelico guitars arent merely beautiful. They are reputed Current DAngelico offerings range from handbuilt archtops
to be the finest archtop guitars ever made. (I say reputed, selling for north of ten grand to Asia-built, production-line
because even after many years writing for guitar mags, Ive never instruments costing less than $700.
Two DAngelico
humbuckers
Single-cutaway
laminated-maple body
Maple neck
Bound body
and neck
premierguitar.com
Deco for Days ample bling for its price, and its a sharp- Pickup character is a matter of
DAngelico models are classified in four looking axe exactly as shipped. personal taste, so consider my comments
ranges: Master Builder, Deluxe, Excel, in that light. To my subjective ear, these
and Premier (in descending order of Tone and Playability DAngelico humbuckers are relatively
cost). The SS is part of the budget- Unplugged, the SS sounds promisingly bland, and they dont seem to telegraph
conscious Premier line. As you might zingy and resonant. The shallow C-shaped the guitars attractive acoustic character.
expect at its $749 price, its an Asia-built neck has a sleek, modern feel. So do the The high end suffers from a lack of
instrument that, like many of its current capably installed medium-jumbo frets. openness and air. Tones are solid, but
competitors, provides solid quality at an However, the guitar would have benefited they seldom sparkle. Id love to hear the
impressively low price. from some extra love on its way out SS with zingier, more distinctive pickups
Our review SS is a thinline semi- the door. The intonation was far from with character that lives up to the guitars
hollowbody with a single rounded cutaway accurate, one of the tone pots was loose, visual promise. Id also like to hear how
and a center block. A more expensive and the bridge pickup was situated too far they sound in the fully hollow-body
version can be ordered with a vintage- from the strings. Plan on doing your own version. Having said that, the same
inspired stairstep tailpiece and a fully setup, or paying for the job. criticisms are often true for competitors
hollow configuration. You can also order While old-school DAngelicos are pickups in the same price range, and I
a semi-hollow version without f-holes. almost exclusively associated with jazz have no doubt that many players will dig
The 1.75"-deep, subtly arched body is playing, the SS is a versatile modern axe. these tones just as they are. Let your ears
formed from maple laminate. A 25"-scale The svelte neck favors speedy playing. The be your guide.
rosewood fretboard tops a maple neck. elegant cutaway and neck joint make it
Attractive single-ply binding outlines easy to sail high notes to the stratosphere. The Verdict
the top, back, neck and headstock. The And the SSs feel accommodates DAngelicos Premier SS is a well-built,
blemish-free glossy finish is a lovely everything from chord melodies to ultra-stylish guitar with a perfectly fair
dark-cherry hue. But the guitars visual cowboy chords to vulgar shredding. price tag. Granted, its vintage DAngelico
highlights are its Deco-inspired details. DNA lives primarily in small visual details,
The pickguard, tuners, and shiny truss Of Coils and Character but man, what lovely details! There are
rod cover share a common stairstep The DAngelico humbuckers are hot some weak links: notably the lax setup
motif. Equally striking is the hollowed enough to summon gritty chunk from an and (to my ears) unremarkable pickups.
out keystone headstockanother visual overdriven amp, yet they clean up enough But between those players who like the SS
hallmark of vintage DAngelicos. for traditional jazz playingespecially sound just as it is and those who purchase
Pickguard aside, the body is with the neck pickups tone pot rolled it with pickup upgrades in mind, this
reminiscent of classic Gretsches, Gibsons, back. But while the SSs tones never Deco flashback is sure to win fans.
and Epiphones, with f-holes, a Tune-o- sound bad, they can sound somewhat
matic bridge, a stop tailpiece, and four generic and dont always match the
plastic barrel knobs. Still, the SS provides guitars distinctive visual flair. REVIEW DEMO of this guitar.
22-fret, 25"-scale
rosewood fretboard
DAngelico Premier SS
$749 street
Art Deco hardware details dangelicoguitars.com
Tones
Playability
Build/Design
Value
PROS Sharp Deco-inspired looks. Solid

playability. Zingy acoustic sound.
CONS Unremarkable pickups. Lax

factory setup.

STAFF PICKS
Question & Obsession

Pedal-steel guitarist Jonny Lam joins us in discussing which guitarists would make the best performers for one of the
most-watched shows on the planet: the Super Bowl halftime show.
Which guitarist would you

like to see play solo at a
Super Bowl halftime show?
Far left: Photo by Damian LaFargue Bottom: Photo by Ral Ranz

Jonny Lam Kraig Schwartz
Sinkane, Atomic Bomb Band Reader of the Month
A: Being that Ive been A: Slash and Tremonti, with

revisiting many of my Myles Kennedy singing. I
childhood guitar heroes love Slashs greasy, slithery
lately, I would love to see Eric style of hard-rock licks
Clapton dust off his Marshall, full of soulful, rich tone.
grab his Gibson 335, and Tremontis PRS with Mesa/
have a woman tone party Boogie sounds so sweet, and
during the halftime show. The Myles has the best rock voice
first guitar solo I ever learned out there!
was Creams I Feel Free and
Ive taken a lot of inspiration Current obsession:
from that. If not Clapton, then I absolutely fell in love
Yngwie Malmsteen! Though with PRS guitarsthe
that would probably have to tone and attention to
be the last Super Bowl ever. detail is second to none.
I play a PRS Hollowbody
Current obsession: II with a Mesa/Boogie
George Benson! A genius, TC-50. I discovered my
virtuoso, and absolutely Mesa/Boogie a few years
unique player with back, and believe me,
impeccable articulation and I went through a lot of
incredible feel. His wild amps before my search
energy is really something ended with a
else, and I love how recklessly pot of gold at
he seems to play. Hes just the end of the
going for it, even though he rainbow.
might fall off the rails (he
never does). There is such
confidence in his seemingly
endless lines and harmonic
ideas. Man, he can really wail.
(Party on, Wayne!)
premierguitar.com
John Bohlinger Rich Osweiler Luke Viertel
Nashville Correspondent Associate Editor Production Coordinator
A: No one will ever A: I love football, but for A: This may be a cop-out, but
top Princes halftime whatever reason, I loathe Prince. Again. Princes death
performance, when he cued faux playing and lip-syncing was a big blow to musicians
the clouds to open right as so much I can barely watch everywhere, especially those
he launched into his Purple the halftime show. Why not who support originality and the
Rain solo. Nonetheless, I save some money and have ability of music to push cultural
would love to see the original a laser-light show or screen boundaries. When I think of
Van Halen crew slog through highlights from past games? a modern player mainstream
Beautiful Girls, Eruption, With the exception of a enough to play the Big Game,
You Really Got Me, and couple pretty memorable I know no one will be able to
Running with the Devil. performances, Super Bowl top the rainstorm epiphany
Football is classic rock. halftime is bio break and that Prince left on that stage.
refill time for me since the Id even accept a repeat
Current obsession: commercials are so much performance via hologram.
Strats, probably the most more compelling. If I have to Perhaps a yearly tribute?
expressive guitar made. choose someone, Ill go with a
Five pickup combinations, member of Raider Nation so Current obsession:
a whammy bar, tone and we have a presence this year. Were All Gonna Die by L.A.
volume controls. If you cant Carlos Santana! folk-rockers Dawes (produced
Top right: Photo by Perry Bean
get it done with that, you by human-Swiss-army-knife

cant get it done. Current obsession: Blake Mills). On the surface,
Sin City. Gypsy jazz phenom its a departure from their
Robin Nolan channels Angus Americana roots. Further
Young on his latest release spins reveal the same depth
thats chock-full of AC/DC of lyric and theme that made
covers, and its killer. their previous records shine.
I look for a big year from
them in 2017.
premierguitar.com
READER PEDALBOARDS 2017
Options are virtually limitless when it comes to effects.
PG readers show us their way to wire up and fire up a pedalboard.
Y
ear after year, we hear from our eclectic audience of seven loops and sets them up to conjure the intricate techniques
stompers with diverse tonal ideas and different things of Paul Gilbert, John Petrucci, and Devin Townsend. One
to say. For many of you, true joy comes from putting guitarist only uses three pedals but has double that on his board,
together your personalized toolbox. For example, one of our and yet another has stomps almost a quarter-century old. Read
readers has an entire Moog pedalboard (which can be seen in on to get inspired. Perhaps youll discover something youve
the online version of this feature). A player from Wales uses never seen done, or get an idea for your ultimate board.
premierguitar.com
Legendary tone of the VH4.
Now available in a pedal.

www.diezelusa.com
WESLEY FARMER
Pedal Dancer Electro-Harmonix Big Muff Pi, TC Electronic PolyTune 2, Boss

At first glance, this pedalboard might look complicated, but its CH-1 Super Chorus, MXR Micro Flanger, Boss TR-2 Tremolo,
not too complex compared to other boards Ive seen. I wanted a Boss DD-7 Digital Delay (with Quik Lok PS-10 pedal for tap
board that could get me pretty much any tone for the different tempo), TC Electronic Shaker Vibrato, Strymon Lex Rotary, TC
styles of music I play the most (alternative, classic rock, blues, Electronic Flashback Delay, Boss RV-6 Reverb, TC Electronic
Americana, prog, and ambient), and the pedals had to be easy Hall of Fame Reverb, and a JHS Little Black Buffer (under the
to use while still being quality. I made sure no pedal had more board). Also pictured is the footswitch to a Fender 65 Princeton
than four to five knobs, to keep things as simple as possible. Reverb Reissue.
Heres the signal path: Boss FV-500H Volume Pedal, Pedals are on the Pedaltrain Classic Pro, patch cables are all
DigiTech Whammy (4th gen), Dunlop Cry Baby Wah, from Hosa, and the board is powered by the Truetone 1 Spot
Electro-Harmonix Micro POG, Electro-Harmonix Soul Pro CS12. My board was built by Jordan McCown at Mountain
Preacher Compressor/Sustainer, MXR Phase 90, Ibanez TS808 Music Exchange in Pikeville, Kentucky. He does great work!
Tube Screamer, JHS Angry Charlie V3, Vox Satchurator, Time to do the pedal dance
JOE GIORDANO
Illinoise
I live just outside of Chicago, Illinois, where I play with a band
called Dig Engine. I love Premier Guitar! Heres my pedalboard:
Sarno Steel Guitar Black Box (not pictured), Neo Ventilator
II (Leslie speaker simulator), Dunlop GCB95 Cry Baby Wah,
two Ibanez TS9 Tube Screamers (silver modification done by
Analog Man), Analog Man Comprossor, Electro-Harmonix
Micro POG, BBE Tremor Tremolo, DigiTech Whammy II, Line
6 DL4 Delay Modeler (mod by Alchemy Audio), Keeley Katana
Clean Boost, Boomerang III Phrase Sampler. All pedals are
powered by a Voodoo Lab Pedal Power Mondo (isolated power).
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MIKE SVENSSON
Three Pedals and the Truth I only use three pedals frequently: wah, Whammy, one DD-3.
Hi from Sweden! My board is straightforward and houses very The EQ isnt really an effect. I recently tried to use a Keeley Mini
few things. Ive had basically the same pedal setup for the last Katana Clean Boost in place of the EQ, but I changed back. Im
15 years. All pedals go through the effects loop of my amp a creature of habit, and while the Katana served well, it wasnt the
in this order: Boss TU-3 tuner (only used as a mute when same. Ive tried every Whammy model except for the newest DT and
swapping between guitars), Dunlop Cry Baby Wah, original WH-5 models. Nothing comes close to the original, both in terms of
DigiTech Whammy WH-1 (I have five of these), two Boss sound and ease of use. My current wah is a new unit, but my favorite
DD-3 delays (I could get by with one, but live its easier not is an 80s model which sounds much better than any other Cry
changing settings too much), a DOD FX40B Equalizer (set flat Baby Ive tried. I keep that on my backup board. The sweep is much
and only used as a boost for solos), and finally the MXR Phase cleaner, smoother, and never gets too high. Unfortunately, it isnt very
90 (which I dont really use). reliable to use live, but I always record with it.
NATHAN HALL Tidy Tone

Hi Premier Guitar! My board and I come
from Maine. This fairly compact (for
me) setup gives me everything I need for
playing blues and classic rock at jams and
home practice. The Temple Audio board
is new to me. Im loving the departure
from Velcro and the tidy system, which
enables using mounting plates or zip ties.
I use Monster and George L cables, and
my signal path is as follows: Real McCoy
Custom Picture Wah, TC Electronic
PolyTune, Fulltone Supa-Trem, MXR EVH
Phase 90, Xotic EP Booster, Xotic AC
Booster Comp, Fulltone OCD, Xotic RC
Booster V2, TC Electronic Ditto Looper.
My wah is powered by a 9V battery;
everything else is powered by a Voodoo
Lab Pedal Power 2, mounted underneath. I
usually play a Gibson Les Paul Traditional
goldtop into a Marshall DSL50 and 1936
2x12 cab with Celestion Greenbacks.
premierguitar.com
ROSHAN VASUDEV
The Brain
Heres my baby! Ive been playing for years and just couldnt find
my sound or get organized with all the various combinations
of pedals and tones. I was searching for good quality pedals
that would make my tone as sweet as Steve Rotherys or Steven
Wilsons. I remembered the amazing Rig Rundown video of
Steven Wilsons board, and that got me going. I started with a
Strymon TimeLine and quickly added the BigSky, then snuck
in the Providence when I saw that on one of Guthrie Govans
boards. I also came across That Pedal Show, which sucked me in
entirely (hours of videos and reviews to sink my ears into)!
I also started to search for a brain to help calm the
pedalboard tap dance, and thanks to PG reviews and an Booster, Boss BD-2 Blues Driver, Thorpy FX Muffroom Cloud
amazing video by Pete Thorn on the RJM Mastermind, I was (Fallout Cloud), TC-Helicon VoiceTone Harmony-G XT,
immediately hooked! So, I decided to abandon all those old Providence Anadime Chorus, Pigtronix Rototron, Strymon
cheap pedals and embark on a much more rewarding (and TimeLine, Strymon BigSky, Lehle Mono Volume Pedal, and
wallet-emptying) endeavor. Roland EV-5 Expression Pedal.
Here are the pieces that make this board sing: Electro- Theyre all controlled by the brainRJM Musics
Harmonix Nano POG, Xotic SP Compressor, Xotic EP Mastermind PBC.
premierguitar.com
ANDREW PHILLIPS
Wailing in Wales Loop 5: Boss SD-1 into Friedman The effects loop of the TriAxis goes to
I live in Wales, U.K. This pedalboard has BE-OD (sometimes substituted for a Mesa/Boogie Five-Band Graphic EQ,
been an ongoing project for the last few Mesa/Boogie Grid Slammer and then to the MXR Stereo Chorus. My
years, but I think its finally finished soon to be Horizon Devices Precision signal then goes to three TC Electronic
for now! All the pedals are routed into Drive). Loop 4 is used with high-gain pedals: a Flashback set for single repeats
a QuarterMaster QMX 10, made by amp settings while Loop 5 is used to for the Paul Gilbert Echo Song effect,
TheGigRig. This receives the output from boost lower-gain amp settings. another Flashback set on a Petrucci
the guitar. The rest goes something like this: Loop 6: DigiTech Whammy and Mountain Top lead setting, and a Hall
Eventide PitchFactor (with Ernie Ball of Fame Reverb pedal, which goes into
Loop 1: TC Electronic PolyTune that expression pedal) for Steve Stevens ray the final Flashback set on a ping-pong.
acts as a mute. gun sounds. This way I can stack delays and even
Loop 2: MXR EVH90 Phase 90 and Loop 7: MXR EVH117 Flanger. introduce the reverb for Devin Townsend
Petrucci Cry Baby Wah. effects. Then it goes back into the TriAxis
Loop 3: TC Electronic HyperGravity I have three loops left for future and is amplified by either a Matrix
Compressor and TC Electronic purchases. The QuarterMaster goes out GT1000FX or Marshall EL84 20/20
Petrucci The Dreamscape for clean into a Decimator Pro Rack G, which through two Mesa/Boogie Rectifier
Dream Theater tones. goes to a Mesa/Boogie TriAxis preamp, 2x12 cabs. Its all on a Pedaltrain PRO
Loop 4: Boss SD-1 into KHDK controlled by a Behringer FCB1010 pedalboard, juiced up by two Voodoo
Ghoul Screamer. MIDI Foot Controller. Lab Pedal Power 2 Plus power supplies.
premierguitar.com
Space
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The Space Spiral is a dark and dreamy modulated delay designed to take
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man. If you are a fan of the dreary echoes produced by old oil can delays
or the ethereal sound of a well-loved tape delay, the Space Spiral is totally
going to tickle your tone bone.
The Space Spirals delay time ranges from a tight 30ms to a fast and loose
600ms. Can you imagine having 600ms of delay time at your fingertips?
Out of this world! With all of this adjustable delay time you create anything
from a classic slapback to a rhythmic wash of cosmic proportions. You want
to take it even further? Maybe to an astral plane? Crank up the repeats and
let the infinite oscillation of the Space Spiral take you to the other side.
Space Spiral Itll get you through the night.
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For details visit ehx.com/delays

BILL RAVEN
Bill Raven: Bright Switchin, Distortion III, Malekko Helium, Xotic EP Booster with bright
Whiskey Burnin switch, Analog Man Prince of Tone, MXR GT-OD, Way Huge
Im a guitarist for a country-rock group from La Crosse, Echo-Puss, Strymon DIG, Line 6 M9 (for different tremolo),
Wisconsin, called Burnin Whiskey Band. I have a versatile setup and a Fender A/B switch (A goes to normal channel on a Fender
that allows me to cover a lot of bases and sounds. I use two Deluxe Reverb, B to vibrato channel). This way I can use the
blue paisley Blackbird pedalboards. The beginning of my chain amp reverb/tremolo and get a brighter sound on B, and pedal
is a Line 6 Relay G10, Boss TU-3W Waza Craft, and MXR distortion on A, because the normal channel on a Deluxe
Reverb on the small board. Then I jump to a Cry Baby Wah, Reverb doesnt have the bright cap like the vibrato channel. Also,
MXR Dyna Comp, MXR Phase 90, MXR Uni-Vibe, Xotic the reason I use two EP Boosters is one is set for my Telecaster
EP Booster, Maxon Envelope Filter, Malekko Sloika, MXR and the other, with a bright switch, is set for a Stratocaster.
MIKE SIMPSON
Overdrive Champion
I play in an 80s and 90s dance band and a 70s hard-
rock band, so I needed a board that would handle
everything for both types of music. The real champ
of the board is the Friedman BE-OD. Its the best
distortion pedal Ive ever used.
My pedalboard consists of the following: Chemistry
Design Werks Holyboard (painted by my kids), Morley
Bad Horsie 2, Electro-Harmonix POG2, Line 6 M9
Stompbox Modeler, MXR EVH90 Phase 90, DigiTech
Bad Monkey, DigiTech Whammy 5, Friedman BE-OD,
two Dunlop Volume X Mini pedals (one for volume,
one for expression for the Line 6 M9), and a Big Joe
Power Box.
premierguitar.com
LEHLE MONO VOLUME
Operates wear-free with a

precision magnetic sensor
No tone loss from zero

to full volume
Dynamic range of 110 dB

18 V
with 18 Volts internally
Lehle SIGNAL ROUTING SOLUTIONS. MADE IN GERMANY.

www.lehle.com support@lehle.com
premierguitar.com
4 PEDALS, 36 SOUNDS,
100s OF HITS.
From the game changing B9 and C9 Organ Each polyphonic pedal provides a unique Whether you want to cook up some hot Green
Machines to the KEY9 Electric Piano Machine collection of classic sounds in a simple Onions, lay down a cool Riders on the Storm
and MEL9 Tape Replay Machine, EHX plug-in-and-play package. No modifications, style groove, take a trip to Strawberry Fields
gives you the sounds of enough legendary special pickups or MIDI implementation is or spend some time at the House of the Rising
keyboards to fill a stage and then some! required, and tracking is impeccable. Sun, EHX has the keys!
M I C R O T U B E S 9 0 0 B A S S A M P
A SOUND YOU WILL NOT BELIEVE

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FEELS LIKE THE REAL THING
www.rockettpedals.com
MARTIN CHENEY
Old Faithful some help from my dad, who is great with electronics. We also
Heres my main board. Some of the pedals are more than 20 years did the true-bypass mod on both of my wah pedals.
old, including an original Pedal Power. The top level is on hinges, I just measured it out and bought the wood from a hardware
which allows me to access the NS-2 and power cords. The outlet store and spray-painted it flat black.
on the Pedal Power allows me to plug in the adaptors for the This is my chain: Ernie Ball Volume, Boss TU-2 Tuner,
DigiTech Whammy and TC Electronic RPT-1 Nova Repeater. DigiTech Whammy, Dunlop Cry Baby Wah (true-bypass +
The Boss TU-2 and NS-2 have the power out option. vocal mod; a small knob on the side can adjust one of the
The NS-2 powers the Boss GE-7 EQ and the TU-2 powers internal resistors), and Boss Noise Suppressor.
the Xotic SP Compressor and wah. At the moment, Im using
a Moen Jimi Zero Vibe as my modulation, but I have another Loop Send: Xotic SP Compressor, Moen UL-VB Jimi Zero
board almost identical to this (without the volume pedal and Vibe, Boss Metal Zone (Monte Allums mod), Boss Blues Driver
whammy), which has a Boss flanger and phaser so I can swap (Monte Allums mod), and Boss Distortion (Keeley mod).
those in and out.
A few years back I was trying to figure out how to make my Loop Return: Boss Tremolo (Monte Allums mod), TC
tone better without buying new pedals, so I bought mod kits Electronic RPT-1 Nova Repeater, DOD DFX9 Digital Delay,
from Monte Allums and they turned our greatwith thanks to and Boss GE-7 EQ (Monte Allums mod).
premierguitar.com
The 45000 is a 4-track powerhouse
SUPER LOOPER with a console-style layout
for intuitive control. Each loop features four
tracks and it delivers unlimited standard,
reverse and variable speed overdubbing, speed
control, stereo loop recording and much more.
This looping tour de force also syncs to
MIDI clock and saves directly to SD Cards.
Optional external Foot Controller.
The 22500 Dual Stereo Loopers loops can be

locked to each other or run independently in
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22500 also includes 16 Drum/Rhythm tracks,
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Optional external Foot Controller.
With 12 minutes of stereo loop recording

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Boasting 6 minutes of looping time,

the super-affordable 360 lets you
record, store and recall 11 loops. Single
footswitch control of record, erase,
undo-redo and unlimited overdubbing,
plus a compact size and easy-to-use
functionality, complete the picture.
Outlaw_RockerBox_3.85x4.85_Jan9.pdf 1 17-01-09 4:44 PM
premierguitar.com

Giveaways
You could WIN a

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BJ BEYERS
Cosmic Oddities
This setup provides an amazing amount of flexibility,
because it can easily nail any tone, from pristine
cleans to cosmic oddities to crushing distortions. Ive
made an effort to buy or build what I consider top-
class pedals for each effect category, and ended up
with an oversized board full of inspiring tones.
My signal chain is as follows: Dunlop Cry Baby
Classic Fasel Inductor Wah, handbuilt BYOC 5-knob
compressor, Boss DS-1 Distortion (Keeley mod),
Analog Man King of Tone overdrive, handbuilt
BYOC Rams Head Big Muff fuzz clone, an all-white
Moogerfooger MIDI MuRF, EarthQuaker Devices
Sea Machine chorus, Way Huge Supa-Puss delay,
Neunaber Slate reverb with EXP expression pedal,
TC Electronic Ditto Looper, a handbuilt BYOC
A/B/Y splitter than runs into independent channels
of my Vox amp, and a Vox controller that toggles
spring reverb and a tremolo.
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ESOTERICA ELECTRICA
Hugs, Counsel, and Confronting Blind Spots

BY JOL DANTZIG
A
Shown here at s we slither into this relatively new Dont be afraid to ask for assistance.
21 years young, year, many of us consider what I know, this is starting to sound like a self-
wet behind
we can do better than before. help column, right? Your natural ability will
the ears, and
practicing his Its natural to want to improve things for also trick you into thinking that you can
millennial ourselves, our friends, and our families. figure everything out yourself, which really
whoops, our And, in the case of guitar builders, our wastes a lot of time. If you are interested in
columnist customers. No matter how old you are, doing inlay work, for example, offer to help
asks, If I time
travelled back
there are always things to discover. But who a knowledgeable inlay artist in exchange
to 1973 to meet among us hasnt wondered what it would for some instruction. Its flattering for him
me, I wonder be like to have known back then, what we or her, and every shop has work that needs
which of us know now? Was there ever a point when to be done, so its a win-win. The time you
would be more
the wisdom of experience was offered, but donate to someones shop will be less than
surprised.
our child-brain chose to ignore it? what you would have wasted trying to learn
I recently stumbled across a video on your own.
interview of John Mayer, during which Figure out how to be different in
the interviewer asks the guitarist what your own way. Realize that anybody can
advice he would give to his younger self. do what you do. No matter how great
To my surprise, Mayer responded, Id your skills are, there are others who are
just give him a hug, I guesstheres doing the exact same thingand maybe
nothing you could tell that kid. It was better. The key is being true to your own paintingfor a long time when I took a
a delightful admission that cost Mayer personality. If you are a guitar builder, its series of classes at PPG. In a few weeks, I
nothing, and its so true for almost all the same as being a guitarist. Find a way unlearned mistakes and problems that Id
of us. So, in the spirit of our inveterate to twist those tired, old riffs that you are been muddling through for decades. There
desire to change what cannot be changed, rubber-stamping all over your reputation is real science behind the art.
I offer you a list of things I might impart and get your own thing. The world Dont believe your own hype. Maybe
to my own young self, should I have the simply doesnt need another Firebird you can be a politician with no real
misfortune to meet him. Please feel free clone at the moment, so change more credentials, but if you try to fake your way
to ignore these points, just as I did. than the pickguard shape. into the guitar market, trust me, you wont
Practice your craft. Dont mistake Learn to sell. The simple truth is last long. I was unlucky enough to watch
natural ability for excellence. This is the that anyone can make a guitar, but not someone in my organization destroy himself
domain of the small-town football hero everyone can sell a guitar. It used to piss this way, and it wasnt pretty. Everyone
who gets crushed in college. If you are me off that salespeople were paid more loves a story, but if you push the envelope
good at something, put in the timeIm than vice presidents (let alone builders), too far from who you are, youll implode.
talking yearsto get really great at it. but if you want to make products that sit Remember: What you think is being clever
You cant download an app for mastery. If in a warehouse or your storage locker, go and edgy, others just think asshole. Its a
you dont have the guts for that, heres a right ahead and ignore salesmanship. You small industry, so make your bed carefully.
spatula, because Burger World awaits. can build the most kick-ass website, but Dont feel compelled to finish
Realize your strengths. Ive always that wont close a sale like a handshake. everything before its time. Everything
been a jack-of-all-trades sort of guy who Learn how to sharpen your own is a process, and when you pay attention,
was adept at a lot of things, but quickly tools. Even if you send bits and blades the work tells you what to do like
tired of the routine (see above). If thats out to be re-tipped and sharpened, you ending this list before reaching 10.
your personality, you might make a wont know if your vendor is skimping And heres that hug. Youre gonna
good manager of those who are better on you if you dont know how to do this need it.
than you at specific tasks. My favorite yourself. Also, it helps to speak the same
realization was that the best managers language if you have a complaint about JOL DANTZIG is a noted
designer, builder, and player who
surround themselves with great people, tools that dont perform correctly. co-founded Hamer Guitars, one of
set a direction, and then get out of the Take some spray-painting classes. the first boutique guitar brands,
in 1973. Today, as the director
way. The conundrum here, of course, is Most of the big automotive coatings of Dantzig Guitar Design, he
that you have to avoid getting bored with companies have workshops to help sharpen continues to help define the art of
custom guitar. To learn more, visit
learning to be a manager. your skills. Id been paintingand teaching guitardesigner.com.
premierguitar.com
LAST CALL
Vibing the Divine

BY JOHN BOHLINGER
After recording Everything in life is vibration. what it means, essentially: Energy can be
Pet Sounds, was Albert Einstein transformed into massive particles, and
Brian Wilson
really out of his mass can be transformed into energy.
mind, or just I recently Amazoned the Brian Wilson Energy is matter.
hyper-aware of movie Love & Mercy. If youre in a hurry, Mind blown? Well, now consider
those intangible skip to 1:25:24 where the Paul Dano this: Our thoughts are energy. Studies at
elements that
make music great?
version of Brian Wilson walks around Stanford University proved that directed
a large tracking room while 12 string thoughts produce a physical energy, even
players, three engineers, and a couple over remote distance. Let me put this
suits from the label wait and watch in terms that youll understand: Your
nervously. Brian spreads his fingers over thoughts are literally as solid as a 1957
the acoustically tiled walls muttering Les Paul.
worried sighs until a suit says, What do Now plug that goldtop into the amp distinctive emotional atmosphere; sensed
you say, Brian? Its been two hours. of your choice, turn all the knobs right, intuitively, but its root is vibration? Even
Brian: Im not sure. Its hostile in here and hit that low E like the sumbitch our language suggests that emotions are
right now. The vibrations arent right owes you money. The energy from your energy vibrating like guitar strings.
ummmm. Okay. Lets cancel the session. hand hitting those strings creates a When Im on tour during the summer
Suit: Are you sure? Its going to cost vibration that is a physical presence that and I see hundreds of thousands of
like $5,000 with everybody here. joins with the vibration of the universe. people who drove for hours, paid too
Brian: Cancel it. We cant work. I dont If youre ready for a personal paradigm much for tickets, had to deal with bad
know; the vibrations are all wrong tonight. shift, consider this: Those vibrations parking and huge crowds, waiting 20
This scene attempts to show Wilson from the strings are a physical energy, minutes in line for a $12 flat beer and
entering a psychotic breakdown. However, you are a physical energy, and the air another 20 minutes for a biohazard port-
at the time Wilson was at the top of his molecules around you are a physical o-john, I wonder if these people are out
game, having just recorded Pet Sounds energy all comprised of these same of their collective minds. All that trouble
and Good Vibrationsmusic that basic building blocks. This means that just to see music performed does not
routinely makes every best-ever list of everything in the universe is connected, seem worth it. But then I think about
pop recordings. So, was Wilson out of but nothing actually touches. Were all how good it feels to watch or play music
his mind or just hyper-aware of those just a vibrating skin sack of vibrating when the energy is positive and the crowd
intangible elements that make music great? atoms swimming in a universe of is into it, and I totally get it. Live music
Warning: We are heading into a place vibrating atoms. We are stardust. feels amazing. If church felt like that, Id
where physics meets the paranormal. Im As Nikola Tesla said over a century be there every week.
talking a mix of quantum mechanics, ago, If you want to find the secrets of Music is more than just melody, meter,
entanglement theory, and some new the universe, think in terms of energy, and dynamics. Its also energy, frequency,
age, hippie-spiritual shit. Oxygen gets a frequency, and vibration. Thats why and vibration. Music connects us to life,
little thin up here when you open your Brian Wilson was right in cancelling the universe, and the infinite. Call it what
mind, so take a deep breath and lets walk his recording session. Everybody in that you will, but I think this connectivity of
through the looking glass. studio was nervous. Those negative all life, matter and energy is where God
There is nothing solid: you, your vibrations were a physical presence in lives. This may smell of hippie, but I feel
guitars, your computer, your loved the room that did not vibrate on the its absolutely true. Thats why all of you
ones, and the floor under your feet. The same frequency as the music in Wilsons reading this are obsessed with guitars. Hit
planets and stars may appear solid, but head. The people at the session acted like the right note and youre connected to
all of this seemingly rock-solid matter Wilson was crazy, but I bet most of those life, the universe, and the divine.
is actually in vibration. All physical musicians were relieved when the session
atoms are comprised of atomic particles got called off, because they could feel JOHN BOHLINGER is a Nashville-
based multi-instrumentalist best
(protons, neutrons, and electrons) that that they were not going to get a great known for leading the band on
are constantly spinning and vibrating. performance. The vibe was not conducive NBCs Nashville Star and serving
as music director for the CMT
Ergo, you and all you see and touch are to making great music. Awards and specials on PBS
just energy and vibration. Weve all heard Isnt it interesting that the word vibe and GAC. When not filming Rig
Rundowns and gear reviews for PG,
of Einsteins equation, E=mc2. Heres means, according to Merriam-Webster, a John plays pedal steel for Lee Brice.
Premier Guitar ISSN 1945-077x (print) and ISSN 1945-0788 (online) is published monthly by Gearhead Communications, LLC. Principal office: 3 Research Center, Marion, IA 52302. Periodicals postage
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Dr. Strange Love in the 6-String Abstract

A custom RGM watch

Find an Authorized Martin Dealer

I lost out to Ron Wood because Keith 113 126

Photo by Andy Ellis

Red Hot Chili Peppers guitarist

Photo by Perry Bean

CONTENTS March 2017 ALL-STAR

26 Reader Guitar of the Month

Top left: Photo by Christophe Pauly

2017 Fender Musical Instruments Corporation. FENDER.COM

I knew about James Taylor about

Shuffled through some old pics at my

And then the Berklee masterclass

Time for some acoustic tracks with my

premierguitar.com PREMIERGUITAR MARCH 2017 21

premierguitar.com PREMIERGUITAR MARCH 2017 23

premierguitar.com PREMIERGUITAR MARCH 2017 25

845.269.8275 / hahnguitars.com Send your guitar story to

The bassist for iconic punkers

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Ash frontman Tim Wheeler slams

New to the Jackson roster as of

needs, the Fishman SA Performance

Audio System is the ideal solution for solo

acoustic performers, small combos, DJs,

keyboardists, corporate presenters at trade

shows or in conference rooms... any and

all who need to be heard in small to

medium-sized situations where a portable,

practical and sonorous performance

amplification solution is required.

Top right: This 1960

Bottom left: Originally,

Bottom right: Heres an

Below: At first glance

premierguitar.com PREMIERGUITAR MARCH 2017 35

Fredrik Thordendal, Mrten Hagstrm, & Dick Lvgren

Top right: Mrten

Middle: After the

Bottom: The line out

premierguitar.com PREMIERGUITAR MARCH 2017 37

1957 Fender Pro

premierguitar.com PREMIERGUITAR MARCH 2017 39

1994 Korean Epiphone Sorrento