Guit 0917

vintage ’52 & ’54 goldtop test p.
9 0
Issue 424
SEPTEMBER 2017
Br a d pa isley roa d wor n
telecaster
ExclusivE first
test of Brad’s
Hot-rod tElE
Jimi
e x c l u s i v e
Hendrix
by roger mayer
clapton’s
THe inside
sTory of His
‘Axis: Bold As
love’ sessions
‘blackie ’ strat!
slowhand on his
most famous
fender
kenny
wayne sHepHerd
gives us THe
Best Blues
lesson
PLay ers you’ll learn
Hawkwind all year
adrian BELEw
Steve earle
Lit tLE BarriE
reviews
Eastman sB59/V
supro neptune
Chapman mL1 pro
traditionaL
busHmills x lowden
Knaggs doug
rappoport KEnai
Future Publishing Limited, Quay House, The Ambury, Bath, BA1 1UA
Telephone 01225 442244 Email guitarist@futurenet.com Online www.guitarist.co.uk
Time, Please
As we went to press with this issue, we learned of the passing of
Glen Campbell. Known to millions as the voice of Wichita Lineman
and Rhinestone Cowboy, fewer people knew that he was also a very
fine guitarist. Campbell was an original member of the famous
Wrecking Crew – a group of first-call LA session musicians who
defined the sound of hits by Phil Spector and who ghosted on
tracks by The Byrds and The Beach Boys where their magic touch
was required. We’ll be remembering Glen properly next issue.
No less saddening was news that master luthier Bill Collings (see Obituary, p32)
also left us, in July. He created some of the finest instruments we’ve had the
pleasure to play – guitar-making at that level requires an extraordinary clarity of
purpose and a degree of craft that touches on art. He’ll also be much missed.
When you reflect on what people like Glen and Bill were able to achieve in their
time, it throws the casual frittering of time that most of us suffer from into even
sharper relief. I’ve often fantasised about having six months magically available to
retire to a cave somewhere like a monk to do nothing but get better at guitar. But
such extreme measures aren’t really necessary, just regularity – little and often
beats binges of learning. Devote a lunch-hour here (provided nobody minds you
bringing a guitar into work…), an hour after dinner there, to picking up licks and
it’s gratifying how quickly you advance. But the real revelation is that the more
frequently you sit down to learn new chops, the faster your ability to pick up yet
more new stuff gets. In other words, the more you learn, the more you can learn.
I’ve been working my way back through Richard Barrett’s brilliant Blues
Headlines column of late, so I’ve still got this month’s lesson to tuck into (see
p149), plus the second instalment of Chris Corcoran’s classy and evocative jump
blues licks to have a go at. Yep, getting better at guitar is always worth making
time for! Have a great month and see you next time.
Jamie Dickson Editor
Editor’s Highlights
Hawkwind! Kenny’s Blues A Cut Above?
Veteran space rocker Dave Yes, we knew Kenny Wayne Is there really a sensible
Brock entertained our man Rod Shepherd was good, but to sit alternative to a Gibson when
Brakes with tales of Clapton, in a room with him and jam is it comes to classic mahogany
strange guitars and wild lysergic a real education in top-drawer single-cuts? We’ve found two
adventures of yore p58 blues moves p70 serious contenders… p104
september 2017 Guitarist 3

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EDITORIAL
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Jamie Dickson
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David Mead
Managing Editor david.mead@futurenet.com
Senior Music Editor
Lucy Rice Jason Sidwell
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Contents
cover feature
Fender Brad Paisley
road Worn TelecasTer
98
alternative tonewoods,
unorthodox finish
and a stetson on the
headstock. What does it add up to?
a classic tele... Find out why inside
6 Guitarist september 2017

Contents
ISSUE 424 September 2017
reGulars
003 ......... editor’s Welcome
026 ......... the Wishlist
029 ......... the lineup
036 ......... Opinion
040 ......... substitute
042 ......... perfect 10
045 ......... readers’ letters
048 ......... New music
050 ......... One For the road
116 ......... subscribe
121 ......... tone makers
125 ......... board Games
130 ......... longterm test
135 ......... Gear Q&a
138 ......... Classic Gear
141 ......... Next month
142 ......... Old Gold
152 ......... reader ads
COver Feature
098 ......... Fender brad paisley road Worn telecaster
Features
054 ......... Headstock: adrian belew
058 ......... Hawkwind
064 ......... roger mayer on Jimi Hendrix
070 ......... Kenny Wayne shepherd
082 ......... eric Clapton’s ‘blackie’
090 ......... Historic Hardware: 1952 & 1954
Gibson les paul Goldtops
NeW Gear
010 ......... Knaggs Doug rappoport Kenai
016 ......... chapman ml1 pro traditional
& ml2 pro modern
022 ......... supro 1685rt Neptune reverb 2x12
104 ......... eastman sb59/v & Godin summit
Classic ltd
118 ......... Hotone Xtomp mini
120 ......... electro-Harmonix Wailer Wah
122 ......... compressor round-Up: maxon,
earthQuaker Devices, emma electronic
& Fairfield Circuitry
124 .......... Green carrot Pedals pumpkin pi
126 .......... Martin 00lX1ae
128 .......... samsystems im12
teCHNiQues
144 ......... Jump blues bootcamp with Chris Corcoran
149 ......... blues Headlines: sixes & sevens
viDeO & auDiO

to enjoy all of the video and audio content in this
cover photography by
issue, type the following link into your browser and
Neil Godwin
follow the instructions in the post entitled ‘Guitarist
video and audio’: http://bit.ly/guitaristextra

f i r st p l ay
Knaggs Doug
RappopoRt Kenai
£3,890
Superb solidbody signature

single-cut with chunky
muscular voice
Muscle
Man
The second signature guitar from
Knaggs aims to hit the pro-spec
workingman’s single-cut spot
Words Dave Burrluck Photography Neil Godwin
W
hile many makers obsess about the
replication of vintage ’Bursts, Joe
Knaggs isn’t one of them. As this
signature Kenai illustrates, it’s obvious where
the inspiration lies. It’s the second Knaggs
artist model, after Steve Stevens’, and regular
Guitarist readers should be very familiar with
the skills of Doug Rappoport who joined us for
a blues-rock masterclass earlier this year.
Steve’s signature model slightly downsizes
the Kenai blueprint, but here Doug’s uses the
original plans with its almost Tele-meets-Les
Paul outline measuring approximately 344mm
(13.54 inches) across its lower bouts, with a
trimmer-than-LP maximum depth of 52mm.
It appears even trimmer (and is tapered from
base to heel) when you look at the rim: while
the top has a beautifully graduated carve,
the back is flat with a rib-cage cutaway and
noticeable chamfering around the edges,
reducing that rim to approximately 43mm.
Neither chambered nor weight-relived,
this Kenai weighs a near perfect 8.5lbs. “Very
much pain goes into finding the right weight
wood,” considers Joe from Knaggs HQ in

Knaggs Doug RappopoRt Kenai first play

first play Knaggs Doug RappopoRt Kenai
1 3
1. Doug’s signature has Greensboro, Maryland. “It is getting more and understated logo on a black ebony facing with
an (optional) kill switch;
you can have a bridge
more difficult. I’m not sure if weight relief Doug’s signature truss rod cover. Fret wire
pickup tone if you want. or chambering is the future: there are other is medium gauge, immaculately installed
In fact, his own guitar woods out there that are lighter in weight. I do as you’d expect, on the Gibson-like 305mm
simplifies things further: think harder/heavier woods tend to be a bit (12-inch) cambered, bound Macassar ebony
“The wiring, for me, is a
master volume, a master more dominant on the treble side, but this is ’board. We’ve said it before and have to say
tone and a kill switch.” not always the case. I’ve heard great-sounding it again: Knaggs makes exceptionally good
A peek inside the rear heavier guitars. I’ve heard crappy-sounding guitars. If you’re looking for flaws, good luck.
cavity reveals a simple
light guitars, too – not ours, I might add!” The dual-humbucker layout with its
setup with no tricks,
just 500k CTS pots On first playing a Kenai, weight played its shoulder-mounted pickup selector is par
and a .022 microfarad part for Doug. “I was struck by how light it for the course, though where we’d usually
‘orange drop’ tone cap was,” he tells us. “I realise weight – where find a bridge pickup tone control there is a
2. This zebra-coiled
guitars are concerned – is unpredictable and momentary action kill switch (you can order it
Duncan Custom Shop varies widely. I am also aware there is a lot of with a standard tone control if you prefer). The
’78 is based on the debate about wood density, weight and what double-black ’bucker at the neck is Duncan’s
pickup Seymour Duncan it means to tone. Fuck all that. I tell people to classic SH-2N Jazz (described as a “bright,
rewound for a certain
Eddie Van Halen. EVH go tour for 15 to 20 years and then tell me how vintage-output humbucker, which stays clear
disciple Doug Rappoport important having a heavy guitar is to you!” even under extreme distortion”); the bridge
describes it as “a high- Following the classic Gibson-style is a lesser-known Duncan Custom Shop
quality PAF with just a
little more ‘poop’ on it”
ingredients, the mahogany back here is one pickup, a zebra-coiled ’78. “As an EVH fanatic/
piece, likewise the neck. The Tier 3 maple top devotee/disciple/worshipper, I had to have
3. This Macassar ebony has quite thick cream-coloured edge binding one,” enthuses Doug. “Honestly, it was more
’board is another and an inner black/white/black purfling, plus the concept of the pickup that interested me
example of makers
moving away from quite a classic but not overdone figure toned – a clone of the pickup Seymour rewound for
rosewood in light of the down here by the satin nitro finish. The neck EVH back in 1978. A PAF supposedly from an
new CITES restrictions. is raked back in classic style, and while the old ES-335. I was a Duncan JB player for years!
Note the pearl block
inlays that replace the
unbound headstock has a lesser back-angle, “I’m really savvy with that pickup,” he
Kenai’s standard Tier 3 it still looks very old-school with that classy continues. “When I got my first Knaggs, it
dot inlays

Knaggs Doug RappopoRt Kenai first play
4. The Influence bridge

came with a much lower-output ’59. My through classic rock, hard rock through is an original Knaggs
intention was to immediately swap it for heavy metal. The ’78, as a low-medium design combining a
my usual JB, but I was enjoying it so much output pickup, lets me comfortably cover Gotoh tune-o-matic
bridge connected to
with the ’59: clarity, open sounding… all the all that on guitar. And it does a fantastic the proprietary anchor
usual benefits of lower-output pickups. So Van Halen! So if you can forget that it’s a block that “creates more
now I’m in love with PAF-type pickups. EVH pickup, you’ll just have a high-quality sustain and harmonics
The thing I liked about the ’78 was that it PAF with just a little more ‘poop’ on it. in different ranges”,
says Joe Knaggs
was basically a great PAF with a little more Very versatile.”
output. I had found that the lack of output
in the ’59, and other PAF-type pickups, to Feel & sounds
be a little too gentle – not pushing the amps There’s an elegant simplicity to this guitar
hard enough for me. My range as a player that belies the craft. The guitar disappears:
goes from straight-ahead blues all the way its good weight, the full rounded depth of

first play Knaggs Doug RappopoRt Kenai
5. Unlike the flat, 6. Part of the Knaggs’

uncontoured back of a timeless, classic design
Les Paul, the Kenai has ethos, this three-a-side
a rib-cage cut and edge head looks like it could
chamfering that aims to have been designed
create a “wrap-around in the 50s – or before.
feel”, reckons Joe Unlike the body and
Knaggs neck, it’s unbound and
ebony faced
Knaggs Doug
5 6 RappopoRt Kenai
PRICE: £3,890 (inc case)
ORIGIN: USA
TYPE: Single-cutaway, carved top,
solidbody electric
BODY: 1-piece mahogany with
carved Tier 3 maple top
NECK: Mahogany, DR Custom
profile, glued-in
SCALE LENGTH: 629mm (24.75”)
NUT/WIDTH: Bone/43.2mm
FINGERBOARD: Macassar ebony,
pearl block inlays, 305mm (12”) radius
FRETS: 22, medium jumbo
HARDWARE: Knaggs Influence
bridge base/tailpiece with Gotoh
tune-o-matic bridge; Grover
Rotomatic w/ ‘kidney’ buttons
STRING SPACING, BRIDGE: 51mm
ELECTRICS: Seymour Duncan
SH-2N Jazz (neck), Custom Shop ’78
(bridge), 3-way toggle pickup
selector switch, individual pickup
the neck, the classic, relatively small fret crunch, rolling the volume back also volumes, master tone and kill switch
wire, the resonance, a full, luscious acoustic summons up plenty of single-cut greats: WEIGHT (kg/lb): 3.87/8.5
ring and sustain, the switch and control cleaner Peter Green through Mick Ronson’s OPTIONS: The base price is £3,495;
placement… It feels like a guitar you’ve Spiders-era edgy rhythm and plenty more the bound fingerboard adds £395.
played all your life, a road-buddy that’s besides. It’s a guitar that allows you to Other options: dual volume/tone
never let you down. suggest styles, not the other way around. controls, gold hardware, rosewood
Warming up our test rig with our ’57 Like we said, it feels and sounds like a guitar ’board, Tier 1 top, quilt top (£POA)
Les Paul Junior, we’re reminded of the we’ve had for years. The truth is, with time RANGE OPTIONS: The Kenai, in
Kenai’s heritage, not least its big rounded and playing, it’ll only get better. three ascending levels from Tier 3
neck profile, although the DR slightly to Tier 1, starts around £2,695
expands it (and it’s fractionally bigger in Verdict LEFT-HANDERS: No
the higher positions than an older Knaggs We’re constantly criticised for writing FINISHES: Vintage ’Burst
we have with its ’59 profile). Whatever, it about elitist high-end instruments, and (as reviewed), large range of colours
feels like a big neck and like the sounds it while sometimes it is very difficult to (see website) – satin nitrocellulose
helps to produce… well, ‘meaty’ springs justify an instrument’s cost, that’s not
to mind. Continuing with a 2017 Les Paul the case here. Elsewhere in this issue we World Guitars
Standard, we’re bang up to date in terms of look at lower-cost single-cuts that are 01453 824306
single-cut tone, but plug in the Knaggs and perfectly valid, yet none of those capture https://worldguitars.co.uk
we’re treated to a single-cut voice that’s the muscular power of this one on full tilt.
hugely organic, more muscular with a Kill switch aside (and that’s optional), there
clarity combined with a thumpingly huge- are no bells or whistles: its calling card is
sounding, resonant midrange grind and fat
low-end. It simply sounds huge. Did we say
that already?
the vast experience of its maker, married
with intelligent twists such as the body’s
geometry, that unique bridge design, its
9
But it’s far from a one-trick pony. Pull top-drawer materials all presented – by PROS Top-drawer design and build;
back the volumes and the Jazz creates a design – in this workingman’s blue collar muscular single-cut tonality and
surprisingly rootsy Americana voice that – vibe. No, it’s not cheap, but bundle all of workingman’s vibe
mixed with the ’78 – is springy, expressive the above into the equation and not only
and almost single coil-like. While it excels would we strongly suggest you try one, CONS The non-LP looks won’t
at Doug’s signature AC/DC/Van Halen we’d simply say, start saving. appeal to everyone

first play Chapman ML1 Pro TradiTionaL & ML2 Pro Modern

Video demo http://bit.ly/guitaristextra
f i r st p l ay
ChaPman mL1 Pro

TradiTionaL
£869
WHAT IS IT? Modern bolt-on with

numerous high-end tweaks
ChaPman mL2 Pro

modern
£1,049
WHAT IS IT? Neck-through

single-cut with liquid playability
Crowd
Pleasers
Conceived by YouTube star Rob Chapman with
input from his online community, the new 2017
range boasts impressive modern spec at tidy prices
Words Dave Burrluck Photography Neil Godwin
T
here’s a strong and welcome whiff
of people power when it comes to
Chapman guitars. Brand founder, Rob
(aka the Monkey Lord), isn’t a dusty tonewood
tappin’ guitar maker; he’s a guitar-toting
internet celebrity-cum-entrepreneur who’s
gone from creating a smattering of electrics
in 2009 to a full-blown range of some 29 new
models. “The culmination of 18 months worth
of feedback, comments, chats and meetings
with the guitar-playing public,” says Chapman
Guitars’ MD, Matt Hornby. The guitars are
now available in over 20 countries worldwide.
The range is split into three tiers – Standard,
Pro and Signature. We selected a duo of Pro
models that start with classic benchmarks then
give them a modernist makeover. The ML1 Pro
Traditional, in this ‘naked’ ultra-thin natural
satin finish, is about as raw as it gets. The light
‘swamp’ ash body (35mm deep at the rim with
a maximum depth of 45.6mm) has a typical
thick, wavy-grained figure that is smooth to the
touch but you can certainly feel the grain. The
smoother satin back of the maple neck feels
equally as good – this whole thing feels like a
custom shop construct, not a product from the
Korean World Music factory that builds for
numerous brands, including PRS (SE range)

The ML1 has just about everything

going for it: weight, acoustic
resonance and positive playability
and certain Guild Newark St models. There’s 1. The reverse headstock

a PRS-ish aspect to the top carve with a flatter here will have a subtle
effect on the bending
centre than many, its thinner horns adding to feel of the strings, not
the modernist vibe. The edge radius is tight, the actual string tension
but we have a good rib-cage cut adding to the
sculptural feel, while smaller details such as
the recessed back covers and washers for the
four neck screws continue the classy vibe.
The reversed and pointed-tipped Tele-style
headstock boasts Hipshot rear-locking tuners.
The two-post vibrato is unnamed but features
a sharply machined brass block with deep-
drilled string anchor holes and brass saddles
with what appears to be a slightly textured
plating. Simplistic, stripped-down quality
applies to the electrics, too: a trio of Chapman
Venus Witch single coils (with Alnico 5 rod
magnets), direct mounted to the body (with
height adjustment), master volume and tone,
and the ubiquitous S-style five-way pickup
selector with the output passing to a side-
mounted socket securely fitted to its oval metal
plate. Schaller-style strap locks are standard.
Equally obvious in terms of its original
inspiration, the ML2 Pro Modern nonetheless
impresses with a sharp, if not sharper

Video demo http://bit.ly/guitaristextra Chapman ML1 Pro TradiTionaL & ML2 Pro Modern first play
2 3
build. Based on a maple through-neck with a little further than most from the strings and 2. The ML1 Pro is
mahogany wings and nicely violin-like dished need firmer support underneath to raise them. equipped with a
good-quality two-post
centre-jointed maple top, it’s thinner than vibrato with push-fit,
a Les Paul with a similar depth to the ML1 Feel & Sounds tension adjustable
(around 36mm at the rim with a max depth With such sharp, clean presentation, there’s a arm, deep-drilled brass
of 45mm). It comes with a more substantial danger that – like many modern instruments block and saddles
weight, but not off the scale at 8.4lbs. There’s – these could feel rather sterile. They really 3. Stainless steel frets
a slight PRS-like scoop in the treble cavity and don’t. The ML1 has just about everything going are fitted on both these
a sharp-pointed horn – both enhancing its for it: a light weight, nice snappy acoustic Pro Series Chapmans –
they’ll last longer than
modernism – and again a custom shop vibe is resonance, shallow flattened C profile neck standard frets
suggested with the matt jet black ebony ’board (around 20.6mm at the 1st fret, 21.7mm at the
and 24 stainless-steel frets. With the almost 12th) and hugely positive playability. Despite
faded blue colouration of the maple top and two string trees and that reverse headstock,
muted black hardware, it all ties in smartly. tuning stability from the vibrato is really good:
Less so perhaps the rather foreshortened up-bend is limited to around one tone on the
headstock with a brown striped ebony facing G string; down is virtually to slack.
– it doesn’t tie in colour-wise and its square top Like the ML1, the ML2 ships with 0.009s,
looks uncharacteristically unimaginative. which feel slightly floppy; we’d go up a gauge
Powering here is from a pair of black-coiled here. But the supplied slinky setup is hard to
Stentorian humbuckers, again using Alnico 5 criticise, especially if you want a fast drive.
magnets and mounted directly to the body The neck profile is pretty similar and virtually
without mounting rings. The cavities are very untapered (around 20.5mm at the 1st fret,
cleanly cut, but in combination with the raked 20.7mm at the 12th). All the controls fall easily
back neck pitch, the bridge pickup does sit under your hand – they look a little cramped,
rather high – its baseplate is virtually in line but in use are intuitive and fast, while the Tele-
with the face of the body. Both pickups are set style knurled knobs are very grippable, not

4. Rarely used on
solidbodies outside
4 5 of the modern-rock
‘shred’ world, and
found throughout
the Chapman range,
a through-neck like
this potentially adds
a smooth sustain and,
some believe, brightness
and attack. The body
‘wings’ under the maple
top are mahogany
5. Another ‘Marmite’
feature, a volute
strengthens the
weakest, thinnest point
of the neck, especially
when there is a cavity
to adjust the two-way
truss rod, as here
6. Rather un-single-
cut-like, the controls
nonetheless fall right
under your picking
hand. Here, we have
two volumes and a
master tone with
pull-switch to split both
humbuckers, voicing the
inner single coils
With its hot bridge pickup,

the ML2 quite is a ride for driving
a cranked Vox or Marshall
least for pulling up the tone switch to voice the

pickups’ split coils. It’s these tuned-in features
that make these models seem more like artist-
designed guitars, which in reality they are.
Irrespective of the design tweaks, plugged in,
the ML1 is a ‘Strat’ through and through. And
if you prefer yours on the brighter side, dry,
crisp and resonant, then you’ve hit pay dirt.
While many of us might wrestle with a big ol’
50s-style neck, heavy strings and big actions,
this is the antithesis – it’s a fast player with
a sensible ’board radius that doesn’t fret out
and the neck feels as comfortable for thumb-
around as it does with thumb-behind. It almost
has an active ‘edge’ to the crisp highs, which
can easily be tamed by the master tone: it’s
springy and funky, does a great Edge or equally
Nile Rodgers studio-Strat. If you asked players
what they don’t like about a Strat, this might
well be the answer. It would make a superb
platform for a pair of hot PAFs, too.
The ML2 drops right into the modern-rock
single-cut slot. Yes, it’s thinner than a more
classic LP-style – both in size and sound
– but with the hot bridge pickup selected,
it’s quite a ride for driving a cranked Vox or
Marshall, with a couple of boost pedals for
good measure. These pickup heights are a little
low, but we’re not sure it matters. Likewise,
the splits (which voice both inner single coils

Video demo http://bit.ly/guitaristextra Chapman ML1 Pro TradiTionaL & ML2 Pro Modern first play
ChaPman ML1 Pro ChaPman ML2 Pro

TradiTionaL Modern
PRICE: £869 (inc case) PRICE: £1,049 (inc case)
ORIGIN: Korea ORIGIN: Korea
TYPE: Offset double-cutaway TYPE: Single-cutaway, solidbody
solidbody electric electric
BODY: Swamp ash, carved top with BODY: Carved maple top,
natural edge mahogany wings
NECK: Maple, bolt-on NECK: Maple (3-piece quarter-sawn)
SCALE LENGTH: 648mm (25.5”) through neck
NUT: Graph Tech Tusq/42.25mm SCALE LENGTH: 635mm (25”)
FINGERBOARD: Maple, 12th fret NUT/WIDTH: Graph Tech Black Tusq
black Infinity inlay, 250mm XL/43.6mm
(9.84”) radius FINGERBOARD: Ebony, pearl bars
FRETS: 22, jumbo stainless steel and 12th fret pearl Infinity inlay,
6 HARDWARE: Chapman 2-Point 305mm (12”) radius
Tremolo with Brass Block with Brass FRETS: 24, jumbo stainless steel
Saddles, Hipshot Grip-Lock Open- HARDWARE: Chapman tune-o-matic
of the ’buckers) hardly add woody ‘Strat’ – back tuners – chrome-plated with stud tailpiece, Hipshot Grip-Lock
they’re altogether more pristine – and dialling STRING SPACING, BRIDGE: 53mm Open tuners – black-plated
in a few Helix LT presets with some dense ELECTRICS: 3x Chapman Witch STRING SPACING, BRIDGE: 51mm
modulation and reverb, the ML2 really sings in single coils, 5-position lever pickup ELECTRICS: 2x Chapman Stentorian
a contemporary fashion. A modern single-cut selector switch, master volume and humbuckers, 3-way toggle pickup
that is an effortless player but with a big kick. tone controls selector switch, individual volumes
WEIGHT (kg/lb): 3.3/7.26 and master tone (w/ pull/push
Verdict OPTIONS: None coil-split switch)
Helped by direct-to-retailer pricing, both RANGE OPTIONS: The ML1 Pro WEIGHT (kg/lb): 3.83/8.4
guitars offer a spec that’s hard to beat at these Modern (£969) features dual OPTIONS: None
prices – and you get good cases, too. The ML1 humbuckers, hardtail bridge and RANGE OPTIONS: The Standard
Traditional is very nicely put together: a crisply through-neck. The Standard series series ML2 Modern costs £449
voiced modern Strat-alike (though far from ML1 Traditional retails at £429 LEFT-HANDERS: No
a clone) that’s light, lively and resonant. It’s a LEFT-HANDERS: No FINISHES: Dusk (as reviewed),
slinky player with obvious potential for any FINISHES: Natural (as reviewed), Fireburst – satin finish
modders, although it’s ready to funk and rock White Dove – satin finish
straight from that case. The ML2 takes the
single-cut platform but – in a more ergonomic Chapman Guitars
size – adds a through-neck, different but very 01273 251993
viable control positions, and creates a lighter www.chapmanguitars.co.uk
but nicely hot single-cut voice. Neither shoot
for vintage voicing, but the ML2 does suggest
9 8
a thinner, brighter Les Paul Deluxe style,
and both are directly aimed at effects-savvy
players who are after a fast playing platform
with plenty of pro-spec features that won’t
break the bank. Yes, the pickup mounting on PROS Build, weight, playability PROS Build and playability; modern
the ML2 could do with a little more thought and modern voicing hot ’n’ light single-cut sounds
(or simply conventional pickup rings), but it
doesn’t ruin the fun. Really good guitars. CONS Not the ‘woodiest’ Strat-alike CONS The pickup mounting needs
we’ve ever heard some attention

first play Supro 1685RT NepTuNe ReveRb 2x12 combo

Video demo http://bit.ly/guitaristextra
f i r st p l ay
Supro 1685rT NepTuNe

reverb 2x12 combo
£1,499
WHAT IS IT? 2x12 all-valve

combo, developed from a request
by SIR, with authentic 1960s
styling and tone
Neptune
rising
Supro goes big on size, 60s styling and vintage
sounds with its latest combo release
Words Nick Guppy Photography Neil Godwin
S
upro is one of the world’s oldest
musical instrument brands, so it’s
been good to see them revived and
back on the shelves again with an ever-
expanding range of original and classic
designs. The latest model to be released is
the 1685RT Neptune Reverb, a 2x12 combo
with reverb and tremolo, decked out in
Supro’s 1964 reissue vinyl. This amp was
developed by Supro in partnership with
SIR (Studio Instrument Rentals), the USA’s
largest backline rental company, and is
apparently a response to artist requests for
a 2x12 Supro with reverb, as an alternative
to Fender’s Twin and Vox’s AC30.
The 1685RT is a substantial amp, with a
wide-body cabinet housing two of Supro’s
British-voiced BD12 drivers, which were
developed for the award-winning Black
Magick amplifier. Despite the Neptune’s
size and weight, there’s just one single carry
handle on the top: it’s a high-quality leather
affair, but that doesn’t make the amp any
lighter – 25kg is a lot of weight to swing
on one hand and playing a guitar with an
arm or wrist injury is no fun. In fairness
to Supro, for pro backline rental use you’d
expect the Neptune to be carted around in

first play Supro 1685RT NepTuNe ReveRb 2x12 combo
1. The Neptune’s vintage- a flight case with wheels by road crew, where equipped Les Paul Standard. The Neptune
inspired circuit has the lack of carry handles would be irrelevant. has no preamp gain control, so most of the
controls for volume,
treble and bass. No Inside the smart blue cabinet is a robust amp’s overdrive effects come from turning
master volume means tray chassis containing Supro’s typically high- it up. At lower volume settings, the Neptune
you have to turn it up for quality printed circuit boards, which hold produces fat ‘blackface’-inspired cleans with
natural overdrive sounds
most components, including the valve bases. lots of headroom. The tone controls interact
2. Note the classic Supro Component quality is good, with metal film smoothly and it’s easy to dial in any guitar;
badge and mid-1960s resistors to keep hiss levels down and neat, adding a little more treble for humbuckers is
Supro styling, with silver tidy wiring. The Neptune uses a pair of 6973 all that’s needed to retain a nice even balance.
sparkle grille cloth and
blue rhino hide Tolex output valves, a type more commonly found in Turn the volume up and things get
vintage jukeboxes but also used on some early progressively raunchier, with Supro’s
3. The built-in valve Supros and considered to be a key part of the characteristic edgy overdrive balanced by a
tremolo effect has
controls for speed and
vintage Supro sound. The 6973 looks similar to punchy midrange producing a great classic
depth, with plenty of an EL84, but isn’t interchangeable because the rock lead/rhythm crunch. With no preamp
range to cover most pin connections are different. gain, the amount of drive you can get depends
players’ needs Also inside the cabinet is a long pan reverb on how high up you turn the volume control
spring, which is valve powered, along with the and what kind of guitar you use. Low-output
amp’s vintage tremolo effect. The Neptune’s single coils have a nice crunchy clarity;
control panel is very easy to navigate; it’s a however, you need a good beefy humbucker
straightforward single-channel affair with a if you want to drive the Neptune hard.
single input jack and knobs for volume, treble, Alternatively, any decent stompbox will do
bass, reverb level, tremolo speed and depth. the trick. Indeed, the Neptune’s medium-gain
preamp makes it an ideal partner for effects,
Feel & Sounds although everything has to go in through the
We tried out the Neptune with a variety of guitar input as there’s no built-in effects loop.
single-coil and humbucking guitars, including The Neptune’s built-in tremolo sounds
a Strat with Duncan Alnico Pros and a PAF- excellent, with a good range of speed and

Video demo http://bit.ly/guitaristextra Supro 1685RT NepTuNe ReveRb 2x12 combo first play
Supro 1685RT
NepTuNe ReveRb
2x12 combo
PRICE: £1,499
ORIGIN: USA
TYPE: All-valve preamp and power
amp, with solid-state rectifier
OUTPUT: 25W RMS
VALVES: 4x 12AX7, 1x 12AT7, 2x 6973
DIMENSIONS: 710 (w) x 460 (h) x
265mm (d)
WEIGHT (kg/lb): 25/55
CABINET: Birch ply
CHANNELS: 1
CONTROLS: Volume, bass and
treble, reverb level, tremolo speed
and depth
FOOTSWITCH: 2-button footswitch
selects reverb/tremolo effect
ADDITIONAL FEATURES: None
OPTIONS: None
RANGE OPTIONS: None
JHS
01132 865 381
www.suprousa.com
4. A pair of Supro’s depth control. The reverb on this sample was

custom-made BD12 less inspiring, with a pronounced cyclical
loudspeakers feature
here, which are fitted fluctuation that makes it sound more like a
to several other models short delay with the feedback control turned
in the Supro range up, rather than a splashy cavern. We’ve heard
including the award-
winning Black Magick
better spring reverbs from Supro in the past,
so maybe this was a one-off. Both reverb and
tremolo can be foot-switched if needed.
verdict
Big 2x12 combos aren’t for everyone: they’re
often unwieldy, heavy brutes that demand an
extra degree of dedication if you’re responsible
for your own carriage. However, the second
loudspeaker adds considerable depth and
Turn the volume projection, and on a big stage where it can be
up and things wound up properly, the Neptune’s relatively
low output is ideally suited for players who
get progressively
8
like to drive everything from their guitar. As
raunchier, with USA-assembled amps go, the price is about
right, but bear in mind the Neptune is all about
Supro’s characteristic vintage appeal, with no modern features such
as effects loops or built-in attenuators. Aimed PROS Classic Supro edgy drive
edgy overdrive more towards the professional end of the sounds when wound up; a good live
balanced by a market, the Neptune is a credible alternative
to other vintage-type 2x12s and is definitely
amp for the bigger stage
punchy midrange worth checking out. CONS The reverb on this sample
isn’t the best we’ve heard; not the
most portable combo out there

wishlist Bushmills X Lowden F-50 Limited Edition
theWishlist
Dream gear to beg, borrow and steal for…
Bushmills X lowDen
F-50 Limited edition £8,500
ContaCt George Lowden Guitars Ltd Phone 02844 619161 Web www.lowdenguitars.com
Words David Mead Photography Joseph Branston
1. The sinker redwood 4. The Bushmills logo,

used for the Lowden’s made from super-
top has a distinct bell- fragrant whiskey barrel 4 5
like tap tone and the oak, is inlaid at the
timber’s stiffness gives guitar’s 12th fret
the guitar a little more
volume, too 5. A cooper’s hammer
and luthier’s chisel
2. Bog oak, used here are crossed on the
for the Lowden’s back instrument’s back to
and sides, has been signify the collaboration
reclaimed from peat between the two crafts
bogs and is estimated at
being 5,000 years old 6. Barrel oak is used once
again for the bevel at
3. Each guitar in this the guitar’s lower bout
extremely limited edition in order to significantly
comes with a specially enhance player comfort
designed label
6

Bushmills X Lowden F-50 Limited Edition wishlist
T
he connection between music-
making and alcohol is, of course, well
established, but the folk at Lowden
Guitars and Bushmills Irish Whiskey are
celebrating it in a way that might not have
crossed your mind. The association here is
not only the craft and experience that goes
into making both whiskey and fine acoustic
guitars, but wood as well – oak, to be precise
– and, even more to the point, the oak from
which whiskey barrels are made.
There’s a further link, too, in that most of the
wood used in the manufacture of the guitar
has, at some point, been immersed in liquid.
Take, for instance, the soundboard timber:
sinker redwood has been submerged in river
water and reclaimed, dried out and used as a
premium tonewood. Its life under water has
given it a unique look, with dark stripes amid
the grain of the russet-coloured wood.
“Typically,” George Lowden tells us,
“when you dry it out it’s quite stiff and has
that bell-like tap tone… It has that ability to
vibrate a bit more quickly because it’s stiffer.
Also, because it’s lightweight, the degree of
excursion when you pluck the string gives it
a little bit of extra volume as well.”
So much for the top wood, but the
submarine story doesn’t end there because
the back and sides are made from bog oak –
wood that has been engulfed in peat bogs for
5,000 years meaning the trees that yielded
their timber for these guitars were growing
before the pyramids were built. To top it off,
the wood from the whiskey barrels has been
used for the back inlay, soundbox bevel,
bindings, rosette and the 12th fret inlay.
We were curious as to whether the barrel
wood – known as ‘staves’ – still carries the
fragrance of the liquid it once embraced?
“The aromas coming from those staves was
amazing,” George confirms. “It takes a long
time for it to leave the staves completely.
I remember when I was bringing the individual
parts of the barrel back to the workshop, I had
the back of the car filled up and if I had been
stopped by the police I think they would have
impounded the car, never mind me!”

The Lineup
Don’t miss it! Must-see guitar goings-on for the coming weeks…
The Darkness – is the sound in my head is a 100-watt Plexi

with no power break or attenuation through
four 4x12 Greenbacks. That’s it and there’s
Pinewood Smile, 6 October nothing on this planet that beats that sound
for me. But it’s so loud I can’t have it facing
towards me; I now have to have it facing off
W
ith a new album, followed by a tour The stuff that he’s singing on the album is towards the monitor guy! And it’s amazing
and even a film, The Darkness are generally lyrics he’s written. I’d say he and how versatile that amp is, just with you
coming back in a big way. We talk I were the nucleus of the music. We would volume control.”
to Dan Hawkins about why the band is in the work on riffs and musical arrangements,
best place it’s ever been now, and his love of get them up to a point while the other guys There’s a Darkness documentary coming
the Marshall Super Lead… were doing the flowery stuff and working next year, too…
out where it’s going to go. He and I worked “Yes, with this guy Simon Emmett, who is
It seems like the band is in a really good incredibly close together on all the music. an award-winning photographer who’s shot
place, but what’s it been like for The So I guess we are branching out because everyone from Jay Z to supermodels. He also
Darkness since the reunion in 2011? there’s a new writer in the band.” made this film about his local football club
“When we got back together, the manager, Barnet FC called Underhill. What he does
label and band thought it was going to be Is it still Gibson/Marshall for you? is kind of like human interest stories and
a ‘Ta da!’ kind of moment and it kind of “I’ve been on this sonic experiment for focuses on underdogs and the commitment
misfired a bit. But I was talking to someone God knows how many years now. I started of fans, things like that. Then he asked if he
today and he was comparing our last three working with this guitar technician called Ian could do one on us. We were very flattered.
albums to the three albums Aerosmith Norfolk, and it’s terrible, really – he eggs me “That was about three years ago and the
did when they got back together. And it’s on because he’s an into experimenting with cameras haven’t really stopped rolling since.
interesting how they mapped ours with this amps as I am, just trying to find that perfect It’s one almighty editing job. That’s the main
latest one being our Pump. And I love Pump, tone. We’ve gone through mountains of element of the crowdfunding campaign, to
so I was happy with that comparison. gear in the last couple of years, but the one find someone worth their salt to go through
“It’s cool, but we’ve had so many different thing I keep coming back to is the Marshall the footage and pull the film together. We’re
issues – things not related to the actual Super Lead. I made a real breakthrough in hoping it will be finished next year.” [Read
music and the element of the Darkness that that department recently. I tried boutique more about the Indiegogo campaign at
is about fun. More legal stuff, management versions and hand-wired versions or http://bit.ly/darknessfilm.]
issues and drummers departing… just so Marshalls and modded Marshalls. I tried
much crap. We’re now in a place where we’ve every different make you can imagine
finally got through it all. All the people we trying to find the tone in my head, and Pinewood Smile will be released on 6 October via Cooking
didn’t want to work with have gone forever, the unequivocal thing I’ve found is that – Vinyl. The Darkness start their tour in Ireland this October
all of the lawyers who were chasing us for unfortunately for me and the first five rows before UK dates in November www.thedarknesslive.com
this that and God knows what have all been
paid and have gone away. We’ve got the
ultimate line-up and we all get on so well.
Plus we’ve got an awesome management
team and a great label.”
Apart from the Pump comparison, how

would you describe your new album,
Pinewood Smile?
“It’s like for the last [two] albums we’ve been
looking back at what we liked about what
we’ve done in the past and trying to take
elements of that and redo it. But this album
is so not like that. Let’s do whatever, let’s
have a laugh and not worry about whether
we’re going to have any hits. I think you can
hear that. The album doesn’t really care!”
It sounds like your chemistry is The Darkness’s powerful

new dynamic is being
branching out as a band on this record…
captured on film for a
“Definitely, and Rufus [Taylor, drums] is forthcoming documentary
heavily involved in the writing on this record.

The Lineup
What’s
Goin’ On
All the best guitar events happening
over the next few weeks, in one place
Sonny Landreth
24 September
229 The Venue, London
Anyone who needs a reminder as to why the Louisiana bluesman

is regarded as one of the most expressive players to ever wield
a slide would do well to pick up the recently released Recorded
Live In Lafayette. And while that showcases a master at work, it’s
refreshing to hear that Landreth had to work hard on his chops just
like the rest of us.
“God, my slide playing was awful at the start,” he reveals. “I don’t
know if it was harder on me, my family or my dog. I knew I was
getting a little better when he quit barking! The thing with slide is
that it’s a totally different approach than traditional guitar, and the
fact that you gotta control the pitch, that’s the beauty and the beast
of it. When you start improving, it’s quite the elation.”
Be sure to catch Sonny later in the month for his only UK date on
the European leg of the tour.
www.sonnylandreth.com
Andy James & The Kentucky Richard Thompson The War On Drugs
Angel Vivaldi HeadHunters 9 to 30 October 9 to 15 November
21 to 27 September 2 to 10 October Various UK venues Glasgow, Manchester, London,
Various UK venues Various UK venues Portsmouth
This solo acoustic tour comes in
Andy James is one of the UK’s Although both well established and support of two new albums. The first, With forthcoming album, A Deeper
foremost metal lead players, releasing well travelled in the US, the Southern Acoustic Classics II, is a follow-up to Understanding, set to further raise
solo instrumental albums and also rockers HeadHunters only toured the 2014’s Acoustic Classics and again the band’s profile, the guitar playing
working with the bands Sacred UK for the first time last year at the features acoustic versions of classic and vision of Adam Granduciel will
Mother Tongue and, more recently, behest of guitarist Richard Young’s Thompson songs. Acoustic Rarities reach more ears – a thoughtful
Wearing Scars. Now he’s teaming son John Fred, who is the drummer in will surface later this year with a focus musician melding the 80s euphoria of
up with US counterpart Vivaldi to Black Stone Cherry. Richard’s brother on his more obscure material . Springsteen and The Waterboys with
showcase their solo work. Fred also features on drums. www.richardthompson-music.com leftfield tonal approaches.
www.facebook.com/ www.kentuckyheadhunters.net www.thewarondrugs.net
AndyJamesOfficial Manchester
Andy McKee Folk Festival Robbie Mackintosh
Nick Cave & 2 to 15 October 19 to 22 October & Michael Messer
The Bad Seeds Various UK and Ireland venues Various Manchester venues 17 to 19 November
24 to 30 September Pocklington Arts Centre, York
Various UK arenas Andy impressed fellow acoustic This new festival will be focused
virtuoso Tommy Emmanuel so much on venues in the city centre and This blues and roots weekend is an
Cave’s return to touring follows the when he saw him play, he was the first promises “the spirit of a festival in opportunity for guitarists to learn
PhotograPhy by travisgauthier
aftermath of his son’s tragic death signing to Tommy’s CGP Sounds label a field – minus the chemical toilets from two of the finest blues players in
in 2015. “We’ve been in a strange (we recommend their live version of and the mud”. The bill showcases very the UK. Mackintosh has toured with
place,” says Cave. “I’m coming out and Toto’s Africa on YouTube). Andy will be good reasons to be excited about the McCartney and Mayer, while Messer is
blinking into the light… It’s good to be hitting our shores in October and also UK folk scene with John Smith and a virtuoso slide player with a 30-year
playing again.” playing dates in Ireland. Ben Walker among the players. career dedicated to the blues.
www.nickcave.com www.andymckee.com www.manchesterfolkfestival.org.uk www.pocklingtonartscentre.co.uk

The Lineup
The Players
News and happenings from the world of your favourite guitarists
Ed O’Brien’s EOB
Sustainer Strat will be
launched in November
Yngwie Malmsteen:
“It’s important for
me to feel like I’m
doing my own thing”
G
uitarist was saddened to Yngwie Malmsteen has told
hear that Ray Phiri – the us that he believes, with the
South African guitarist exception of himself and the late
who backed Paul Simon on the Allan Holdsworth, guitar heroes
hugely successful Graceland all have one thing in common:
and The Rhythm Of The Saints “It’s a strange thing to say,
albums – passed away from lung because I’ve been on the road
cancer in Nelspruit on 12 July, with Steve Vai and all those guys
aged 70. As well as his influential a few times. We’ve spent a lot of
work alongside Simon, Phiri time together and I’ve gotten to
founded Stimela, an Afro-fusion know how they think… and they all
band actively involved in opposing have that in common – they love
apartheid throughout the 80s. other guitar players.” In contrast,
Joe Bonamassa and Glenn while Holdsworth drew from the
Hughes will reunite on stage for saxophone for inspiration, the
Strat Spirit two UK gigs with Black Country

Communion in January next year,
following the release of fourth
Swedish shredder looked to the
classical violin of 19th century
firebrand Paganini. “You may run
Fender to launch Radiohead album, BCCIV, on 22 September.
They’ll play Hughes’ home turf
the risk of having slightly less
identity,” he says of only looking to
man’s signature model of Wolverhampton’s Civic Hall guitar for influence, “but I wouldn’t
on 2 January and London’s want to knock anyone for that.
D
espite being a band with three guitarists for 32 years, no Hammersmith Apollo on 4 January. I understand how it feels. When
member of Radiohead has ever hinted at a signature model This looks like your only chance to I was a kid I wanted to be like
until now. Keen-eyed fans may have already spotted it at the catch the band for a while. Blackmore because he was cool,
band’s Glastonbury headline appearance in June, but now it’s official: Ahead of a rumoured reunion but it’s important for me to feel like
Fender has partnered with the band’s Ed O’Brien to create the EOB of Smashing Pumpkins’ classic I’m doing my own thing.”
Sustainer Stratocaster (£949) for a November launch and some line-up, mainman Billy Corgan’s Specials bassist Horace Panter
tantalising sonic potential in its pickup configuration. first acoustic signature model was was recently reunited with the
As its name suggests, the most notable feature here is the announced at the recent summer Fender Precision bass he used on
Fernandes Sustainer pickup in the neck position. Providing NAMM show. Corgan co-designed the band’s 1981 single, Ghost Town.
near-infinite sustain, it’s further manipulated with three modes the limited-edition jumbo with After trading it in later in 1989, he
(Fundamental, Harmonic-Only and Blend) plus an intensity control. Yamaha, based on its LJ16R model. regretted his decision, but as luck
The other two pickup positions are further into classic territory – a Features include his ‘zero’ logo on would have it, he stumbled upon
Seymour Duncan JB Jr in the bridge and Texas Special single coil in the headstock, Gotoh vintage- the bass again for sale at Coventry
the middle position. style tuners, passive under-saddle music shop Noise Works. “I bought
The Mexican-made Stratocaster also features a 10/56 V neck pickup, brass bridge pins and ARE it back for considerably more than
profile, 21 narrow-jumbo frets and the subtle signature touch of a treatment to its spruce top. 100 of I paid for it!” notes Horace. “To say
neck plate engraved with a custom ‘Flower Of Life’ emblem. the limited run of 400 will ship in a that I am pleased to have it back is
Keep an eye on future issues for more from Ed O’Brien. Brown Sunburst finish. something of an understatement.”
www.fender.com

obituary Bill Collings
BILL
COLLINGS 1948 – 2017
William Ralph ‘Bill’ Collings, founder of Collings Guitars of Austin, Texas,
died on 14 July 2017, aged 68, after a short but severe battle with cancer.
He was much loved and highly respected both within the guitar industry
and by a loyal group of customers worldwide
B
ill Collings’ story began in August in Collings’ ostensibly chaotic ‘office’, while luthiers and guitar companies should they ask
1948 in Midland, Michigan, born body shells, chassis and works-in-progress for insight or advice. And ask they did.
into a family of engineers. His filled an adjacent building. In the same way he We asked Doug and Tina Chandler, close
parents encouraged him towards acquired a machine to beat his own car body friends of Collings and European distributors,
medicine, but after a stint as a pre-med panels, he insisted on installing machinery to for their thoughts: “Tina and I loved Bill from
student in Cleveland, Ohio, he took a job at a make and press the company’s own laminate the moment we first met him. He was a loyal
machine shop, fascinated by the process of timbers for certain thinline electric guitars, friend and a totally trusted business partner.
manufacturing. He moved to Houston, Texas starting with the I-35LC in 2011. His directness often took people by surprise;
in the mid-70s where his interest in “figuring Collings’ no-compromise doggedness with he did not suffer fools and frauds gladly, but if
out how to make stuff” became increasingly new developments often resulted in extended he liked you he never left you in any doubt how
focused on acoustic instrument building, trial and error: what most big companies call he felt about you. After the Brexit vote and
albeit in his spare time. Arriving in Austin in ’79, R&D, yet what most guitar companies would following the new CITES ruling, Bill was the
his building and repair work began to attract laugh out of the boardroom at inception given first one to check in on my mobile, concerned
the attention of local musicians, notably its open-ended ‘it-will-be-done-when-it’s- about the impact on us and our business.
Lyle Lovett who remains a Collings Guitars done’ nature. In his view, perfection didn’t “There’s no denying Bill was a tough guy to
endorsee, friend and ambassador to this day. exist, but “you can get real close”. It might work with – his own standards were beyond
By the late 1980s, Collings had hired his have been a manifold or simple piece of trim those of most of his peers, and you had to up
first employees following a more concerted for one of his hot-rods, or a two-year project of your game just to stay in the same room, but
effort to “take guitar building seriously” and, reimagining the humble guitar case. He was humour was never far away. Bill’s was the kind
in his words, “quit partying”. His intention both fortunate and canny in having a highly of intrusive slapstick that often forced you to
was to build a business as his wife, Ann, was dedicated, skilled and loyal team to help bring laugh at your own shortcomings, and be the
expecting their daughter, Sara. The word the ideas to fruition. By any measure, that better for it. We will miss him dearly, and we
spread and the reputation grew as Collings team remains the bridge between one-off won’t see his like again.”
Guitars began turning up in the hands of artisan and perhaps the most peer-respected Bill Collings leaves a peerless legacy in
players including Paul Simon, Joni Mitchell acoustic guitar manufacturer of all. Yet guitar making. Unequivocally, he and his
and Keith Richards. Fast forward to 2017, despite the achievements and consistent team have raised the bar for quality and
the artist roster is extensive and there are development, Bill Collings was uneasy with consistency in high-end acoustic and electric
currently close to 100 staff at a purpose- personal accolades or recognition, no matter instrument manufacturing. He was no genius
built manufacturing facility in Austin, Texas, how frequently they poured in. mad scientist, rather his was an instinctive
meticulously balancing precision engineering When meeting him for the first time, there synergy of art and engineering; the yin and
and hand-crafting across some 3,000 was a sense of reverence, though closer yang so often separated in modern guitar
acoustic and electric instruments per year. friends and colleagues would point more building. They were one and the same to him.
In 2014 a sister brand was added, Waterloo readily to the irrepressible and irreverent As Lyle Lovett eloquently says: “His energy,
Guitars, focusing on Depression-era flat-tops. practical joker – eye-rolling schoolboy antics, his drive – you feel that and you hear that in
His interests weren’t solely in guitars. He perhaps as the levity against the innate focus. every guitar that comes out of the shop. The
was a keen sailor. In fact, he met his first In conversation, it would take a minute sound is full of energy, just like Bill Collings.”
employee – master luthier Bruce VanWart – to engage, whereupon his directness and Collings is survived by wife, Ann, daughter,
over a conversation to build a boat. He was humour were both arresting and disarming. Sara, and two sisters, Martha and Laura.
also never far from car or a motorcycle, or at He’d freely give you everything he knew in a
least part of one. There were various engine way only he could phrase it, punctuated with For more on Bill Collings and Collings
components and panels bustling for space loud laugh. He gave just as freely to other Guitars, head to www.collingsguitars.com

ViVe La Vibrato!
You want to add a vibrato to your Gibson? are you sure? Okay, if you must.
Dave burrluck considers your options…
B
ack in the day, even pretty big pros
had way fewer guitars in their
collections than many of today’s
weekend warriors. And weren’t things
simple, eh? You turned up to your gig with
your guitar, amp and maybe a bag of leads
and a couple of effects. Today, we all obsess.
‘Hmm, do I need a Strat for this gig, a Tele
for that song, or do I need my ES-335, or
maybe an ES-175, for those jazzier numbers
in the set?’ Before you know it, you’ve got
three or more guitars on the back seat of the
car – all need to be working and probably
restrung, too – and you’re off to a gig that
pays peanuts and the ‘stage’ is the corner of Les Trem II:
a pub, bar… or field. easy to fit and
reversible, too
In an effort to reduce hardware, many of
us look to instruments that ‘have it all’. Now,
while some of that compromise is easily we’ve tested the Duesenberg Les Trem changed because the string length from the
achieved with humbucking guitars that II on the Rivolta Combinata Deluxe saddle to anchor is the same. Plus, the pivot
have single-coil sounds and so on, if you’re Trem and it works, looks pretty retro is still firmly fixed to the body, even though
using a Les Paul or an ES-style semi or and, we understand, is easy to fit and it lies in the tailpiece bar. It’s smooth in
hollowbody and you need a bit of shimmer completely reversible. We ordered one action (if not quite as smooth as a Bigsby),
from a vibrato, it’s another guitar. Or is it? from Duesenberg’s online store (a couple but it has a similar minimal shimmery
For some, of course, adding a vibrato to of months ago for €73) and it arrived in two range. However, we can’t help thinking our
one of those hardtail benchmarks is akin to days. The Rivolta also uses a roller-saddle previously jazzy hollowbody now sounds
putting jam, not salt, on your porridge (or tune-o-matic, not offered by Duesenberg. more Grestch-y. It does raise the height of
vice-versa!), but if it can be done in a totally No problem, ours – the Roller Nash-4 – the combined bridge assembly, however,
reversible fashion, why the heck not? came from Axerus (£27). and the arm has to be secured with an Allen
So what are our choices? Pauls (and We’d aimed to fit the new parts to a key. No biggie, but make sure you carry
semis) need a Bigsby, but that leaves us new Guild Bluesbird, but they ended one in its case (and maybe another in your
with a couple of holes from the unused up on a Guild Newark St Starfire II. The leads bag). It does mean that you can quite
stud tailpiece, and while Vibramate’s mod is easy. Strings off, mount the new precisely set the arm’s position, though.
V7-LP Model Mounting Kit (around £76) tune-o-matic. Take the stud tailpiece All in all, the Les Trem II is a firm Mod
means you don’t need to drill any holes, off, mount the new Les Trem II with its Squad recommendation.
it’s only designed for a USA Bigsby B7 supplied studs (it includes both metric and
Original Vibrato (from around £161), not imperial). Restring. Check string height and
the cheaper, and perfectly good, licensed intonation. Done. DuesenBerg Les
B70. The Stetsbar Stop Tail style (from Aesthetics are a personal choice, but Trem II (pLus roLLer
£169) is another choice; likewise Schaller’s on a large thinline semi the Les Trem II’s nash-4 BrIDge)
‘Tremolo Les Paul’ (from around £135), retro vibe suits the style, certainly in lieu
which mounts on the tune-o-matic bridge of a Bigsby. Unlike that classy behemoth, Cost: Currently €87 (Roller bridge adds £27)
posts. For serious whammy fans, Floyd however, the Les Trem seems lighter Skill level: If you can change your strings and do
Rose’s FRX Top Mount Tremolo (£289 in in weight and doesn’t affect the guitar’s basic setup adjustments, you can fit them
nickel/chrome; £329 in black) is another. balance in any noticeable way. Once the www.duesenberg.de
The cheapest option is Duesenberg’s Les new strings were stretched, tuning was
Trem II (currently from €87 on their site, very stable used in Bigsby style, too. Oh, and Pros: Easy to install, cool looking, totally
though we’ve seen it cheaper elsewhere). restringing is a doddle, unlike a Bigsby. reversible; no noticeable tonal change
The Stetsbar is popular and it certainly More fundamentally, does it affect Cons: Don’t lose the Allen key to adjust the arm;
adds its own look – which may or may not the sound? Well, anything you mod will sits quite high off the body
9
suit. Schaller’s version is an unknown, but affect the sound – marginally or more
Schaller’s reputation is built on hardware fundamentally – but the effect is marginal
that works, so you should consider it. But here and the string ‘feel’ isn’t noticeably
That lot should keep you busy till next issue.

In the meantime, if you have any modding questions or suggestions, drop us a line at: guitarist@futurenet.com

Opinion
SeSSion diary
Going Live
a da m session guitarist Adam Goldsmith’s micro pedalboard
Goldsmith proves its worth in a live tV finale
F
or those of you who read last month’s and a 1972 SG. For overdrives I used a Strymon boost from the Archer. Obviously, when you’re
column (pay attention at the back), Sunset, a J Rockett Archer, and for tape delays playing to a click you need to be precise about
you may remember that I was testing a Strymon El Capistan. Any ‘Strat’ parts were tempo, so the very easy-to-use ‘bpm’ function
out a new bit of gear, the Boss MS-3, which played my colleague Paul Dunne (from the on the MS-3 delays was essential. I’d set up
I’d had integrated into a custom-made Strictly Come Dancing band) on guitar two. some other commonly used generic sounds
pedalboard. If you missed its arrival in the We had two days of rehearsal, so I had plenty as patches. Firstly, a totally clean sound with
market, it’s essentially a three-loop switching of time to program patches. This feature the El Capistan loop on so I can add delay
system to integrate pedals, with all of the really came into its own when we played a U2 easily if required. Next a classic, glassy Strat
Boss effects onboard. This gives you the song (I Still Haven’t Found What I’m Looking patch with a touch of chorus, digital delay and
ability to either use it to switch effects on and For) very close to a medley centred around plate reverb (I Believe I Can Fly), followed by
off like a stompbox or – and this is the way I’ve the them of ‘Believing’, which involved The a patch with the Archer and the El Capistan
been using it – to set presets, each involving Monkees’ I’m A Believer , R Kelly’s I Believe I loops engaged (I’m A Believer), and lastly the
multiple effects while only hitting one switch Can Fly and The Darkness’s I Believe In A Thing Sunset Loop engaged for the big Marshall
and avoiding the tap dance. Called Love in a drop D tuning. sound for I Believe In A Thing Called Love.
The BBC series Pitch Battle, for which I’ve I used the SG for all of this, and, through past As I didn’t have to worry about too much
been in the house band, reached its climax experience on The Voice, I’d already decided tap dancing, the 12 bars’ rest I had to tune to
with the live final last weekend as I write this, to program a patch entitled ‘Edge’ for any U2 drop D on the SG were more than enough.
and that was the first big test for my new setup. songs. This involves the use of two delays (a I’d heartily recommend the Boss unit and I’ll
A good proportion of my work over the last 20 dotted eighth note and a quarter-note with be using it for quite a while, although maybe a
or so years – starting with the first Pop Idol the effect level set fairly high) and a touch of version with more loops might be nice?
series – has been in TV house bands. There are
essentially two methods of recording these
kind of shows: the pre-record and the live
show. I imagine the fundamental difference is
pretty obvious, but the reality of recording the
two formats is very different. Pre-records can
be pretty tedious to make, with a lot of listening
to the warm-up guy’s ‘jokes’ and re-taking
things for camera shots, possible mistakes in
delivery by presenters, scenery problems, etc,
etc. All of this usually results in plenty of time
to faff around with guitar and effects changes,
and an hour’s show can easily take up to five
hours to record. You also have the luxury of
knowing that should any significant gear or
musical failure occur, you can probably either
do it again or fix it ‘in the mix’ before broadcast.
The live show, on the other hand, is much
more exciting and fun in my opinion, because
no matter what happens, you have to get it
right – if you don’t, potentially several million
people will see and hear you get it wrong. It’s
one of my favourite ways of working as it’s
quite a buzz. All the departments (sound, Adam with his Pitch Battle crew
props, cameras, presenters, and so on) are (L-R): drummer Neil Wilkinson,
running round on full alert and concentrating musical director Chris Egan,
bassist Phil Mulford, fixer Paul
hard for the full hour or so.
Spong, engineer Trystan Francis
So with this in mind, I used the MS-3 and a and guitarist Paul Dunne
combination of my trusty Gibsons, a 1967 335

Opinion
The TWang!
Small Is Beautiful
elliott steely Dan legend and sessioneer Elliott Randall talks
r a n Da ll us through his favourite miniature amp setups
W
hen I was a young aspiring player, listening experience – great for practice! But and dozens more – not to mention the effects
I always dreamed of owning a it did a lot more: by plugging the main stereo pedals choices built in, as well. Oh yes, the app
great guitar amp setup. As time output into a console (or amp), you had a total has a built-in multi-track recorder, too.
progressed, I worked my way up the chain guitar rig. Perhaps not as many tonal options So with this little powerhouse, you can get to
of cool guitar amps, eventually favouring a as a full-blown amp, but its sound was uniquely the gig carrying your guitar, the iRig and iPad
hybrid ‘Frankenstein’ of four Fender Super its own, and included chorus, echo, clean and (or iPhone), plug into the console – or a larger
Reverb amps, with the insides modified to dirty sound options. And it could strap onto guitar amp; there’s an output jack for that,
give me 100 watts RMS. The tone was superb; your belt! too – and you’re good to go. I really can’t praise
the sheer amplitude was overwhelming. And it this new technology highly enough. Truly 21st
did some permanent damage to my hearing. The iRig century. Fewer chiropractor bills, too!
As the years rolled on, all kinds of new This is pretty tiny and weighs only a few So whether you are recording or performing,
creations surfaced – and within the realm ounces, but the DSP package is huge. the most important issues are your playing
of guitar amplification came some very Designed to be used with an iPhone, iPad or comfort and happiness with the sound being
interesting developments. Let’s talk about computers (Mac or Windows), it interfaces achieved, and the overall balance of the
three cool examples of miniaturisation in with IK Multimedia’s AmpliTube apps. The ensemble. Whether you are using a couple
the guitar amplifier species. Here are three users’ choices of amplifier simulators are of hundred watts and multiple cabinets, or
examples of what I’m talkin’ about. more than impressive. You can dial up a 60s any of the above examples, these ‘desirables’
Bassman, a Roland JC-120, a Marshall stack remain the same.
The Pignose
This mini-amp made its first appearance at The tiny but mighty
the 1973 NAMM Show, and became an instant iRig lets you plug
‘must-have’. With its faux-leather covering, a in and enjoy some
killer tones
single control – for volume (in the shape of
a pig’s nose) – what you got was a five-watt
amp, and the only manipulation of tone could
be done by opening and closing the cabinet. It
was a hoot, but a viable piece of gear for many
who were looking for new and quirky sounds.
I really loved recording with mine, as did Joe
Walsh, Frank Zappa, Eric Clapton and Terry
Kath, among others.
I used to place my Pignose in a large wooden
cabinet, which exaggerated the low-end and
made a big difference to the overall sound. It
just felt… bigger and fatter and warmer! The
buskers always loved it, too – it can run on
batteries and has ample power/push with
which to make your statement – anywhere.
The Rockman
I remember bumping into Boston creator and
guitarist/inventor Tom Scholz at a NAMM
show several years later. He handed me a
package and said, ‘Let me know what you
think of this.’ The ‘this’ was one of the original
Rockman X100 units. It was basically a guitar
preamp/amp without the speaker(s). It had
two mini-stereo outputs and you could use it
with a set of headphones for a ‘personalised’

Opinion
Here I Go AGAIn
The Spirit Of Festivals
bernie Whatever the weather, you can’t beat the feeling of an
marsden outdoor festival, says Whitesnake legend Bernie Marsden
I
write this column after returning from stay and play another set on the Sunday erected in hammering rain after a two-hour
a very memorable weekend at the afternoon with my pals Hand Of Dimes as wait on the hill to the festival site. My hat
Steelhouse Festival in Ebbw Vale, South we had on Friday. By Sunday afternoon goes off to each and every one of them.
Wales. Friday night saw biblical weather the stage crew (who were magnificent Being in a band, whether opening the
conditions that almost resulted in health all weekend) had labelled the weekend bill or headlining it, means nothing without
and safety closing the stage down. Luckily, ‘BernieFest’ and the hashtag #BernieFest the crowd. The people are the festival, yet
this didn’t happen, and my acoustic set on soon appeared in my Twitter notifications! I was treated like a King on that mountain.
Saturday afternoon offered up some fleeting The crowd were astonishing. On all three Outdoor festivals are enjoyable for me for
sunshine, although it didn’t stick around days I witnessed the British rock audience different reasons. Sharing a cabin with the
for long – the heavens opened again after totally ignore the appalling rain and simply other artists is unusual but fun. We might
I finished my set. The deluge on the Welsh enjoy the music, but most of all, embrace be opposite each other across a muddy
mountain continued. the spirit of the festival with welcoming pathway, but we are all basically together
I was planning to drive home after the gig, arms. Mud, more mud, along with rain and and the backstage vibe is always very good.
but the promoter approached me backstage. then more rain sleeted against their faces Watching Biff Byford from Saxon wandering
Unfortunately, Alan Nimmo, a mate of mine, continually. The cold afternoon turned into a around with a pair of mud-crusted wellies
had lost his voice and so his band King King very cold night, and back to their tents they on is a sight you simply don’t see backstage
had to cancel. The promoter asked me to all went. Said tents were most definitely all at the O2 Arena!
Bernie at Donington’s
Monsters Of Rock in August
1981 where Whitesnake
played to a crowd of
80,000 festival goers
© Michael Putland /getty

Opinion
Festivals give me the chance to see a few
bands I would probably usually miss out on. Bernie was at “the equivalent
Monster Truck from Canada were very good, acoustic session of Clapton,
as were Toby Jepson’s new band Wayward Beck, Hendrix and Page” in the
company of Martin Carthy at
Sons. My point is that, despite the weather,
Stamford Arts Centre in 1999
festivals work. The combination of the artists
and the audience make the work of the
organisers totally worthwhile.
“A White Snake Of Limos”

I was reminded of the Donington Park
Monsters Of Rock festival I played with
Whitesnake in 1981. AC/DC, Whitesnake,
Blackfoot, Slade and Blue Oyster Cult on
the bill. I do have some strange memories
from the gig, though. Although AC/DC
were the headliners, we always felt that at
least half of the crowd that day, estimated
at 80,000 punters, were purely there to
see Whitesnake. I had one of the most
memorable gigs of my career that night.
Rumours abounded that the actual number
in attendance exceeded six figures that day.
I remember the playing and I remember
the anticipation as the Back In Black bell
started the AC/DC set. The excitement was
electric. One great memory I have, which still
makes me laugh to this day, is Whitesnake’s
entrance into the festival grounds. Each
of the us entered the site in our own white
limousine, and so the spectacle was a literal
white snake of limousines slowly entering
Donington Park for everyone to see. Over the
top much? Of course, but great fun.
What I still remember most to this
day, though, is Blue Oyster Cult’s antics
backstage. The promoters of the gig had
presented each individual member of each
band on the bill an engraved metal poster smashing their mementos to pieces outside John Renbourn and he introduced me to
© nicky J. SiMS/RedFeRnS
of the gig; it was a nice gesture. I reckon of their caravan. The thing is, only the rest of Bert Jansch. It was only then that I learned
Blue Oyster Cult had expected to be higher us musicians and crew saw them do it. We the legendary (and I do mean legendary)
up the bill, or had a bad gig. I don’t actually simply shrugged shoulders and walked away Davey Graham was going to be there as well.
know or care, but I remember them making mouthing comments. I remember Medlocke I witnessed the first meeting of Jansch and
a complete spectacle of themselves by apologising on behalf of the USA! Always Graham for a long time and even now I can
loved Rick from that day, folks. feel quite emotional about it. Out of those
As far as internal festivals go, I was people, only the great Martin Carthy is still
privileged to be at the Stamford Arts Centre with us. I made a good film and recording
· in 1999. I was there to film and record the with Larry Johnson, but I still shudder to
late Larry Johnson, a fine blues singer from think what I could have recorded that day in
Alabama and then New York. I had arranged Stamford. But I have the memory and I was
“I witnessed the British to meet Larry there with my good friend lucky enough to be in the right place at the
rock audience totally Michael Roach to make a live recording; we
both took our video cameras. What I didn’t
right time.
I’m playing some town festivals later this
ignore the appalling know was I was going to be at the equivalent year. I’ll be in Whitby, Clitheroe, Workington,
rain and embrace the acoustic session of Clapton, Beck, Hendrix
and Page! Also booked on the middle day of
Troon, Darlington, Carlisle and Newbury. The
location doesn’t matter. If the audiences are
spirit of the festival the festival were Martin Carthy, Bert Jansch, half as committed as the people I played to
with welcoming arms” John Renbourn and Davey Graham – a real
gem of a line-up if ever such a thing existed.
last weekend the shows will be great.
When I show up for festivals from now
bernIe mArsden I saw Martin Carthy’s soundcheck and I on in Portugal, Spain, the south of France,
asked him if I could record and film a little places where you know you can wear your
of it as a test for later. Martin was great and shorts and a t-shirt, I’ll think of the mud and
· said yes. He then informed me that the rain and the sheer spirit of those folks on the
other guys were going to be arriving during mountain at the Steelhouse Fest at the end
the afternoon. I later saw and chatted to of July 2017. See you next month.

The Lineup AUDIO http://bit.ly/guitaristextra
Substitute
This Issue: Stacked 5ths
We’re going systematic and theoretical this month. that might seem boring, but it can generate some
new avenues. We’re working with the interval of a 5th. You’ve encountered this if you’ve ever played
powerchords, as they’re simply 5ths... e5 is made up of e and b, root and 5th! What happens if we
take two 5th intervals (four notes total) and space them differently? What chords will we generate?
tHe answer is ‘a lot’, so we’ll just use the C major scale, giving a manageable number of 5ths (C-G, D-A, E-B, F-C, G-D, A-E). Taking pairs of these, systematically
varying the intervals in between, we get a palette of chords. For example, if you put D-A on top of F-C (whole tone interval between C and D), the resulting chord is a
major 6th (F6). We discounted a few results (major 3rd, tritone, minor 7th) as the results were too ambiguous or had duplicate notes, but there’s still plenty of good
stuff. As usual, play the ‘vanilla’ progression first, and then try the substitutes!
Here, the two 5ths are F-C and Here we’ve simply moved both Putting a minor 3rd interval WitH just a semitone between the
A-E. The interval between them 5ths down to the next notes in the between our two 5th intervals two 5th intervals (E-B, C-G), we
is a major 6th (C to A), and that C major scale (E-B and G-D), but (G-D and F-C) forms a 7sus4 chord. get a first-inversion Cmaj7 (strictly
combination of notes produces the structure of the scale means We’ve based all these chords Cmaj7/E). If you swapped the 5ths
a major 7th chord. that the internal interval is now a on the A string, but do try other round, you’d have the root-position
minor 6th, so we get a minor 7th fingerings or string groups. shape we used for Fmaj7 above.
chord. Incidentally, inverting these This shape also works as an Am9
5ths (E-B above G-D) would give a without a root.
G6 chord.

Barrie Cadogan
He’s played with Primal Scream and his own band Little Barrie –
but how will he handle the 10 questions we ask everyone?
1
What was your first guitar and was that I fell over on stage when I was
when did you get it? playing with Primal Scream. It was some
“My first ever guitar was just a cheap kind of radio event in Scotland and I bought
Spanish guitar, which I got for Christmas this pair of shoes that I thought were really
in 1989. I even remember the brand name: cool from this vintage clothes shop in
it was called Prince and it was 40 quid. My Newcastle while we were on tour, but they
sister’s still got it, I gave it to her. I think it were really old and the soles were quite
still has some of the same strings on from slippery – and I slipped over during a guitar
1989 as well!” solo. The rest of the band were absolutely
pissing themselves. It was funny, though.
2
Suppose the building’s burning I just had to carry on playing…”
down; what one guitar from your
8
collection would you save? What’s the closest you’ve come
“My Cherry Red Gibson 330, 1962. That’s to quitting music?
the guitar I’ve had for the longest… I mean, “I hope that I never quit music
I’ve got other guitars that mean a lot to ever, you know? I’ve felt like quitting the
me, but I’ve done a lot of stuff with it. That industry, but not quitting music. It’s very
guitar marks a change in the way I play, I hard for people – especially for young
think, and the way my style developed came people starting out – if they haven’t got
through that guitar, really. I don’t gig it as a lot of money behind them. Even trying
much as I used to, but I still use it a lot.” to survive as a full-time musician, if you
haven’t got anyone bankrolling you, it’s
3
What’s the oldest guitar you own? really hard. But if no-one booked me for a
“At the minute it’s probably my Les gig, I’d still play at home or something.”
Paul Custom, that’s the oldest one I’ve ·
9
got, I think – it’s a ’55. I’ve had it for about Are there any aspects of playing
guitar that would you like to be
four years. When I bought it, it was in a bit
of a state, it needed work and I had to get it
“Sometimes you’ve better at?
back to how it should have been. It had been got to go through “I’d like to be more original. Originality
messed with, basically; someone had put writing things that and have the ability to be able to really say
a humbucker in the bridge and I had to get something with it and make people feel it.
that taken out, filled in and a P-90 put in. It aren’t any good to To get across the feeling that you’re after –
had a nasty refret, so I had to do some work get to the things that I think that’s the most important thing.”
on it, but it’s a cool guitar.”
are interesting”
10
What advice would you give
4
When did you last practise and your younger self about the
guitar if you had the chance?
what did you play?
·
“I’ve been playing this morning, “Obviously you need to have quality control
actually. A friend of mine has lent me a in what you’re doing, but you need to not
guitar and it’s got flatwound strings on it; give yourself so much of a hard time, to the
6
it’s got a wound third on it and so it’s not as What are you doing five minutes point where you can’t even try anything,
bendy as light gauge strings, so I’ve been before you go on stage and five you know? You know how you can
messing around on that, playing R&B and minutes afterwards? sometimes talk yourself out of something,
jump blues things on it, just for fun. It’s an “Just pacing the room, waiting to go on, you wondering if it’s any good before you’ve
old Kay guitar and it sounds really good.” know? It’s that thing where you don’t know given it a chance – like, to complete a
what to do with yourself. But then, coming rough recording or something? I think that
5
When was the last time you off stage, the first thing is to ask each other sometimes you’ve got to go through writing
changed your own strings? what we thought of it, and sit down and things that aren’t any good to get to the
“I don’t do it very often; I don’t like collapse, look at each other to see what we things that are interesting.” [DM]
new strings that much. Well, I don’t like made of it and open a beer or something.”
them when they’re brown and awful, either!
7
I think I changed them on my white guitar What’s the worst thing that has Little Barrie’s latest album,
fairly recently – recent for me, anyway. But happened to you on stage? Death Express, is available
when strings are new they’re too shiny and “I think the funniest but most now via Non-Delux
sound a little too bright.” embarrassing thing that’s ever happened www.littlebarrie.com

Feedback
Your letters to the Guitarist editor. Drop us a line at guitarist@futurenet.com
Turning The TabLeS

Star Letter Hi Guitarist, love the magazine! While I was
reading your article on CITES, my wife was
ThaT’LL Teach You watching one of those antique programmes
on TV. My attention was got when the
I am a 15 year old who has been playing presenter said,‘Here’s a beautiful table
guitar for four years, starting on electric, made of Brazilian rosewood’. He went on
contrary to the accepted advice. At first I about it then said it was worth about £60!
was self-taught, reading online tabs and It made me think – could that be used to
chord charts. It was only at 13 that I began make fingerboards? You could probably get
to receive lessons through my school, five or six out of that tabletop! How would
where we learned chords and Beatles it work if a small guitar maker decided that
songs. After the first month, I noticed he was going to use some old table for
improvement and started to really dig the fingerboards? Keep up the good work!
Ibanez that had been collecting dust. Chris Wilkins, via email
Eventually, I discovered Guitarist. It was
a Jimi Hendrix issue, with an extra Fender Hi Chris, yes, on the face of it it’s
Custom Shop booklet (September 2016). rather maddening that so many pieces
For this mere apprentice of the axe, this of more-or-less neglected vintage
was pure gold dust. furniture are built out of the very stuff
Almost a year later, I still enjoy each we guitarists would give our eye teeth
issue as much as the last; it has been to have on a guitar! However, as recently
a huge boost to my drive in continuing as issue 420 we featured a PRS electric
with the guitar. This month’s issue was made from reclaimed timber and other
what sparked the question: do we really brands, including Fender, have made
benefit from lessons? In the extra booklet, special run instruments from bits of old
Gordon Giltrap described his journey in bridges and so on. While the way the
the acoustic guitar world, admitting he is self-taught: a mind-blowing thought. As I thought timber was originally cut and used can
‘Well, couldn’t I have taught myself those chords and those scales and those Beatles tunes?’, I limit your options when trying to give it
started to question the merits of my early lessons, appreciating the value of the feedback and a second life as a guitar, these can often
the help I received, but being sceptical of the outcome, eventually arriving at the conclusion, be worked around.
‘Yes, but the guidance of a teacher is invaluable!’ I wonder what you folks at Guitarist think? Look out for a very special feature
Harry Emmott, via email in Guitarist on just this very subject in
the near future, where we try our hand
Great to hear you enjoy the mag so much, Harry. To some degree, we’re all a bit ‘self- at reclaiming tonewood ourselves with
taught’, as we tend to pick things up like magpies as we go along. But, yes, formal some help (well, alright a lot of help)
tuition can be a very positive thing, as senior tuition editor, Jason Sidwell, explains: from the brilliant British luthier Patrick
“If you can find a really good guitar teacher, one-to-one lessons provide the fastest James Eggle.
way to develop. The tutor can provide you with effective approaches to all manner
of technique problems, educate you in aspects of theory and often broaden your A PRS CE 24
musical appreciation, too. By contrast, self-taught guitarists can suffer ‘forbidden Semi-Hollow
Reclaimed
zones’: areas outside their comfort zone. A good tutor will help you develop a full
Limited
spectrum of skills that interlock and support each other, leaving no glaring gaps in
your overall playing ability. A pretty good combination for any student of guitar!”
Each issue’s Star Letter wins a Korg Pitchblack Custom

– a smart pedal tuner with ultra-high +/-0.1 precision for
sharp visibility and pinpoint accuracy right at your feet.
www.korg.co.uk

Feedback
ON DISPLAY
with our chosen
Premium
Dealers
MUSIC MATTER
Preston
0330 380 1135
GEAR 4 MUSIC
More and more makers York
are becoming savvy to the
benefits of sustainable 0843 155 0800
tonewoods, such as the
paulownia/spruce body
on his month’s cover star GUITAR GUITAR
Epsom
01372 730578
a biT rich(LiTe) Service WiThouT a SmiLe
I was reading your feature on rosewood and Seeing the guitars of the Man guitarists in GUITAR GUITAR
it got me thinking about my all-original 1980 issue 423 reminded me of the wonder and Glasgow
Gibson ‘The Paul’ Firebrand Deluxe. My friend awe of the sight of my first Gibson in the flesh. 0141 552 9896
just got a 2014 Gibson Custom Shop Les I was 15 back in 1976, living in the seaside
Paul that no longer comes with an ebony
fretboard – it has a Richlite ’board instead.
town of Porthcawl. In school, someone
said there was a Gibson [belonging to Deke
ANDERTONS
So where does that put the Firebrand? It was Leonard] displayed in the shop window of Guildford
made as a budget guitar, but the Paul had a the guitar shop in Bridgend, so we planned a 01483 456777
walnut body and ebony ’board and the Deluxe trip for that Saturday. I was genuinely excited
was all-mahogany with an ebony ’board and on that bus trip, all my pocket money spent
had T-Top pickups. I just think it’s crazy that a on a return ticket, none spare for any of the
£3,500 Gibson Custom no longer comes with delights waiting for us in the guitar shop.
an ebony ’board, but a guitar that cost $529 As promised, the guitar was in the window,
new a few years ago had one as standard. the Gibson logo, proudly adorning the
John Mcclung, via email headstock, and the custom truss rod cover
bearing the name ‘Deke Leonard’ – very flash.
It’s tempting to say that the world of We eventually made our way into the hallowed AIR10
1980, in which it was possible to use ground only to be greeted with,‘If you ain’t 13Kg
mahogany and ebony on a budget guitar, buying – fuck off.’ Sadly a common attitude
led directly to the world of 2017 that back then. We forlornly returned to our shop-
needs to use Richlite! Guitars aren’t front position where, shortly after, the same
really the main offenders here – the ‘gentleman’ appeared and told us to ‘piss off’.
furniture industry, for example, has used The dickheads that worked in music
far more of those dwindling commodities. stores aren’t entirely gone now, but I hope
Nonetheless, while hardwood trees take schoolboys are treated better these days – at
hundreds of years to grow, chairs, tables least the sight of a real Gibson isn’t such a rare
(and, yes, guitars) take considerably less thing, though in Porthcawl, well, who knows? AIR12 AIR15
time to make and sell. A more sustainable Peter Williams, via email 17Kg 21Kg
approach to sourcing tonewoods and
greater acceptance of alternatives by It’s amazing how needlessly rude shop
consumers seems to be essential today. owners could be to casual browsers back
If Richlite is a step too far, there are in the day. Happily, it’s not an attitude
plenty of alternative tonewoods coming that could really survive in today’s ultra-
to light at the moment that have good competitive marketplace. In our local
potential in terms of sustainability small-town music shop, the chap behind
while retaining great tone. Check out the counter used to jealously guard a
the paulownia/spruce body of the Brad Fender Heavy Metal Tele. It was always in
Paisley Tele on p98, for example. Likewise, his hands (oddly, he mostly played jazz
AIR15s Sub AIR18s Sub
Taylor is to switch to the rosewood-like on it), though theoretically it was for sale. 32Kg 38Kg
copafera as a replacement in the back Would certainly have had that ‘played in’
and sides of its lower-end guitars. feel if anyone had dared to buy it…

Music
The month’s best guitar music, plus top players in the studio
Kenny Wayne
Shepherd Band
Lay It On Down
Mascot Records 8
Bluesman scores with
album number eight
If you’ve checked out his feature
and masterclass in this issue (from p70), you’ll
know that Kenny Wayne Shepherd is no slouch
when it comes to blues playing.“The point of this
album," he says, talking about Lay It On Down,
“was that I wanted to put a heavy emphasis on
the songs themselves… I wanted each song to
really stand on its own with the songwriting, the
PhotograPhy by Neil ZloZower
words.” The results speak for themselves because

it’s the songs taking centre stage here, with
the fiery guitar playing ever present but never
overwhelming the 10 tracks (plus one acoustic
‘bonus track') on offer. It’s a stylistic smorgasbord,
too; contrast the country vibe in Hard Lesson
Learned to the acoustic-driven anthem Louisiana
Rain or the riff-laden rock of Ride Of Your Life and
Black Country you’ll see that Shepherd is no one-trick pony but

a master of every genre he touches. [DM]
Communion Standout track: She’s $$$

For fans of: Jonny Lang,The Rides
BCC IV (Mascot records) 8 Mike Stern

Trip
Heads Up 8
Bonamassa and co stretch out on Bonamassa’s majestic
relight their fire Titanic tale in The Last Song For My Triumph out of adversity
This is a band that goes Resting Place, not a moment is wasted. for fusion’s finest
against the modern grain. Joe could have easily held back this It didn’t make headline news at the
They rarely play live but album’s Song Of Yesterday for his own time, but last year fusion player Mike Stern
have the innate chemistry to capture solo work, and it’s testament to how these experienced a serious fall near his New York
studio lightning in a bottle. It’s true that musicians value BCC that they elevate apartment, resulting in him breaking both arms,
Joe Bonamassa’s classic rock band with it to a higher place – notably Hughes’ leaving him with an injury that requires him to use
Glenn Hughes, Jason Bonham and Derek underrated role as a harmony vocalist. glue in order for him to hold a guitar pick, applied
Sherinian put their creative instincts first, The echoes of Zeppelin are undeniable to the fingers of a special glove that he now has
almost to a frustrating degree for those who – the groove of Sway, the behind-the-beat to wear when he plays.“I’m very grateful to be
want to see that dynamic on stage more. In momentum of Love Remains recalling The able to play and make this recording under these
that sense, they’re a victim of the demands Wanton Song. The Crow even cheekily challenging circumstances,” Mike says in the liner
of Bonamassa’s continued solo success, nods to Tom Morello’s Bulls On Parade riff. notes that accompany the CD.“I don’t know what
and the band’s continuation looked in doubt Next to them – and if The Cove threatens I would do if I couldn’t play music.”
after 2012’s Afterglow. to drag a little beside them – it’s positively The mind boggles at the thought of such an
But BCC no doubt benefits from lifted by the spirit of Bonamassa’s impairment, but luckily Mike is still able to play
its members’ ever-widening creative Kossoff-force vibrato in the solo break. and, as we can see here, record stunning new
experience. Bonamassa and former Deep The fire and passion that defines this music.The album’s title is evidently some form
Purple man Hughes form the genesis of band is still very much in evidence here on of wry comment on the situation, but the music
the songwriting, and the instinctive results a record that feels more focused than its within its boundaries is stellar quality modern
cooked up in their usual tight window predecessor. Long may it burn. [DH] jazz: check out the beautiful ballad Amelia for
of recording time find them focused on a rare combination of great composition and
songcraft rather than any extended ego Standout track: The Last Song For My magnificent guitar work. [DM]
flexing. Hughes’ taut and catchy Over My Resting Place Standout track: Amelia
Head underlines this, but even when they For fans of: Led Zeppelin, Bad Company For fans of: Pat Metheny,John Scofield
48 Guitarist sEPtEMBEr 2017

© gary browN
Martin Simpson
Trails & Tribulations
Topic 9
A musical travelogue
from prime folkster
Martin Simpson has released 20 solo
albums during his remarkable 40-year career and
Trails & Tribulations is yet another example of his
craft and finesse as both songwriter and acoustic
guitarist.The central theme of the album is travel:
“I travel, I learn songs, I write and try to get better
at the skills required for me to do my job…” he says.
Kicking off with the folk staple Blues Run The Game,
the album unfolds with a mix of traditional songs
peppered with originals, such as the excellently
evocative Maps. Martin exchanges his PRS acoustics
for banjo and electric guitars during the standard CLASS ACT
edition’s 13 tracks – and there are another six if you Albums worth
choose the deluxe version. [DM] cranking all the
Standout track: Bones And Feathers way up
For fans of: The Full English, Richard Thompson
Mr Big
Chris Rea Defying Gravity
Road Songs For Lovers 9
8
Frontiers
BMG
Rifftastic return of the
Intoxicating Strat-fuelled road trip fearsome foursome
It figures that a self-confessed motor Back in 1989, at the time of the band’s
enthusiast should put together an eponymous debut album, Mr Big were the dream
album of road songs – after all, Chris Rea’s biggest heavy rock supergroup for many.The presence of
hit to date was Road To Hell (Pt 2) back in 89. But Paul Gilbert on guitar and Billy Sheehan on bass
the focus on Road Songs For Lovers couldn’t be alone meant some virtuosic stringmanship even
any more different to that particular rant about before the talents of Pat Torpey on drums and Eric
the frustrations inspired by motorway driving. On Martin were dialled in to complete the quartet. Now,
this album, the central theme is the romance of 26 years later and with a wealth of studio and live RYAN JARMAN
the open road – and, indeed, romance itself – and albums behind them, the band returns with all the THE CRIBS
that signature gravelly baritone and soulful, silky humour and death-defying unison riffs from Messrs
ROTOSOUND PLAYER
smooth slide guitar have never sounded better.This Gilbert and Sheehan we know and love.The good
November sees Chris take to the road for a short run news is that the band will be bringing their brand of
of gigs in major cities throughout the UK. [DM] rollercoaster rock to the UK this autumn! [DM]
Standout track: The Road Ahead Standout track: Mean To Me
For fans of: Dire Straits,JJ Cale For fans of: Van Halen, Extreme
Backtracking
The iconic A- and B-sides remastered
The Doors
The Singles (Rhino) 9
This collection of all 20 original versions of the band’s US singles with
their B-sides tells an interesting story in its own right.All the songs
here have been mastered from the original analogue single masters
by the band’s long-time engineer, Bruce Botnick.There’s no doubt the
Lizard King’s legion were a great A-sides band from the very beginning
– testified by Light My Fire and Break On Through’s confident swagger. STRINGS PLAYED
But digging deeper into this 44-track collection reveals a collection for
newcomers with added depth; for example, Who Scared You’s omission BY LEGENDS
from The Soft Parade to B-side status (one of only a few non-album songs here) is still puzzling –
capturing some mesmerising dynamics between Krieger and Manzarek. [RL] SINCE 1958
Standout track: Riders On The Storm
For fans of: The Beatles, Grateful Dead
WWW.ROTOSOUND.COM
Music
Steve Earle
Why clean socks are an
essential on your rider and our
best spinal tap moment yet!
Words
David Mead
What was your first gig? – I can’t remember what they are right now. you sound like a record out front, because
“It depends on what you call my first gig… One’s set on a slap, one’s set on a longer he doesn’t have to deal with feedback or
If we’re talking about ‘the road’, it would be delay – I mean, a really long delay, a kinda instruments bleeding into one another.”
probably a place in Athens, Georgia and they weird, psychedelic sort of delay – and then
fired us. We were supposed to play three there’s a tuner. What non-musical item couldn’t you
nights and they fired us because they were “I use one Peavey Classic 50 amplifier and do without on tour?
used to show bands – y’know, really slick a 4x10 cabinet and the one you’re seeing “Probably the satellite dish on the bus
hard-rock bands. Then they didn’t pay us, and on stage is not the one I’m actually playing during baseball season. I’m a big baseball
when I tried to get the money I got a pistol in through; that is the spare, facing forwards. fan: I follow two sports, baseball and English
my face. And so it didn’t go all that well! I’d My amp is facing backwards because it keeps Premier League football, and we get more
played gigs before that, sort of hitchhiked it off the vocal mic that way. matches in the States than you guys do on TV
around Texas, but getting out with a band and “I use a James Trussart Steelcaster with a here now and so it’s pretty easy to follow.”
trying to tour that would be the first, and it humbucker in the front position and a Bigsby.
was a bummer.” Acoustics are two Martin M-size guitars; in What’s your best tip for getting the
North America I carry a M-21 Steve Earle, but audience on your side?
What’s on your rider? when I have to fly I’ve got an M-36 with an “Just staying connected with them. You have
“Not very much. A lot of fizzy water, coffee for M-38 as a backup.” to act like you care that they’re there – you
the bus… and socks. Socks for the crew and have to remember who the boss is, and it’s
for me; it’s just one of those things – the less What’s your best tip for getting a good them, it’s not you. I’ll do anything to get an
socks there are on the bus, the better.” live sound? audience on my side, just about, beyond
“A great house mixer for one thing! And compromising my politics. The way to deal
Describe your current stage rig… I’ve got one. If you’re dealing with electric with a heckler is to turn the audience against
“It’s pretty straightforward. One line going instruments, guitar players have to learn that them, which is pretty easy to do and I’ve got
to a switcher that switches between the their instrument doesn’t sound, out in the pretty good at that. I learned that from Doc
acoustic and the electric side; the acoustic audience, anything like it does when they’re Watson; he was always really good at dealing
side goes through two Fishman Auras, standing in front of the amp – and I suggest with drunks.”
one for my acoustic guitar and one for my you either baffle your amps or turn them
mandolin family instruments. Switch to the around backwards. I think ear monitors are What’s the best venue you’ve played
other side and it goes through my electric rig, great for live sound. It’s not just about what in and why?
which goes through a pedalboard in which you hear. Take monitors out of the equation; “Probably Massey Hall in Toronto, all things
I’ve got a Fulltone overdrive and two delays you’re freeing your house mixer up to make considered. I’ve got a lot of favourite ones. I

·
“I did this mandolin

solo and my guys made
a Stonehenge, lowered
it from the rafters and
our Irish merch guy
came out and danced
around it”
·
OPPOSITE “You have miss playing Shepherd’s Bush Empire a lot, but
to remember who the my fans got to the point here where they were
boss is and it’s the
audience, not you”
old enough that we needed to play the Royal
Festival Hall – we needed seats!”
www.worldguitars.co.uk
What’s the worst journey that you’ve
had either to or from a gig?
“Riding back from Dallas after playing
Lollapalooza the year that Metallica were on
it and getting things thrown at us through the
whole set by Texas Metallica fans. I’d never
had that happen before and I was just pretty
bummed. We were going straight back to
Nashville after the show and it was just a long,
depressing ride.”
What’s your favourite live album?

“The Allman Brothers’ At Fillmore East. It was
the record that finally broke them because
you didn’t really get The Allman Brothers if you
didn’t see them live, and I did get to see them
once when Duane was still alive… A real close
second would be an album called Deliverin’ by
Poco, which was the same thing; all the songs
by them that we know and love come from that
live album.”
What’s the nearest you’ve come to a

Spinal Tap moment on tour?
“There was a sort of intentional Spinal Tap
moment. We were playing Rock City in
Nottingham on the last night of a UK tour and
I did this long mandolin solo to open this piece
called Dominick Street. I was way out on the
apron and my guys made a teeny tiny 12-inch-
tall Stonehenge, lowered it from the rafters and
our little Irish merch guy came out and danced
around it. Everybody was laughing and I didn’t
know why. I didn’t think it was all that funny at
the time…” [DM]
The Old Magistrates Court, High Street,
Steve Earle’s latest album,
Stonehouse, Gloucestershire. GL10 2NA
So You Wannabe An Outlaw, is
available now via Warner Bros
www.steveearle.com Telephone +44 (0) 1453824306
Email info@worldguitars.co.uk
a d s t o c
h e k
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e a
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d s
h e a d s
t o c k
|
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a
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d s o c
h e a | k
AdriAn
Belew
After working the wires for Frank Zappa, David Bowie and King Crimson, the
Twang Bar King moves on to a supergroup with ex-Police Stewart Copeland
Words David Mead
A
drian Belew’s latest project is a 2 Don’t Be Afraid 4 Think In Colour
band called Gizmodrome that To Make A Noise!
features Level 42’s Mark King “[Bowie] always had guitar players who
on bass, The Police’s Stewart “I’d be playing a guitar solo in a bar band could tear up a good solo, and there were
Copeland on drums and Vittorio Cosma somewhere and at the top of the solo I’d put places in his music you could do that, but
on keyboards. “It’s Stewart’s material he’s in some seagulls or I’d throw in a car horn at I felt – in both his band and Talking Heads –
been writing for 10 years with Vittorio, the the end – and that seemed to get a chuckle that ‘colourist’ was what I would call myself.
keyboard player,” he tells us. “What they and everyone liked that. No-one else They often put things on their records they
need from me is just to pepper it with lots seemed to be trying to go in that direction, couldn’t replicate live and would turn to
of sounds and some smashing good guitar so I was going to try and see what I could me and say, ‘What can you do with this?
solos. Stewart is the storyteller and then do, sound-wise, with the guitar – and that Can you come up with something?’ and
Mark and I blend our voices together and became the beginning of having something that’s what I would do a lot of times: fill in
give you a perfectly sung chorus!” different. It was just about the time that the gaps where something was supposed
Famous for the ability to conjure up the I got to be on the world stage; the world to be happening but it wasn’t. With Talking
sounds of anything from wild animals to of effects began to come alive and I loved Heads, I just knew exactly what to play. I
heavy machinery on his guitar, Adrian all that stuff. I couldn’t wait for the next felt so comfortable with their music, I could
has developed unique talents that have Fuzz-Tone to arrive!” have gone on and on adding things. I could
seen him work with some of music’s most have kept going for ever!”
demanding artists. 3 A Wise Animal Adapts
To The Landscape 5 Straighten Up & Fly Right
1 First, Try To Find
A Unique Voice “David Bowie really was great to me; he “When I first joined King Crimson I was
mainly just wanted me to go crazy on guitar, still playing the Strat. Later on, I switched to
“I think I began to develop something in whereas in Frank [Zappa]’s band, the idea Mustangs and then back to Strats, and then
the middle 70s, after I had kind of mastered was play his music the way he’d written finally, in 2000s when we had our last round
the sound of a lot of different types of styles. it consistently and correctly every night. of King Crimson, then I started adopting
I could play like Chet Atkins, I could play You’d get a little spotlight where you get the Parker Fly – pretty much after the band
like some blues players, I could play like to do your own thing, but mostly you were was over. The reason I switched was that it’s
Hendrix or Jeff Beck – a little bit. I had trying to play his music the way he wanted just a superior instrument for me. It stays
image by massimiliano Cardelli
dabbled in a lot of different things. I knew it, and that was good for me. I needed that perfectly in tune. It feels perfect for me.
I could mimic all those styles, but what sort of discipline in my life. I play better. It’s smoother, faster. It’s light.
was there left for me? Every time I would “But by the time I got to David’s band I It resonates perfectly. I mean, there are a
play a stock lick, I would try to substitute was ready to fly away on my own and that’s hundred reasons I can tell you… I think it’s
something for it, so quickly I found the one what he gave me the wings to do. And then the best guitar for me and I also think it’s the
thing I liked to do that no-one else seemed that went straight in to Talking Heads – most revolutionary guitar that’s been made
to be doing was making sounds.” they needed the same thing.” since Strats and Les Pauls.”

Adrian with keyboard
player Vittorio Cosma, his
bandmate in supergroup
Gizmodrome, alongside
Level 42’s Mark King on
bass and The Police’s
Stewart Copeland on drums
image by lorenza daverio

6 It Can Be Tough 8 It’s Not Just Gear, 10 Sit Back & Enjoy The View
On The Front Line It’s A Mobile Zoo!
“The time I was most in awe of what was
“Back in the day, when I was doing all “My setup now weighs 70lbs. It’s got a happening? I’d say standing on stage at
the stuff with Crimson, one of my prime handle on the top: you roll it through the Madison Square Garden with David Bowie.
concerns was I was the front man; I had to airport just like you do one of your clothing It was pretty eye-opening. First of all, it’s a
kind of keep things rolling. I couldn’t stand bags, put it on the belt and you’re done. The very large place – 18,000 people, I think. It’s
around between songs and yet the Strat more gear you have, the more problems very historic. The front two rows as far as
would be badly out of tune by the end of you’re going to have travelling around the you can see from the front of the stage are all
almost every track with the way I play and world. Not necessarily in the United States, people that you recognise because they’re
all the tremolo abuse. I notice that when I where we keep the tour on the ground, famous. When you play with David Bowie,
see Jimi Hendrix, he had similar problems! but if you’re going to Lithuania, good luck! you’d have Andy Warhol sitting there, you’d
When you really go crazy with the tremolo I’m really, really happy with this system have Talking Heads sitting there, you’d
arm on a Strat or any of those instruments, and, yes, I can do pretty much what I want: have Mick and Bianca [Jagger] sitting there,
it’s hard to keep them in tune. Not so with whale sounds, elephant sounds, mosquitos, you’d have Dustin Hoffman…”
the Parker Fly, so that relieves me of that whatever. I’ve got all that and plenty more.”
problem after about 20 years.” 11 Cherish The Moment
9 If You’re Not In Sync,
7 Small Certainly You’re Sunk! “It’s really kind of a moment where you
Can Be Beautiful realise where you’ve come to. From riding
“I was using Roland JC-120 Choruses [with in a little broken down Volkswagen one day
“I don’t use amps any more. Touring around King Crimson] then Robert [Fripp] started up 21st Avenue in Nashville and hearing
the world with my Power Trio I’ve had to using the same as he liked the sound of Heroes for the first time and going, ‘Ah God,
get my gear as small as I can, so it’s a very them. We were trying with our interlocking I love David Bowie – ah, what is that guitar
small setup now. It mainly revolves around guitar style to have a sound that actually sound?’ and then, you know, 18 months
the Fractal Audio Axe-FX. Also, I play matched in some ways. In fact, I remember later being on stage and playing Heroes
through a laptop and a Boss GP-10, all of when we finally went in to the studio to with David Bowie. So that’s the moment
which is in a four-space rack and that goes make Discipline [in 1981], we couldn’t get of realisation for me where I said, ‘Wow,
into a box. On top of that box go my pedals: those guitars to be in tune. Then I realised, I can’t believe I’m actually doing this!’”
three different volume pedals, a Liquid ‘Wait a minute, we both have our choruses
Foot MIDI controller and a DigiTech on!’ That stereo chorus. ‘What we should do Gizmodrome’s self-titled debut
HarmonyMan. I run the guitar straight into is take the chorus off, record the tracks and album will be released on
a Keeley Compressor, which is the back of then we can have the engineer put chorus 15 September on earMUSIC
the rack and really that’s it…” on it…’ And that’s what we did.” www.adrianbelew.net

Dave Brock: a ‘warrior on
the edge of time’ with a
gigging history stretching
back throughout the last
five decades and over 100
separate album titles
Hawkwind interview
SpacE SagE
With a new album, Into The Woods, landing in the UK’s Top 40,
Hawkwind’s mission control and de facto leader, Dave Brock,
joins us to discuss his psychedelic past and present
Words Rod Brakes Photography Olly Curtis
D
ave Brock, now in his mid-70s, is has to copy somebody to start with until you a Harmony Stratotone and I bought an
a bona fide space-rock veteran. get to do your own thing. I was inspired by old Dynacord echo unit and a little Vox
Having founded the genre’s him, but it’s nice to think that [Hawkwind] amplifier. I got the echo unit and used to sit
quintessential band, Hawkwind, might have influenced a lot of characters at home plonking away on the Stratotone –
in 1969, he’s the only original member still that went off to do different things.” I played that guitar for quite a few years in
onboard and has remained in the captain’s the 60s. Later, I got a Selmer Thunderbird
seat during its wild ride over the decades. How did it go from Big Bill Broonzy to amp and a Silvertone [S-1384] – that was
Emerging from the melting pot of outer space? quite a weird guitar because the binding
London’s psychedelic music scene at the “[Laughs] Well, I used to work in a cartoon was all aluminium. I’ve had all sorts of
tail end of the 1960s, Hawkwind took a trip studio [WM Larkins] doing cartoons for weird guitars, actually.”
on the dark side and rapidly evolved with TV adverts. We used to make these big,
a distinctly heavier yet equally spaced-out long tape loops that you could run round Have you managed to accumulate a fairly
sound. Mangling electronic oscillators – we put a lot of weird stuff on there and sizeable collection over the years?
with grinding guitar hooks, hard-rocking I ended up experimenting with guitar “I’ve got about 30. I have them hanging
rhythms, effects-drenched streams of noises. They used some of it for a Barclays up and I do play them – if you put them in
melody and futuristic, sci-fi lyrics, the bank TV commercial! That was really the cases, you never touch them. I ended up
band found strong favour within the UK’s start of my psychedelia. I got a pickup put dealing in secondhand guitars at one point.
underground gig circuit and those on the on my 12-string acoustic and that was my I always cruise through eBay. I had some
fringes of popular music. The band are first foray into electric guitar. Then I got fantastic guitars, but I sold a lot of them.
revered by the cult following that still packs I had a Michigan, made by Gibson, that I
out venues across the UK and beyond. In sold to Pete Green. When we used to tour
many ways, they remain a benchmark of the States, I’d go to where the secondhand
authentic British psychedelia and one of shops were to see if they had any cheap
our most beloved bands (not to mention the
· guitars and rarities. I’ve got the guitar that
soundtrack to many a misspent youth!). Bukka White did Jitterbug Swing on.”
Outside the Bristol O2 Academy, we climb
onboard an impressive silver machine of a
“Musically, what we’re Do you use the vintage guitars on tour?
tourbus with Dave for a pre-gig catch up. doing is using sounds “The Les Paul I mainly use now is the Tom
and stories so that Morgan painted Gibson Les Paul Classic
You’ve been on the road for nearly half a made in 2007. I’m using that now – they’re
century now! How did it all begin?
people can visualise a lot lighter. I’ve got a [Gibson] Nighthawk,
“47 years! Will I be going to 50 years? That’s and make their own too – the amber coloured one. The one I
a momentous amount of time… Well, I
suppose listening to Big Bill Broonzy got
stories up in their own always used to play was a Westone. I would
have my Westone wherever I went. A friend
me started playing guitar. I’ve got a really heads, as it were” of mine painted it up and I used it for years.”
good blues collection. All these characters,
y’know, they had a wonderful style. I used What amps do you use now?
to base myself on Big Bill Broonzy because · “I used to use Hiwatt amps. I’ve got my old
I liked the way he played. I mean, everybody Roland [JC-120] that I’ve been using for

interview Hawkwind
Hawkwind’s early 70s line-up (L-R): Simon House,

Dave Brock, Lemmy, Nick Turner and Simon King
Photo by SunShine international/reX/ShutterStock

years and I have an old HH I always take as How would you describe Hawkwind’s now!’ and we couldn’t move, so we waited
a spare. I’ve had the Roland for a really long creative process? half an hour… Half an hour later and we still
time and it’s never gone wrong, touch wood. “We are quite organised, actually. I mean, couldn’t go on! It was a stupid thing to do.
It’s ever so loud. I’m only on two all the we do go off at tangents quite often, but All these silly things you do when you’re
time – I mean, it’s really loud. We are quite the essence to everything is having good younger – I mean, you can accommodate
a loud band, but I never have it any higher melody lines. If you’ve got good melody a lot more, can’t you? Can’t do it so much
than two!” lines, you can always come back into it now. You get older and wiser, I think, don’t
or play melody lines within your jams, you? Well, those days are gone now, I think.
What do you use for distortion with the y’know what I mean? We were always very Probably [laughs].”
Roland JC-120? organised with what we were doing. We
“I use the [Line 6] POD [2.0] – it’s what I used to go off and come back again to the The psychedelic music scene really took
play live with all the time. I fiddled around original thing that we were doing in the off in London in the late 60s…
with it and got something that I like and Rockfield [Studios] days. “It did. There were lots of little places in
saved it. It’s easy to use. I can whack the old “I’m still waiting for Cherry Red Ladbroke Grove. That was where everyone
echo up whenever I want to and tap out [Records] to put the 1977 tape out, which was taking acid – it was the latest thing.
something if it’s in the wrong timing. I just is really good! It’s the one year that, in That and ‘being yourself’. And girls taking
use that most of the time now. It does what actual fact, hasn’t been released – it will be their clothes off, running around naked and
you want it to do and that’s it. Very basic. eventually, I hope.” dancing topless. Expressing themselves in
“I don’t really have a lot of foot pedals. the Age of Expression [laughs]! The Era of
I scorn people that use lots of foot pedals… You’re playing The Roundhouse on this Free Love – that’s what went on then. It was
I remember the days when people used to tour for the first time in 45 years. What just like a free festival.
have big pedals on the floor – you used to can you recall from that night recording “Before Hawkwind, I had a band called
trip over the things!” 1972’s Greasy Truckers Party? The Famous Cure and we played at the
“I only remember the odd thing from when Middle Earth club in Covent Garden. And
What tape echo units can we hear on the we played the Roundhouse before… We all there was a great band that we did a gig
old Hawkwind albums? took some LSD, which was a stupid thing to with called Dantalian’s Chariot. When
“Dynacord echo units originally, then it was do at the time. Those were the days when you look at the bands that played there, it
the Watkins Copicat with the tape running you had the little sugar lumps – a little drop was a fantastic place. It used to be big into
round it. I’ve still got my old Roland Space of Sandoz [LSD-25] on a sugar lump. It was psychedelia at Middle Earth – everyone
Echo. The only thing is the tape goes wrong really strong acid. And we couldn’t possibly jumping around, the freedom of dancing,
and you’ve got to make yourself a new one, go on – it was really strong. Our tour strobes flashing and incense burning.
so it’s a bit of a pain in the arse.” manager at the time said, ‘Right, you’re on All nighters… It was good fun!”

Dave’s stage rig includes
a 1978 Roland JC-120, two
Hiwatt 4x12 cabs painted
by artist Barney Bubbles,
his 2007 Gibson Les Paul
Classic Antique Artist and
a Line 6 POD Version 2.0
interview Hawkwind
Dave’s number one stage amp is

this 1978 Roland JC-120 painted by
artist Alan Arthurs in the late 1980s
Rumour has it you were guitar buddies The new album, Into The Woods, seems a
with Eric Clapton back in the day… little bit different than previous albums…
“I was, yeah. It would’ve been about ’63 or “Yeah, we thought it was a bit different.
’64. Quite early on. We used to sit around But the reason for that is we’ve got a young
plonking away on guitars. We used to hang bass player, Haz [Wheaton]. Really, he gave
out in Richmond because it was a really Richard [Chadwick, drummer] and me a
nice place, and go down Eel Pie Island and new lease of life because he’s so fast and
meet up in L’Auberge coffee bar. Eric lived whatever I do he can copy it. He’s a bit like
in Cobham in Surrey, which isn’t far from Lemmy in a sense; he’s got that wonderful
there. That’s where everybody used to hang togetherness, which is quite rare. We met
out. We used to sit there and play guitar him here when he was 12, standing at the
and swap around – each one of us would back door of the [Bristol O2 Academy] as
have a go. We used to sit in Richmond Park, we came out, waiting to get his Hawkwind
drinking cider and smoking marijuana. albums signed. When he got older, he
“Later on, Ginger Baker ended up playing went to music college and learned to play
1997 Gibson Nighthawk Standard with
with [Hawkwind], which was strange the bass, then he came along as a roadie
a Firebird mini-humbucker, NSX single
because when I used to go busking down and ended up joining the band. Haz is a coil and a slant-mounted humbucker
Portobello Road – this was when he was in lot heavier a bass player and it’s made me
Cream – he had a flat just round the corner change my way of playing a little bit as well.”
and after I finished busking I used to pop In that time, we were in Notting Hill Gate
round for a cup of tea.” Science fiction has remained a constant and there were some very industrious
theme throughout Hawkwind’s legacy. things going on. Everybody came together
There were some interesting folk How did that work its way into the music? to produce the album booklet and all these
guitarists on the scene in the 60s, such “We all used to read sci-fi books and it wonderful poems: ‘We touched upon a shelf
as Davey Graham… was always a good inspiration for writing of rock / Selected by the auto-mind / And
“Yeah, I used to know Davey Graham. I’d songs. I mean, musically, what we’re doing left a galaxy of dreams behind…’ [from The
play in folk clubs with all these different is using sounds and stories so that people Awakening]. We still do it now. We keep the
characters – that’s what I first started doing. can visualise and make their own stories legend going.”
Davey Graham: fantastic guitarist, he was. up in their own heads, as it were. Michael
There was a folk club we used to go down Moorcock gave us a lot of ideas: The Jewel In
called Les Cousins in Greek Street [Soho, The Skull and Elric – we did the ‘Elric’ show Hawkwind’s latest album,
London]. The funny thing is they were and ‘Stormbringer’ and all of that. And, of Into The Woods, is available
really small places – you’d sit huddled in course, [Robert] Calvert and the stuff we now on Cherry Red Records
a chair in the corner of the room.” did with [graphic artist] Barney Bubbles. www.hawkwind.com

Roger Mayer interview
Axis of
inspirAtion
Famous for his cutting-edge studio gear and effects, Roger Mayer played a
pivotal role in helping Jimi Hendrix realise his musical visions on the seminal
album Axis: Bold As Love, which celebrates its 50th anniversary this year
Words Rod Brakes
S
cientist Roger Mayer is one of the guitars start to emerge? Are we zooming
few original innovators of rock ’n’ up into the sky then rolling over and diving
roll from the 1960s who is still at again? All these kinds of motions – we were
the cutting edge of sound research thinking in 3D.”
and design. After acquiring his first guitar
(a good old Hofner Senator), it wasn’t long How did Jimi convey these ideas for you
before the instrument was in bits and under to translate into new sounds?
close scrutiny in order to be rebuilt with his “If Jimi had an idea, we would talk about
own upgrades and modifications. While the vision or the concept of the sound.
working for the UK government in acoustic The Octavia, for instance: visually, it’s like
analysis in his teens, he turned his hand to what you see when you hold two mirrors
developing and inventing revolutionary in front of each other. What was happening
guitar tones with the likes of Jeff Beck and electronically was very sophisticated and
Jimmy Page for 60s hit records, and later similar in concept where we got multiple
struck up a close friendship with new kid mirror images of the signal. I used all these
on the block, Jimi Hendrix. different electronic techniques to work out
Roger first approached Jimi with his these ideas. We had all these juxtapositions
latest invention, the Octavia pedal (as possibilities of where we could break new in mind. For example, if you’ve got two
debuted on Hendrix’s Purple Haze), and ground influenced the way he wrote the different sounds you could say, ‘They sound
he soon became known as the guitarist’s songs and the way he imagined the songs in different.’ Well, electronically you could
“secret weapon”. The pair immediately his head. Most people that work together take the two sounds and mathematically
hit it off and began discussing the creative develop their own kind of language to talk work out what’s different between the two.
potential of guitar effects and recording about what they want to do. We would And then what happens if we amplify the
studios. Roger and Jimi (at the tender ages discuss the vision of the song and the end difference between the two? What does
of 21 and 25, respectively) would ultimately result that he wanted to achieve.” that mean? Does that mean they’re super
break new musical ground on Jimi’s different? Or does it mean they’ve jumped
sublime 1967 album, Axis: Bold As Love, So it was all about expanding the creative to another plane?”
as they then set about creating a timeless potential with regards to sound?
psychedelic masterpiece that is still blowing “Basically, yeah. And also, how to make It sounds as though there was a strong
PhotograPhy by bruce Fleming/reX/ShutterStock
minds to this day. people get a different emotion from the philosophical connection between you
Today, Guitarist talks to Mayer about sound. We had to imagine what the sound and Jimi…
what went on behind the scenes with Jimi would be. Jimi and I had an idea of how “Yeah, in a fun way. Some of the most
during one of rock’s most monumental the sounds were travelling – we had to profoundly different scientific discoveries
sonic voyages of discovery… paint a moving picture. Axis: Bold As Love have been made just because somebody’s
is supposed to take you on a journey, but it said, ‘Let’s do it another way.’ The more we
In what capacity did you and Jimi work was about how the audience would react understood, the more fun it was and the
together on Axis: Bold As Love? to the music. What’s the story? What’s the easier it was to realise something. Both Jimi
“I was there as a friend to help him and emotion as the story is told? “As you take and I had a synaesthesia, where we would
explain avenues that we could go down the people on the journey, sonically, are we see colours in sound – why is that? We
regarding the possibilities. Knowing the diving them into an electronic cave as the found that fascinating. It’s a useful ability
SEPTEMBER 2017 GuiTaRiST 65

String Theory...
“Jimi used Fender nickel strings most
of the time in 10, 13, 15, 26, 32 and a 38
gauges,” Roger tells us. “He tended to
use a 15 because when you use a 17 for a
G string it makes the guitar very G-heavy.
A 17 sticks out, but when you change it
to a 15 it makes a huge difference to the
overall sound of the guitar – the whole
sound of a chord. Using a 38 on the
lowest string makes it much more funky.
You still get a twang, but it means you
can bend the low E string more easily,
which Jimi tended to do a lot, of course.
The other good part about it is that the
relationship between the E and the A is
very sweet. You can also hit the strings
harder and get a nice attack. You can't
get the same attack on a 48.”
Roger Mayer interview
A shot from the early

70s of the first Roger
Mayer Electronics
Incorporated recording
console at Sundragon
Studios in New York
image courteSy oF Seymour duncan
Roger in March 1968 February 1968 on the road

tending to one of Jimi’s between Tempe and Tucson,
Stratocasters backstage Arizona, following the
while on tour with the band release of Axis: Bold As Love
as a sound designer. I was very interested Did Jimi often talk about musical ideas It was about being privy to what Jimi was
in new sounds for guitars.” in a visual context? thinking and what he wanted to create.”
“Oh yeah, he was very cinematic. You can
Was Jimi aware of the psychoacoustics paint a visual picture of how a song can be. What lengths did you go to in order to get
thing? And is it safe to say that he had a The sounds of the record could be thought the desired results?
scientific mind? of as bunch of disks floating in space in “We did whatever was necessary on that
“Very much so. He was really into science front of you, like flying saucers with sounds day, at that time to get the job done, with
fiction, too. We used to read the same books: coming from them and they’re moving no preconceived notions about what had
Kurt Vonnegut, Arthur C Clarke, Frank around. And what’s the environment to be done. It was a team effort – I was
Herbert… He liked their imaginations, that they’re moving around in? Now, I’m not helping Jimi because I had the capability to
things weren’t necessarily how you thought inside his head, but in the studio I can help make it happen. Once I had the idea or the
they were going to be. We used to say, ‘If because it’s just being able to think of it that vision of the sound I could figure out what
you can imagine it, why can’t it be? Is your way, y’know?” I had to do to get that sound, whether Jimi
imagination any less valid than what you needed a bit of pre-EQ before the distortion
call reality?’ I don’t know. It’s one of those How did the emotional content of the or another bit of EQ after it; how we were
deep philosophical questions…” song influence the guitar tones? going to drive it; how the amps are set; how
“What the song had to do and what the many amps we’re going to use; how we’re
How important was it for you to solos had to do would determine the going to mic the amps; what kind of reverb
understand Jimi’s lyrical imagery? emotion we needed to convey in the we’re going to use; if we are going to use a
“Very. Little Wing was a psychedelic story guitar tone. We knew what sounds to go direct output; how we were going to phase
about a spirit and the carnival vibe you’re for because we knew what the end result align the two amplifiers… I mean, it’s very
getting from a festival or a circus. Castles needed to be. In the studio, I would sit down complex, but if you don’t have a vision of
Made Of Sand was partly inspired by with headphones on with Jimi as he played what you want to achieve, how could you
some of the science fiction books we were and adjust the tone until we found the sweet possibly achieve it?”
reading, like Dune [Frank Herbert, 1965]. spot for it. It takes two people to do that.”
PhotograPhy by andre cSillag/reX/ShutterStock
It’s a science fiction kind of fantasy, but Did you modify the circuits in effects
really down to earth in a way. Jimi was very So it was about capturing a unique units for specific tracks?
good at depicting imagery that people could moment in time? “Yeah, I mean, if Jimi needed me to I could
relate to, but with a bit of a cosmic twist to it, “Ahh, that’s why they call it ‘recording’! It’s spend five minutes with a fuzz circuit
y’know? The vision of that song was really not rehearsal. It’s a primary moment in time soldering in a few components and make
important – about things going around of creation. It’s like the birth of a star. The it sound different. Back in the day when
and time. The relationship in any chord birth of a nova. It’s the birth of something wah-wahs first came out, we made a major
sequence sounds correct going backwards and it has to feel like that. It has to feel really, difference to the sound by putting another
or forwards, which is where the idea for the really fresh and really, really exciting and circuit up ahead of the wah-wah, because
backwards solo in that song came from. It’s colourful. It’s no good if you can’t dig it or the input impedance of the pedal wasn’t
that free-form flow that makes sense.” you think everyone else thinks you’re crazy. that great. And by playing around with the
SEPTEMBER 2017 GuiTaRiST 67

interview Roger Mayer
Hendrix pictured near

his London home in 1967,
the year he recorded and
released Axis: Bold As Love
PhotograPhy by david magnuS/reX/ShutterStock

pot you can change how it works or feels. there are things that mathematically stop
Experience It By putting resistors across the wiper of the you doing that. Once you’ve got the phase
For Yourself... pot you can change the sweep of the wah – wrong, for example, that sound will never
the frequency versus angle. Then you can sit in the mix; it’ll sound alien. Jimi lost
Over the years, Mayer has been tune the action peak of the wah by playing some of the mix in a taxi, but it didn’t really
striving to share his knowledge with the capacitors or the coil.” matter – it was quickly done again, no
and expertise, and – through problem. We finished recording the album
innumerable hours of research Did you work quickly in the studio? through October [1967] and it came out a
– remains at the forefront of “It had to be quick because back then couple of months later. We had to work
music technology to this day. His Olympic Studios was £38 an hour. As a faster then because of the cost of the studio!
latest effects unit, the Visage frame of reference, beer cost 12p a pint, so “The sound sources were right at the
fuzz distortion (pictured), is a well over 300 pints of beer an hour! Chas time. They had to be right because we
state-of-the-art pedal that enables [Chandler] was watching the budget ’cos it didn’t have the luxury of postponing the
players to internally manipulate was expensive! We really worked as a team. evil moment until we mixed the track. The
45 different configurations of the We wanted it to be done pretty quickly problem with having too many choices is
circuit with a series of jumpers to keep the momentum going. There’s an that it stops people from performing. People
and tailor the sound, much in optimum window for recording that’s about think they don’t have to make a choice until
the same way that Roger did for four or five hours, and if you do more than later, but by the time they’ve finished they
Jimi back in the 60s. If you’re that you’re just wasting your time and it’s realise they didn’t make the right sound to
seriously into recording, you not productive. You’ve got to keep it fresh, begin with because they’re not hearing it in
may also be interested in Roger’s otherwise you’d bore yourself to death!” context. I mean, you can’t put a wah-wah
latest invention, the 456 High effect on after you’ve played the guitar,
Speed Tape Simulator which aims Was Jimi generally open-minded with the for example – you can’t do it afterwards
to bring the desirable qualities people around him in the studio? and this is the whole thing about trying
of yesteryear tape recording – “Absolutely. But he had a good team around to paste together a performance from too
notably a Studer A80 loaded with him. Jimi always wanted fresh ideas and to many different parts: by definition, it’s not
456 tape – to your modern day continuously move forward. If something a performance.”
DAW. Expect improved wasn’t working, then the decision would be
dynamics and made very quickly. He always wanted to be Axis: Bold As Love still sounds fresh and
much more. working to the maximum potential. It was in many ways it hasn’t been surpassed…
about finding the sweet spot quickly.” “The first thing we did was to identify what
we wanted to achieve. I remember saying to
How did you approach mixing the album? Jimi, ‘Jimi, we want to do stuff that no-one
“Well, the whole point of recording else has ever done before. We can’t think
something correctly is that the mix is almost like anyone else. It might be a lonely path,
done. You can’t ‘fix it in the mix’ because but it’s going to be a lot of fun!’”

Kenny Wayne Shepherd interview
w a y n e s h e p h e r d
A protégé of BB King, jamming partner with Alexander Dumble and bandmate

of Stephen Stills, the Louisiana-born bluesman has just released a gutsy new
album, Lay It On Down. We joined Kenny to talk about Dumble-modded Fuzz
Faces, the essence of a great Strat, and learn some of his blues soloing strategies
Words Jamie Dickson Photography Jesse Wild
“O
ne of the hardest things to do, What gear did you bring into the studio Strats. I have my ’61 Strat, ’59 Hardtail,
I think, in today’s world is to for the album? ’58 Hardtail and various Signature series
write an authentic-sounding “Well, I brought a lot of stuff into the studio. models that I have with Fender and Custom
blues song lyrically,” Kenny Over the years, my sound has evolved. Shop guitars and stuff. Really just trying to
Wayne Shepherd observes as we sit down We’ve tried a number of different things on pick the right instrument to get the right
to a coffee at John Henry’s rehearsal rooms this record. I used a combination of various sound for the right track.”
in London, where Fender keeps an office. guitars. Some songs I was playing a Les Paul
Once a blond wunderkind of the blues for the solo and a Strat for the rhythm. On What’s the specific appeal of a Hardtail
scene, Kenny has matured into a thoughtful one song, I would double the guitar track Strat to you?
player with prodigious chops and a sure- but do one on a Les Paul and one on a Strat “People should try the Hardtail – the
footed melodic instinct that has seen him to get a really full sound. One dirty, one Hardtail is actually a more appealing guitar
praised by no less authorities than the late clean, things like that. to me [than a vibrato-equipped Strat]. I like
BB King and Stephen Stills. “Also, over the past, I guess, five to seven having the tremolo for the various moments
“If the lyrics and the story that you’re years, Alexander Dumble has been building in the show where it’s necessary to create
telling are authentic and you’re not amps for me. They’ve just exceeded an effect or a sound. I’m not like Jeff Beck,
sacrificing the quality of the message that anything that I have ever had prior to that. for example, who utilises the tremolo
you’re trying to convey to the listener, I’ve essentially found my core sound, as on a very consistent basis throughout
then I think that keeps the whole thing far as amplifiers go, are these amps that his performance. I use it here and there
authentic,” Kenny adds. “My band is about he’s built for me. I lined up about seven of – maybe six times throughout an entire
the guitar. It’s guitar-based music, but them in the studio. We would do different two-hour-long show. It’s an effect.
because I grew up in a radio environment combinations of those various amplifiers, “But the Hardtails… those guitars ring
with my dad, I grew up listening to hit songs but usually no more than three amplifiers so true. Even when they’re not plugged in,
on the radio. Having a great vocal melody at a time. I think if you start running seven they are still more resonant. They’re louder
and a great lyric has always been, to me, or eight amps at once, it’s not necessary. in an acoustic setting because the strings
equally as important as the guitar playing Especially if you’ve got great-sounding are running straight through the body. That
on the record – even if I wasn’t doing the equipment. So yes, Strats: vintage, newer bridge piece is just connected straight to the
singing – because that’s just what I grew up stuff… Gibson: I used the Firebird; I used body; there’s no air or space in between it.
around. And I also think those are the songs my Les Pauls. My grandfather gave me a I just think you’ve got a more bell-like true
that people will end up remembering for Les Paul that I think is a late 70s model. Stratocaster sound with that instrument.
the rest of time.” Then I have a Custom Shop one, from They work great for me.
Seated among racks of Strats and Teles, around 2000 I think, that I used heavily. “Sometimes you can get a little more
naturally the conversation turns to gear – I really love that guitar. tension on the neck. I use heavy strings,
as well as being a very fine player, Kenny has “They sent me one of the new Les Paul so you can feel the tension a little more on
great ears, too, so before we embark on an Axcess guitars, which is pretty interesting. a guitar like that, but I think it’s actually
illuminating one-to-one soloing lesson with It felt a little more familiar because it’s a really great sound. I don’t know why
him, it’s time to do what guitarists naturally lighter and it has the ability to split the people don’t try those more. Because I
do in such surroundings – and talk guitars. pickups and things like that. Then my think if they would – if they did – especially
September 2017 GuitariSt 71

interview Kenny Wayne Shepherd
We caught up with
Kenny as he was
passing through
· London – the Custom
Shop delights of the
Fender Artist Centre
“[Dumble amps] clearly proved too hard
to pass by!
inspire me to take
different avenues
and create new
sounds. He literally
tailor-makes the
amp around the
musician’s style…”
if they had another Strat that does have

a tremolo, then they’d probably end up
buying the Hardtail.”
A certain mythical aura surrounds Dumble

amps. You’ve played quite a few – is the
reputation justified?
“The key word is inspiration. I’m not
speaking to you as a person who has bought
into some hype. I’m speaking to you as
a person who has legitimate experience
before and after. Quite literally, those amps,
the point behind the amps that he has built
for me and what they do is inspiring. It’s
inspiring me to play new things. Inspiring
me to take different avenues and create new
sounds. The way that he goes about doing
that is what you’ve probably heard. I mean,
he literally tailor-makes the amp around the
musician’s style of playing and approach.
“I would go over. I see him on a really
regular basis. I’ll sit around and we’ll hang What degree of headroom and power do truth, then it’s, like, the only reason to have
out. I’ll sit around just like this, me and you tend to prefer in your amps? a louder amp is so that people can hear you
you, and be playing guitar for hours and “You know, I used to play three Twins all if you’re in a bigger place. Then that was
hours. The whole time he’s listening. He’s turned all the way up. It was monstrous. before PA systems existed. They wanted
got great ears. I mean, obviously. He hears Those amps are so clean. I’ve had Electro- louder amplifiers because they weren’t
how a person plays. He knows what it is Voice speakers in there. They weighed a mic’ing all this stuff and putting it through
that I’m trying to get out of the amplifier. He ton, but [were] super-clean and punchy. a PA system. Only the vocal was going
hears how hard I play, the attack that I use, As I’ve gotten older, man, it’s just not that through the PA system. It’s not necessary.
the touch. All of it. You can tell his mind is necessary to be so loud. All the amps that It’s a visual thing.
working the whole time. He’s just listening. I’ve worked on with [Dumble] have been “Guitar guys love to see a bunch of amps,
“Then he goes and he works on the amp. 50 watts and below. I mean, there are times really big amps, but it actually isn’t the
Then you come back, you play it again when I’ve been on stage and I’ve used a little point behind larger amps. That original
and we see how it’s responding. Then he 15-watt Deluxe that he’s built for me, not as point was because they weren’t putting that
further refines it if necessary. Usually, in my primary amp but in conjunction with instrument through the PA system.”
my experience, it’s not been necessary. I go another amp, you know.
back. I plug in the first time and it’s right, “I just think that it’s not necessary. When You’re probably best known as a Strat
which I think is one of the reasons why you go back and you hear a lot of the largest guy – so what, for you, is the essence of
he’s always been adamant that those amps guitar sounds in the studio where you a great Strat?
that he builds are for that person. He’s built hear a guy and you’re like, ‘Oh my gosh, “Well, to me, I’ve found over the years that
it around my style of playing. In theory, if that’s amazing’ – you imagine it’s all these my favourite consistent wood for the body is
anyone else was to be playing through my Marshall stacks and this big, massive thing. alder. I think across the board most people
amp, it naturally would not necessarily It was really, like, a Fender Champ or a little prefer alder. I have some ash-bodied guitars
respond the way that it was intended to Deluxe. That’s what got the huge sound. that sound great, too, but different. But
because it’s a different person playing.” When you actually realise that that is the I’ve just always gone back to an alder body.

Kenny’s emotive style
draws upon Stevie Ray
and Albert King but is
ultimately all his own
interview Kenny Wayne Shepherd
Kenny makes
extensive use of both
vibrato-equipped and
hardtail Strats Strats and Fuzz Faces are a classic
pairing, but it’s notoriously difficult to get
a consistently good fuzz tone. How do you
approach the problem?
“I’ll use it in the studio, but I have found it
very difficult to use it live. One thing that I
will tell you is I have an original late 1969
grey-silver Fuzz Face. It needed a repair
done to it. Actually, [Alexander Dumble]
asked me one day, ‘Do you have any Fuzz
Faces, original ones?’ I said, ‘Yes. As a matter
of fact, I do.’ He’s like, ‘Bring it to me. I know
what to do with it.’ He’s had it for a few
months. He’s going to be doing some super-
secret special thing to it and I’m assuming
it’s going to sound incredible. I’ve never
heard of a Dumble-ised Fuzz Face before.
We’ll see how that sounds.
“Anyway, the Fuzz Face is a peculiar,
simple animal. It’s complicated because
in the studio it’s a more controlled
environment; you can really fine-tune it for
the studio. But in a live setting, I’ve found
that, for my ear, it’s too difficult to go from a
sound that I have with a Tube Screamer or
the King Of Tone pedal and then switch to
the Fuzz Face because it darkens the sound
so much. To me, it’s such a drastic sonic
change that it throws me off.
“If fuzz was my primary overdrive effect
that I used 98 per cent of the time, then that
would be one thing, but if I’m just trying to
throw it in there for a moment or on one
song, it’s such a drastic change in a live
setting that it really is difficult for me.”
What popular myths relating to tone have

you come to doubt over the years?
“It’s not a complete myth, but I don’t
necessarily subscribe to the view that
vintage is always better. I think you should
look at all instruments, whether they’re
amplifiers or guitars, on an individual basis.
In terms of fretboards, I have a couple of product so that I can have my picture on an Don’t pay any attention to the number, the
vintage maple Strats that I really enjoy, but advertisement’. It’s, like, I genuinely was year that it was made or the price tag on the
I always tend to go back to rosewood. having a string breakage problem. I was guitar. I’ve played plenty of vintage Strats
“I use jumbo frets, like, 6100 – almost like looking for a solution and somebody said, and plenty of vintage amps that sound like
bass frets. I play heavier strings. I find that ‘Hey, have you heard of these graphite shit. I mean, like, horrible amps. They’re
in order to really be able to have a sure grip saddles?’ To me, it sounded a little suspect just worn out, not properly maintained.
on the string to do a huge bend, then you because it was, ‘I’m putting this on a 1961 Probably never sounded right the year
need to be able to have chunkier fretwire. Strat.’ At the time it was cutting-edge they were built. Factory issues, you know,
If you’re using vintage-style fretwire, it’s a technology. I’m like, ‘I don’t know about whatever it is. Inconsistencies in the parts.
losing battle. this…’ but I put those saddles on that “Same with the guitars. If you didn’t know
“We did my own custom wound pickups ’61 Strat and stopped breaking strings the price of the guitar and nobody ever told
for my Signature Strat. We developed the immediately. From that point forward, I’ve you the year that it was manufactured and
sound of those pickups for a year and a half put them on all my guitars including my you could just base it all purely on your eyes
and I think they sound pretty fantastic. I go Signature Strat.” being closed and the way it feels, the sense
for a relatively hot pickup: they measure of touch and the sense of sound… that’s all
around 8/8.5 [kohm] output, but not so hot Did it make much of a difference tonally? you really need to know.”
that it muddies up the sound. I want it to be “Slightly, but it’s very minimal. Most people
really clear and punchy. say that it brightens it up a little bit. I mean,
“I mean, those are the fundamentals at a certain point, you’re splitting hairs. Kenny Wayne Shepherd’s new
– but I also use Graph Tech saddles. I There are far larger contributors to the tone album, Lay It On Down, is out
have since I was very young. It’s another than swapping out saddles. You’re really now on Provogue/Mascot
example of ‘it’s not me just endorsing some trying to hear a difference at that point.” www.kennywayneshepherd.net

technique Kenny Wayne Shepherd
Rocking
the blues
Kenny Wayne Shepherd on how to weave classic blues
influences into your soloing and unlock the fretboard
Words David Mead Music Transcription Adrian Clarke
L
ouisiana-born prodigy Kenny after meeting Stevie Ray Vaughan in 1984, can be found playing guitar in Stephen
Wayne Shepherd began his Kenny began teaching himself from records Stills’ band, The Rides.
recording career at the age of in his father’s collection. In this masterclass, Kenny looks at
16. Since then he has become no Over the years he has become an indelible various elements of blues rock soloing,
stranger to gold and platinum albums and a asset to the contemporary blues scene and from opening gambits to full turnarounds,
career that has seen him share the bill with a must-see live act. When not out touring underlining the principle that you can
artists as diverse as BB King, the Eagles and with his own band – which includes Chris combine others’ licks and techniques to
Van Halen. Originally inspired to play guitar Layton, drummer in Stevie Ray’s band – he produce something original of your own.
ExamplE 1
If you’ve learned all the minor and major pentatonic shapes going across the fretboard, the next step is to link
them together ‘diagonally’ so that you can move between them effortlessly. This example details how you can do this
in the key of E major, starting at the 12th fret, first string and ending with a flourish down on the bass E with an E major
chord to round everything off.

Video & Audio http://bit.ly/guitaristextra Kenny Wayne Shepherd technique
ExamplE 1a
ThIs exaMple Takes the idea of moving ‘diagonally’ through the pentatonic positions a step further.
The most important thing here is to take note of all the slides the join the pentatonic jigsaw together: the key
is fluency and the trick is to begin practising slowly and gradually build up speed as you gain confidence.
ExamplE 2
here, kenny deMonsTraTes his “if in doubt, play Albert King’s licks” idea with this classic phrase at
the 10th position. If you want to get it spot on in terms of accuracy, listen to the vibrato – especially on that
penultimate note – it really makes all the difference!

technique Kenny Wayne Shepherd
ExamplE 3
ThIs Is a four-bar string bending masterclass, apart from anything else, so be sure to hit the target dead centre
in those opening statements. There’s a treasure trove of classic Albert King licks here: watch the vibrato and pay
special attention to Kenny’s phrasing in the final two bars.
ExamplE 4
“sIMple buT effecTIve” is Kenny’s motivation here with a slide from the 12th fret, top E up to the 14th fret
as an alternative to bending. The lick ends with a flourish in the 7th position. Once again, watch the vibrato…
ExamplE 5
In order To give the illusion of speed, you can combine hammer-ons and slides where the picking-to-note
relationship is greatly reduced. This is used by just about every blues player from Albert King to Joe Bonamassa.
ExamplE 6
kenny references Son Seals, the Arkansas-born bluesman, for this tension-building repetitive slide and
bend combo. You’ll hear this throughout blues guitar’s history – an essential technique to add to your portfolio!

Video & Audio http://bit.ly/guitaristextra Kenny Wayne Shepherd technique
ExamplE 7
anoTher lIck ThaT highlights the usefulness of sliding between pentatonic positions. Your knowledge of all five
shapes needs to be fluent for this and so, if you’re not sure where you are, try mapping out a ’board’s worth of B
minor pentatonic so you can see where this lick is placed in context – then you’ll be able to use it in other keys, too.
ExamplE 8
here, kenny deMonsTraTes how you can combine influences and turn them into something unique with
this turnaround sequence. Take a little Clapton, add some BB King, sprinkle with SRV… and voila!

technique Kenny Wayne Shepherd Video & Audio http://bit.ly/guitaristextra
ExamplE 9
coMbInIng a feW more influences – notably Muddy Waters and Johnny Winter – results in this turnaround
lick, which is far more ‘open’ than the last, but a great demonstration of how sometimes simple is best.
Kenny Wayne shows you

how to take the best of
your influences to find
your own blues voice

interview Eric Clapton’s ‘Blackie’

Eric Clapton’s ‘Blackie’ interview
• f r o m T h E •
vault s
Old
lOve
There are very few guitars that enjoy the status of Eric Clapton’s beloved
black Strat, ‘Blackie’, and back in 1994, Guitarist was offered a close encounter.
It so happened that some of the detailed shots of the guitar that we took were
lost during an office move. This month, by chance, we found them again...
Words David Mead Photography James Cumpsty

Appearing in the Christie’s catalogue

as a “circa 1956 and 1957 composite
Fender Stratocaster”, Blackie was
sold for $959,500 (a world record at
the time) at auction in New York in
aid of Clapton’s Crossroads charity
on 24 June 2004
ravelling back
in time to Monday 11 April 1994, we’re
currently enjoying a cup of coffee with Eric
Clapton in the cafe at Olympic Studios in
Barnes, Middlesex where EC is recording
his From The Cradle album. We’re here to
talk to Clapton about his thrills-and-spills
career, but he’s also given us unprecedented
access to ‘Blackie’, the black Stratocaster
that was his faithful stage companion
throughout the 1970s.
Although the tale has been told a number
of times, we ask Eric to relate how he found
his most faithful accomplice. “I was in
Nashville and I went into this shop called
Sho-Bud where they had stacks of Fender
Strats going for virtually nothing because
they were so unfashionable and unwanted,”
he tells us. “I bought a big pile of them all for
a song – they were really cheap, like $300
or $400 each – and I took them home and
gave them out. I gave Steve [Winwood] one,
I gave Pete Townshend one, I gave George
Harrison one and I kept a few, and I made
Blackie out of a group of them. I took the
pickups out of one, the scratchplate off
another, the neck off another and I made my
own guitar, like a hybrid guitar that had all
the best bits from all these Strats.”
Blackie’s serial number is 20036,

indicating that the neck plate, at least,
came from an instrument made in 1957.
Made up from a medley of different Strats
of a similar period, the neck was a ’57 and
the body a ’56, Lee Dickson believes

Blackie has had a hard life on the road,

being used for practically every gig and
every album Eric did for 12 years or more.
“Yeah, I wore it out,” he smiles. “It’s pretty
well inaccessible now…”
We mention that the bass E string is
apparently hanging off the side of the neck
where it’s been worn down. “Yeah, there’s
not much of the neck left,” he laughs. “It’s
worn away on either side and on the back
with wear and tear.”
We ask what it was about this 50s hybrid
Strat that made it so special and after a 3
little thought, Clapton replies, “The fact
that I made it. It was one of the last guitars
that I kind of road-managed myself, really. 2
Therefore it felt like it was invested with
some kind of soul, you know…”
After the interview was over and Eric had
headed off for the day, we were ushered
“There were stacks of

Strats going for virtually
nothing because they
were so unfashionable
and unwanted. I bought
a big pile of them”
eric claptOn
· royal albert hall blues shows guitars & amps

downstairs to the studio basement where For 1994’s series of RAH was a Sunburst with P-90s, 1. The heavily modded
Fender Twin saw a lot
the guitar awaited us, in the safe hands of blues shows, Eric was using when in fact the cover’s
of action on the rockier
Clapton’s tech at the time, Lee Dickson. around 18 guitars per night orange hue had rendered that section of the show, as
We ask how Blackie has fared over the years through an assortment of effect on the guitar’s dished did one of two Soldano
with such an intense work schedule. “I’ve amps. For the quieter ‘old goldtop. Eric’s acoustics were heads (Lee rotated
them each night). The
had it refretted once,” he says. “The frets blues’ numbers it was a a vintage Martin 000-28, a straight-front Marshall
were really flat and ground into the neck choice between a blonde couple of ancient Dobros cabs were loaded with
because it had been stoned by someone 50s Gibson L-5 and Byrdland (one in open E) and a spare Electro-Voice speakers
who hadn’t taken too much care. But it’s through Lee Dickson’s own Martin 000-42. The main
2. This heavily inlaid Dobro
been a great guitar – maybe just one pickup tiny National combo, “half the amps were a heavily modified was probably the spare,
problem on the road. At the time I couldn’t volume of the Fender Champ ’58 Fender Twin and a signed as was the vintage
figure it out, but it turned out to be a coil had spare,” he told us. Eric chose Soldano SLO-100 head Martin 000-42. Clapton
used various tunings
got nicked at the edge, owing to pressure of P-90s over humbuckers as (Mike Soldano wrote: “Eric, during these shows
playing, and it was just a matter of taking a the early artists to whom he thank you very, very much
couple of dozen wraps off.” was paying homage would and keep on playing those 3. The gorgeous ‘faux
Freddie King’ Les Paul
What about replacement parts or also have used them. Gibson same old blues!”). This head
was built to Eric’s spec
upgrades – have there been many? “For built the beautiful Sunburst went through EV-loaded by Gibson’s Custom
years, I wanted to change some of the Les Paul for Eric as he’d Marshall cabs. The Strats Shop. The EC Strat has
bridge saddles because they were rusted, mistakenly believed the shot were Clapton models, but a flamed maple neck,
Lace Sensor pickups,
but [Eric] wouldn’t have it. Not much else on Freddie King’s Let’s Hide he wanted them without his but no ‘Clapton’ logo
in terms of maintenance, just change the Away And Dance Away album name on the headstock.
strings, keep the frets clean and try to keep

Backstage at The Albert Hall in 1994,

Clapton’s guitar tech Lee Dickson tends
to a more recent black Strat while Blackie
enjoys its well-deserved semi-retirement
Blackie’s debut appearance

with EC was at the first
set at The Rainbow on 13
January 1973 during his
‘comeback gig’ organised
by Pete Townshend
the neck in good nick. It pretty much took an inch off a neck, you can actually feel it. go through the building all day isolating
care of itself; it was – and still is – a fantastic With older Strats, the strings tend to run things. In America, you could find that the
guitar. The machineheads have held up off the neck slightly, but you can always problems were being caused by a fridge up
well; I never had to do anything to them. I recut the nut a little narrower. I toyed with in the manager’s office!”
think the five-way switch has been replaced the idea of doing that on Blackie, but Eric So is Blackie permanently relegated to the
once or twice over the years, mainly due to liked it the way it was and so we always subs’ bench now? “It’s totally playable as it
sweat and dirt getting into it. I’ve polished tried not to touch it. It was just a few times is; there’s nothing wrong with it. It’s kind
it occasionally, although there’s more wood that he would hit a note and it would slip of like an old car – there are plenty of new
than paint showing through.” off the neck and that, coupled with the few models coming out that have got similar
And what about the problem with the thousandths of an inch wear, just made it spec, so why not buy a new one and keep
bass E? “Blackie’s got a well-worn neck,” not as comfortable as it had been.” the old one for Sunday outings or special
Lee continues. “It’s a very slim, thin neck How have the electrics held up over occasions? That guitar has got years of
and just the action of a hand going up and the years? “It was always a buzzy guitar playing left in it, but not as an ‘every night,
down it, year after year, has taken off a few – always tons and tons of buzz problems – stand up and give it wallop’ guitar.”
millimetres of wood. When I was at the but that was due to the kind of stage setup
Fender Custom Shop, I was amazed by the that Eric used at the time, and I suppose Catch up with all things Clapton-related at
fact that if you took a few thousandths of there weren’t too many boffins about to www.whereseric.com and www.ericclapton.com

historic hardware 1952 & 1954 Gibson Les Paul Goldtops
Dawn of tHe
GolDen aGe
Now well into its golden years at the ripe old age of 65,
the original 1952 Gibson Les Paul Model shows little sign of
retiring, although it does look good in tweed…
Words Rod Brakes Photography Neil Godwin
H
ot on the heels of Fender’s popularity as an artist waned and the Les jazz-pop and his style of music was rapidly
1950 Broadcaster and Paul Model sales rapidly followed suit. going out of fashion. The early 50s Les Paul
Esquire releases, Gibson World renowned vintage guitar expert Models were wonderful guitars, but Gibson
debuted its own solidbody George Gruhn of Gruhn Guitars in wasn’t trying to market them at rock ’n’
electric in 1952. “Designed Nashville explains: “Were Les Paul Models rollers or R&B players. Les Paul was still
by Les Paul – produced by Gibson – and a smashing success, commercially? No, performing, but he wasn’t selling anywhere
enthusiastically approved by top guitarists not really. The Les Paul Models were not near as many records as he was, and by the
everywhere,” read the advertisement. “The selling well. The best years for Les Paul time [Gibson] reintroduced the single-cut
Les Paul Model is a unique and exciting Model sales is very early on; 1953 was the Les Paul in ’68, most of the kids who wanted
innovation in the fretted instrument field; peak of production for the gold Les Paul and a Les Paul guitar barely knew who Les Paul
you have to see and hear it to appreciate the after that they were steadily falling. They was. I even had a guy call me up one day and
wonderful features and unusual tone of this weren’t directing a very effective marketing ask me if I could get him a ‘Lay Paul’!”
newest Gibson guitar.” campaign. Les Paul as an endorser wasn’t all Meanwhile, Fender managed to
The Les Paul Model sported two cream- that useful – by 1953, his popularity was on cash in on Gibson’s oversights and the
coloured soapbar P-90 pickups, a trapeze a downhill slope. The Les Paul Model was company went from strength to strength.
tailpiece, a bound carved maple top, a being endorsed by Les, but he was playing “Fender sales of solidbodies in the 50s
solid mahogany back and a one-piece were way ahead of Gibson,” continues
mahogany neck with a bound Brazilian George. “The production figures aren’t so
rosewood fingerboard, and was finished · readily available, but Fender far out-sold
in gold as standard. In typical Gibson Gibson. The Les Paul is a wondrously
style, it appeared to be a classy, upmarket fine R&B guitar, but Gibson’s marketing
instrument – not too out of place among “The Les Paul is a wasn’t necessarily well directed. R&B
its range of finely crafted archtop jazz fine R&B guitar, but throughout most of the 50s was played
almost exclusively by black folks who
guitars and flat-top acoustics.
Attempting to build upon renaissance
Gibson’s marketing typically were not going out and buying
man Les Paul’s fame as a jazz-pop artist of wasn’t necessarily new Les Pauls, so you didn’t really see black
the 1930s and 1940s, Gibson established well directed” performers endorsing Gibson products
him as the name and face of its fledgling until the late 60s.”
instrument. Inventor Les – having brought GeorGe GruHn In tandem with Fender’s success in the
the guitar into production in collaboration newly established solidbody electric guitar
with Gibson – appeared to be a suitable market, it was also expanding upon its range
endorser. However, with the rise of rock · of amplifiers. From their introduction in
’n’ roll and R&B during the 1950s, his 1946, Fender amps were originally intended

1. Joe Glaser’s ingenious

1952 Goldtop bridge
piece replacement
effectively substituted
this original trapeze
tailpiece part found
in the case
3
2. The 1952 Goldtop

control cavity shows
original wiring, pots for use with lap steel and doubleneck steel normally a very bright-sounding guitar, but
and ‘grey tiger’ instruments. With an already established the Pro-Amp filters out the harsh top-end
tone capacitors range of amps available as the electric guitar really nicely. If you turn everything fully
(look closely!)
craze gathered momentum, Fender literally up it has the most bad-ass sound you’ve
3. 1952 Goldtops had no had the stage set for guitarists to plug in and ever heard; it’s really fat and breaks up like
serial number; serial turn up the volume. And as the company a bigger version of a [Fender] Deluxe. It’s
numbers appeared further aimed to accommodate the electric got loads of bottom-end – I think having a
on the back of the
headstock in 1953 guitarist, the size, power and flexibility of bigger [15-inch] speaker in it gives it some
its amps increased accordingly. Released extra beef, and if you smash the front-end
in 1946, the Professional amp – renamed with gain you get this amazing sag. You hit
the Pro-Amp in 1947 as it received the new- a chord and it just explodes and blooms!”
look ‘TV front’ style – was originally top of The designs of today’s most popular amps
· the line, and although it was superseded and guitars haven’t changed a great deal
by the first tweed amp in production, the since they were first released, although
Dual Professional, in 1947, it temporarily in many cases – particularly with the Les
“When I picked up remained the most powerful amp on offer Paul Model – it took a significant number
and housed a large 15-inch speaker. of years for their full potential to be widely
[the ’52], it just made Fender amplifiers such as the Pro-Amp recognised. Many players agree that the
me play better! You can were ready and waiting for electric guitars original vintage guitars far surpass their
tell someone’s played and immediately enabled guitarists to modern equivalents or reissues, which has
achieve an outstanding tone that proves just pushed up their demand and subsequently
the arse off it – but as popular today. Guitarist Joe Mountain – due to their relative scarcity – the prices.
they’re always the best of The Blood Choir, owner of the 1950 “The Les Paul models from the 50s didn’t
Pro-Amp pictured, agrees: “Pretty much sell remotely as well as they do today,”
vintage guitars” any guitar you put through it sounds really George points out. “The manufacturing
Joel Peat, lawson good, but my Telecaster plugged straight level at that time was miniscule compared
in with the bridge pickup on is one of the to what is made today, but if you think about
best guitar sounds I’ve ever heard – that’s it, a guitar that’s properly built could last
· what sold the amp to me. The Tele is 200 years and they haven’t really made any

E
B
C
A. This tweed was B. This cabinet was C. This is a replacement D. The components E. Three ‘chickenhead’ F. Three dual-triode
re-covered by highly constructed using Alnico magnet, paper here are hand-wired knobs are labelled 6SC7 preamp valves
regarded pre-CBS pine; earlier Fender cone, eight-ohm using cloth wire; ‘TONE’, ‘INST. VOL’ were commonly used
Fender cabinet amps are often Jensen P15N 15-inch large orange, red, and ‘MIC. VOL’. With in the Pro-Amp up
shop ex-employee referred to as speaker. Originally, blue and dark brown four inputs, various until the early 50s
Sam Hutton, and ‘woodies’ and are this Fender Pro-Amp capacitors are mostly members of the band when they were later
is distinguished by constructed from was fitted with a vertical facing among would often plug into replaced by the 12AY7
the yellow crayon ‘$’ various hardwoods Jensen F15N Field the various striped the same amplifier and 12AX7 type widely
signature mark in the such as mahogany, Coil speaker resistors (vocals included!) in use today
bottom of the cabinet walnut, maple and oak
1952 & 1954 Gibson les Paul Goldtops historic hardware
4. The ‘Coke bottle’ 5U4G

rectifier valve converts
AC mains voltage into
the DC required by the
two 6L6G power valves
pictured to its right
5. The Pro-Amp ‘tube

chart’ lists the type and
number of valves in the
amp and would normally
show a serial number in
the top-right area
6. The second generation

‘FEnDER’ metal badge
logo, as seen on ‘TV
6 front’ Fender amplifiers
major design innovations since they first not good-playing guitars because of the Guitarist Joel Peat of Lawson later
appeared. Nowadays, a lot of instruments small frets, the shallow neck angle and the stumbled across Andrew’s ’52 Les Paul
are used to make music that they weren’t bridge,” Andrew explains. “But I thought, Model while it was on sale in Chicago
originally designed for, and that goes way ‘I can easily sort this out’ – apart from a few Music Exchange and instantly fell in love.
back to Stradivarius violins.” minor things, it was completely straight “I was on tour with Lawson and we were in
and it had really good pickups, so I bought Chicago, so I popped into Chicago Music
From Flawed to Flawless it. I had it refretted by a guy here in Chicago Exchange,” remembers Andrew. “When
The Les Paul’s immediate lack of popularity and [famed luthier] Joe Glaser, who’s a I picked up this guitar, it just made me
may in part be due to some of the design good friend of mine, developed a tailpiece play better! It was inspiring and sounded
features often perceived as problematic, that you put on the original trapeze setup incredible. It’s quite special when an
such as its noticeably small frets. While so that you can wrap the strings around the instrument grabs you like that – it means
sales continued to decline, other such top and intonate it. I put it on and it worked something when it’s that good. It’s not in
shortcomings were subsequently reviewed perfectly. It also got around the problem of perfect condition – you can tell someone’s
and resolved over the course of the 50s the shallow neck angle. Everything that was played the arse off it – but they’re always
as the guitar evolved: the trapeze ‘strings done to that guitar was done for functional the best vintage guitars. The ones that have
under the bar’ bridge/tailpiece was reasons and it turned out great!” got a bit of wear and have been out on the
replaced in 1953 by a ‘wrapover’ stud road, they’ve been loved because of the way
bridge/tailpiece and allowed players the the guitar sounds and feels. I used it on the
ability to palm-mute strings; the neck angle · last [Lawson] album, Perspective. It’s on the
was deepened in 1954 giving better all- intro to Love & War. The song starts with
round playability and sustain; and in 1955 that guitar and I played it through a Leslie
the ‘wrapover’ bridge was replaced by the “If you turn everything cabinet and it sounded great.”
intonation-friendly Tune-o-matic bridge up, [the Pro-Amp] has Eventually, the guitar made its way to
and ‘stop’ tailpiece. Vintage ‘n’ Rare Guitars in Bath, where it
Although aware of its flaws, Andrew
the most bad-ass sound subsequently proceeded to tempt all those
Yonke, CEO of Chicago Music Exchange, you’ve ever heard” within its reach: “I kind of thought I’d like
originally acquired the 1952 Les Paul to exchange all of my guitars just for that
Joe Mountain,
Model pictured here through Heritage tHe BlooD CHoir one!” recalls Alex Blain of the store. “The
Auctions in the USA for his personal pickups sounded amazing, particularly
collection, before later selling it on in the the front pickup, but the combined sounds
store. “Those original 1952 Les Pauls are · of both the front and back pickups were

7. The 1954 Goldtop 8. Ageing cracks in the

headstock shows the top lacquer run along
ink-stamped serial the body of the 1954
number in ‘X XXXX’ Goldtop and strongly
configuration (the first indicate a refinish
digit denotes year) (typically, they run
across the body as seen
8. This 1954 Gibson Les on the 1952 Goldtop)
Paul Model instruction
manual gives detailed
information on how
to use the controls
(just in case you
were wondering!) 9
unbelievable! I’ve never known another pickup that sold me on the ’54 initially,” in the control cavity. I think it felt a little bit
guitar to clean up so well. You could have Nigel remembers. “There was nothing less approachable than the ’52 because it
the amp on full tilt, almost on meltdown polite about it. The bridge pickup has a very was cleaner and that influenced the way I
kind of crunch, and then just roll back the rounded, raggedy tone, but it’s quite tricky played it. But the ’54 sounded pretty mean
volume down to 1 or 2 and it had a perfectly to record with as it dominates and takes up with all that great wood and the P-90s. The
clear tone, with no loss of sparkle at all.” a lot of space, which is sort of its downfall neck is a bit chunkier than the ’52, which a
Paul Tucker, also of Vintage ‘n’ Rare for me, and so I rarely record with it now.” lot of people prefer.”
Guitars, recalls his initial impressions “The ’54 is a very good all-rounder,” says Original Les Paul Models are certainly
upon playing the guitar for the first time: Alex. “It’s got much more of a gutsy bridge in demand these days – something Nigel
“The neck was the perfect profile for me. pickup, so I’d probably use that for more of knows only too well: “I was going to sell my
If I could have templated that neck and an out-and-out rock sound. It’s an amazing ’54 and buy the ’52, but both were sold to the
replicated it, I would’ve done! It wasn’t too guitar, but somehow it doesn’t have quite same guy the day after they were put up for
big or too slim and it was the perfect width.” the same magic as the ’52. Maybe because sale. Vexed doesn’t come close to expressing
Guitarist Nigel Pulsford was so impressed it’s been refinished it feels newer, like it my anguish, but there are always more
with the guitar that he decided to sell his hasn’t been worn and played. The ’52 feels guitars to be had!”
’54 Gibson Les Paul Model in order to fund like it’s been played a lot over its entire life.”
its purchase, whereupon both Goldtops “The ’54 is a refinished ‘all gold’ [top, Guitarist would like to thank Vintage
pictured were suddenly available for sale back, sides and neck, originally],” adds Paul. ‘n’ Rare Guitars, Gruhn Guitars and
in the shop in Bath. “It was the unruly neck “There are traces of the original gold paint Chicago Music Exchange

Fender Brad Paisley road Worn TelecasTer review
f e n d e r B r a d p a i s l e y r o a d w o r n
telecaster
Fender’s sharp-suited collaboration with country picker Brad Paisley
cer ta inly l ooks t he pa r t. bu t, w e wonder, is i t a l l h at a nd no c at t l e ?
Words Neville Marten Photography Neil Godwin
Price £1,079 Contact Fender Musical Instruments EMEA Phone 01342 331700 Web www.fender.com

review Fender Brad Paisley road Worn TelecasTer Video demo http://bit.ly/guitaristextra
what you
w
need to know hen your name’s Paisley and you’re a beautiful, with masses of lilac coloured,
country superstar who’s been playing the foxglove-like flowers. The paulownia and
What’s the skinny on socks off Fender Teles all your life, it seems spruce sandwich makes for a supremely
1 Brad Paisley, then?
Probably the hottest
perfectly fit that the company and the man
should get together to produce a signature
light, acoustically resonant guitar.
Most obvious to the eye, of course, is the
and most entertaining ‘paisley’ style guitar. Of course, ‘paisley-ised’ silver sparkle nitro finish and clear plastic
country singer, Teles are no new thing – Brad has been pickguard with black and blue-grey paisley
songwriter and guitarist playing an original pink ’68 model for years, printing on the underside. Up close it’s
to hit the scene in as well as several stylised custom versions. stunning, especially under lights, although
decades. Film star But one of many things we like about this some of the effect is lost from further away.
looks, unbelievable tone, one is the fact that for his mainstream Some relic’ing has been applied: lacquer
technique and down-to- model Brad has gone down the affordable checking and some fairly unsubtle forearm
earth attitude have made Road Worn route rather than opting for a wear. But hey, it’s factory made in Mexico
him one of Nashville’s big-ticket Master Built Custom Shop job. and is not a £5k Master Built dream, so we’d
favourite stars. “The thing I’m proudest about this say this is acceptable, but perhaps question
guitar,” he affirms, “is that it’s relatively the need for ageing at all.
And a paisley finish, inexpensive for young guitar players.” He’s Brad stipulated that he wanted the neck
2 too! What’s that?
Although the name is
also happy to point out how involved he
was in other aspects of its design. “I picked
to be fat and comfortable down at the nut
end, for chords and all the speedy pull-
derived from the famous everything from the wood the body is made offs that characterise his playing, but slim
Scottish textile town of, to the pickup rating, neck size and shape. enough at the top for serious country wig-
of the same name, the It’s based on a ’63 Tele that I had, which outs. He also wanted the thinnest of finishes
‘twisted teardrop’ shape was refinished this colour; I then made (this one is oiled Road Worn) so it would
that characterises the a pickguard for it. And Fender said, ‘Oh, wear through on the fretboard and round
design you see here is we’ll make a bunch of these,’” grins Paisley, the back. A soft ‘V’ profile and Fender’s now
actually of Persian origin, proudly of his creation. almost mandatory 241mm (9.5-inch) radius
where it was known as So what’s different about this particular and medium-jumbo 6105 frets complete
boteh or buta. Tele? Well, as we’ve said many times, the the picture for an instrument designed for
model’s simplistic design – Brad calls it a a very serious player indeed.
What wood does “cutting board with a neck” – is the perfect No corners have been cut where the
3 the body use?
The body has a
template for customisation. Be that those
pink paisley and blue flower models from
pickups are concerned, with Paisley
insisting on a custom wound ’64 Tele at
paulownia core. It’s an 1968, f-hole Thinlines, bound-bodied the bridge and Twisted Tele at the neck.
East Asian timber that’s Customs, humbucking Deluxes, exotic Controls are the usual master volume and
used in furniture, for timber versions such as the George tone, plus three-way selector.
soundboards on certain Harrison rosewood, a mahogany P-90 While the bridge base is standard vintage
Eastern instruments, model, triple-pickup-plus-piezo Nashvilles Tele, the compensating saddles take care of
for surfboards and even and a host of others. Paisley’s Road Worn any tuning issues associated with ‘ashtray’
clogs. Almost as light as tells its own interesting story. bridges (T-lovers complain the ‘improved’
balsa but significantly Brad wanted a lightweight guitar so opted six-saddle setup doesn’t cut it, sonically).
stronger, it’s also known for a core of solid paulownia with spruce Essentially, a small section of each brass
as ‘Princess’ wood, said top and back. Growing incredibly fast barrel can be loosened and reset using a
to have been named after (paulownia saplings can gain seven feet in a small hex screw. Almost indiscernible to the
princess Anna Pavlovna single year), it makes for a most sustainable naked eye, it will be a welcome inclusion for
of Russia. Front and back timber as it can also colonise difficult areas those who can’t live with the Tele’s usual
are faced with spruce. where other trees struggle. It’s also rather intonation compromises.

r i v a l s
Fender’s Road Worn 50s Telecaster (£1,026) comes with maple
neck, aged nitrocellulose Butterscotch or Sunburst finished
alder body, Tex-Mex pickups and 6105 medium-jumbo frets. For
something like the ‘real’ Paisley Tele for similar money, Fender
Japan’s ‘Special Release’ model (£999) is a take on the ’68 original
that Brad calls his number one. With alder body and pink, green
and silver ‘wallpaper’ finish and classic Tele layout, it’s a stunner!
Fret-King’s JDD ‘Jerry Donahue’ Country Squire (£899) honours
another great country player. With bound ash top, alder body and
Seymour Duncan pickups, it’s a versatile and affordable alternative
review Fender Brad Paisley road Worn TelecasTer Video demo http://bit.ly/guitaristextra
1. The body relic’ing on

the Road Worn isn’t
sounds
the subtlest we’ve
seen, but it definitely As you can imagine, a guitar that looks
adds the well-played like this is going to be ravenously greeted
vibe sought by Brad in an office full of players. And after being
2. A white hat by John grabbed by a variety of guitarists, a straw
B Stetson is a Brad poll gave this potentially polarising neck
Paisley signature; we a big thumbs up. When performing open
rather like the stylised
logo with paisley
chords and those aforementioned pull-
design woven into it offs to open strings, it’s helpful to have
something to pivot against, so too much
3. Look closely and you meat removed down there can be counter-
can see that a small
section of the A-string productive. However, too fat at the top end
side of the brass can inhibit free soloing, so in that sense
saddle is shifted back this ‘positive compromise’ really works. Of
a tad to provide better
intonation. The bridge
course, it’s not just a country guitar – none
pickup is a custom- of the players here that tried it and loved it
wound ’64, while the are country guitarists; it works for anything
neck is a Twisted Tele you throw at it (Jeff Beck would murder it!).
4. The neck is a clubby Brad has been using the guitar live, so
but comfortable watching a few YouTube clips should
handful down by the confirm our findings that it’s dark, powerful
nut to aid 1st-position
and full of huge Tele tone. The bridge ’64
chord playing and
Brad’s dazzling has a gutsy bark that revels in overdrive but
open-string pull-offs cleans up beautifully. Over at the neck, the
Twisted Tele single coil provides everything

Fender Brad Paisley road Worn TelecasTer review
Fender Brad Paisley

road Worn TelecasTer
PRICE: £1,079 (inc gigbag)
ORIGIN: Mexico
TYPE: Single-cutaway, bolt-on electric
BODY: Solid paulownia core with spruce front
4 and back
NECK: Solid 1-piece maple, ‘oiled Road Worn’
finish, Brad Paisley ‘Stetson’ headstock logo
SCALE LENGTH: 648mm (25.5”)
NUT/WIDTH: Synthetic bone/42mm
FINGERBOARD: Maple (integral to neck),
black dot inlays, 241mm (9.5”) radius
FRETS: 21, medium jumbo (6105)
HARDWARE: Aged chrome vintage-style Tele
bridge with 3 intonatable brass saddles,
Kluson-style 6-a-side tuners
STRING SPACING, BRIDGE: 52mm
ELECTRICS: Fender custom-wound ’64 Tele
bridge and Twisted Tele neck single coils; master
from smooth jazz to sub-Stevie Ray blues unique look. We even like Brad’s ‘Stetson’ volume and tone plus 3-way pickup selector
– it certainly gave our Custom Shop Strat logo on the headstock. WEIGHT (kg/lb): 3/6.6
with Fender Fat 60s pickups a run for its Whatever you think of its livery, as OPTIONS: None
money! The surprise here, though, was the a musical instrument it’s hard to fault. RANGE OPTIONS: Regular Road Worn 50s
middle position: while neck and bridge are Brad’s choice of the unusual paulownia Telecaster costs £1,026
dark, powerful and woody, set the selector and spruce ‘sandwich’ body is inspired. It LEFT-HANDERS: No
in centre position and it goes really hollow weighs next to nothing, seems sonically FINISHES: Silver Sparkle (as reviewed),
and twangy, for a completely new voice inert so the pickups’ and strings’ sound is aged nitrocellulose
that does everything from dirty funk to largely uncoloured by a particular wood’s
Johnny Cash ‘ricky-tick’ rhythm. A fabulous ‘tone’, and it plays great straight out of its
sounding, immensely versatile instrument. gigbag. Also, given its sustainability and the
guitar maker’s never-ending quest for new
verdict timbers, we can see paulownia appearing
Occasionally when famous players get on other models in future.
involved in creating ‘artist’ instruments, Streeting for around the magic grand
the outcome is based on personal quirks means it’s an affordable ‘proper’ musical
9
rather than the desire to make a great instrument, too, and one that could excel in
guitar that anyone can use. However, Brad any number of musical settings, certainly
Paisley’s Road Worn Tele is one of those not just country. Although currently limited
occasions where their input results in a edition, should it prove successful (and we
real workhorse instrument – albeit one have no doubt it will), it would be great to PROS Sharp looks; stunning sounds; very
with its fair share of bling. And while we see the range expanded with other sparkle playable neck; light weight; made with
were unsure at first, the guitar’s look has colours and perhaps a pau ferro (Fender’s sustainable timbers
really grown on us; the pickguard’s paisley new ‘rosewood’) fingerboard. All in all, this
artwork is actually rather subtle and the is a collaboration that’s really worked, and CONS Does it need relic’ing? Flashy looks and
silver sparkle coming through creates a you can’t say fairer than that. fat neck at the nut may not be everyone’s taste

review Eastman SB 59/v & Godin Summit ClaSSiC ltd

Video demo http://bit.ly/guitaristextra Eastman SB 59/v & Godin Summit ClaSSiC ltd review
Different ’Cuts
Beyond the hallowed Les Pauls from Gibson, plenty of
other brands make single-cuts. Here are two refreshingly
different styles from opposite sides of the globe
Words Dave Burrluck
Photography Joseph Branston

EaStman SB 59/ v &

Godin SummiT ClaSSiC lTd £1,769 & £2,299
ContaCt Eastman Musical Instruments Europe BV Phone +31 (0)36 5404478 Web www.eastmanguitars.com
ContaCt 440 Distribution Phone 01132 589599 Web www.godinguitars.com
L
ittle did Gibson know back in the It’s obviously a close cousin of the
What You Need To Know early 50s that its first solidbody classic Les Paul with virtually zero nods to
guitar would spawn a whole industry. modernism. Shape-wise, it’s slightly fuller
Eastman? Don’t they make For many of us, the Les Paul started in 1958 in the lower bouts than a Les Paul, but it’s
1 affordable retro guitars? and was over by the time the restyled ‘SG’ the rounded horn – reminiscent of Gibson’s
No, that’s Eastwood! Eastman makes replaced it in 1961. These so-called ’Bursts Les Paul Personal – that immediately
a large range of acoustic, hollow and have fuelled dreams and obsessions, and provides visual difference. It’s certainly
semi-solid guitars in China. This year, a considerable number of copies, clones, made of the right stuff: the mahogany back
the company took the wraps off its forgeries and fakes. But we still can’t get is one piece, the top centre-joined with a
first solidbody, the SB59, in either an enough, can we? far-from-classic tiger striped maple top but
antiqued French polish finish or more The other side of the single-cut coin is the with a nicely deep, violin-like dishing. The
conventional nitrocellulose finishes. numerous makers who have taken Gibson’s neck, with single-action truss rod, is one
blueprint and added their own twists, quite piece (there are no headstock-widening
We’ve seen Godin’s Summit often simply to side-step Gibson’s legal wings), while the classic LP ‘crown’ inlays
2 before, haven’t we? department. Nonetheless, from the early are referred to as ‘Ocean’ pearl and provide
Yes, it’s been available for a little 50s the influence of the Les Paul began to the only bling with a subtle sparkle against
while, but this year Godin announced leave its mark even if, as with Guild’s M-75, the bound ebony ’board. The 15.5mm-thick
a range of ‘custom shop’ limited many borrowed the style but made it hollow headstock has a matching ebony facing
models, made in Canada, with or semi-hollow. In more contemporary (and truss rod cover) and pearl inlaid logo,
upgraded specs and boutique times, like the Stratocaster, the Les Paul has and a very Gibson-like top lip along with a
pickups from Bare Knuckle and Lollar. been the inspiration for many an electric steep back angle. The neck-to-body angle
from PRS’s Singlecut, to Patrick James is steep, too, meaning that the tune-o-matic
Surely we’re better off with a Eggle’s Macon Single Cut… and many more. seemingly sits quite high off the body. In
3 Gibson, aren’t we? reality, it’s only a millimetre higher than
Well, yes, Gibson originated the model Eastman SB59/v the less-raked looking Godin. Unlike many
and its range of Les Pauls is extensive Eastman’s first solidbody falls into the modern single-cuts, it’s not chambered, nor
and surprisingly affordable (see our former ‘vintage’ category, but our sample weight-relived, and achieves a pretty good
‘Keeping Up The Standards’ feature – a pre-production prototype of this new if substantial-feeling weight of 8.7lbs.
on p112). However, both our reviewed design – looks altogether more hand- But it’s the finish, an antiqued ‘French
models offer a different spin on the fashioned than a late 50s ’Burst. In fact, if polish’, that’ll be hugely polarising. It comes
classic design… albeit with the ‘wrong’ we didn’t know better, we might think that from Eastman’s extensive experience in
names on the headstock! ‘Eastman’ was a solo maker working back orchestral stringed instruments and is
in the 70s hand-making electric guitars in applied by hand. French polish is actually
a garden shed. As we noticed when we first the process, not the material, though it’s
looked at these Chinese-made ‘antique’ typically a shellac dissolved in alcohol. It’s
constructs, when you open the case you do a fairly lengthy process and is nowhere
a double-take: is this really a new guitar? near as hard as a nitrocellulose or the more

1. Along with aged Gotoh

hardware, we get a pair
of Seymour Duncan 3
Antiquity humbuckers.
The standard SB59
uses Duncan ’59s and
a more conventional
gloss nitro finish
2. The SB59/v is certainly

made of the right stuff:
the back and neck
are both one-piece
mahogany
3. Looking like an old

piece of furniture, the
Eastman’s finish is
a traditional French
polish applied by hand
in the company’s
Violin Varnish Workshop.
“It features six distinct
steps,” we’re told,
“starting with base
coat to fill the grain,
colour application,
and concluding with
the French polish.
Ultimately, three or
four coats of material
are applied and
sanded thin”
commonly used polyurethane, polyester or Hardware, too, is aged – the stud tailpiece
acrylic. It marks easily, but is repairable and sitting a little closer than most to the tune-
lets the wood breathe. Aside from its visual o-matic bridge.
impact, the impression of that old-school There are no tricks in the choice of
hand-build is enhanced by quite a textured Seymour Duncan Antiquity humbuckers
feel to the neck back, for example. in their aged nickel covers and the classic
Binding is thin and slightly creamy two-volume/two-tone control setup with
coloured. It’s not the sharpest scraping a shoulder-mounted three-way toggle, all
we’ve ever seen, but looks very vintage-y placed in unshielded cavities.
and hand-done compared with the bright
white binding of the Godin, which is thicker Godin Summit Classic Ltd
and deeper on the body, with inner purfling, The Canadian maker’s single-cut vision
though similarly sized on the neck, creating is altogether more contemporary. Firstly,
a much more contemporary appearance. the outline of the two-piece centre-jointed

4 5
top is more noticeably redrawn from the original: that white binding we have what appears to be 4. Our ‘custom shop’ Ltd
version of the Summit
slight cut-out on the bass-side shoulder, a more open, mother-of-pearl dot inlays – hardly correct Classic uses a pair of
out-curving tip to the cutaway’s horn and a flatter for the classic Standard or Custom style, but Bare Knuckle Mules;
curve to the base of the body. Its depth retains the a nice working guitar touch. the Supreme Ltd
comes with Lollar El
bulk of the original: 47mm at the rim rising to around There are more than a few twists, Rayo humbuckers or
57mm in the centre of the carved maple top. Unlike a however, that take this Summit Classic Gold Foil single coils
Les Paul, there’s a slight rib-cage chamfer on the back. recipe away from its inspiration. Firstly,
The top exhibits quite a classic appearance, with its there’s the centre-jointed two-piece 5. Like the standard
Summit Classics, we
not overdone down-turned flame under the caramel mahogany chambered body, with “five have simple master
brown-coloured light ’burst. The top’s carve is nicely hollow chambers strategically placed volume and tone knobs.
dished, though less so than the Eastman; both volume throughout the guitar’s body”, says The push switch in
Godin. “Each is tap-tuned to a different front of the tone control
and tone are inset, PRS-style. It’s a very clean job.
introduces an active
Joining the neck at the 16th fret, like the original, pitch ensuring rich, musical tones and buffer/boost: Godin’s
neither the neck pitch nor headstock rake are quite as extremely consistent note-to-note balance.” High-Definition Revoicer
extreme as a vintage spec Les Paul, but it’s doubtful Then there’s the use of Richlite for the (HDR) circuit
(or certainly debatable) that either are noticeably fingerboard instead of rosewood or ebony
detrimental to the sound. The neck, with its modern – a material that Godin employs on other
dual-action truss rod, has a spliced headstock and a higher-end guitars.
nicely old-school three-a-side, quite thin-widthed head More modernism appears in the
with its single domed-top lip: it looks like something electronics spec where – despite the
we’ve seen before, even if the central Summit Classic pretty old-school style of the Bare Knuckle
and Made In Canada legends are far from vintage. Mules – we have the active High-Definition
The ‘Limited’ truss rod cover differentiates it from the Revoicer (HDR) that’s engaged via a small
non-custom shop models, too. Along with that bright push-button discreetly placed in front of the

diffErEnt ’CutS SpECS (in mm unless stated)
eaSTmaN SB59/v godiN SummiT giBSoN leS paul

ClaSSiC lTd STaNdard 2017 T
SCale leNgTh 628 629 624

NuT WidTh 43.7 43.15 42.86
Bridge SpaCiNg 51.5 52.5 51
12Th freT WidTh 53.55 52.5 52.79
1ST freT depTh 21.85 21.3 20.25
12Th freT depTh 25 24.05 22.3
WeighT (Kg/lB) 3.96/8.7 3.3/7.3 4.03/8.86
WeighT relief No 5 chamber Ultra-modern
fiNgerBoard radiuS 305 305 Compound 229-356
BodY rim 50 47.4 51.2
BodY max 59.6 57 61.8
freT Size W x h (approx.) 2.64 x 1.24 2.4 x 1.27 2.29 x 1.3
piCKup dC (Bridge) ohmS 8.42k 8.27k 7.06k
piCKup dC (NeCK) ohmS 7.51k 7.26k 7.5k
magNeT TYpe Alnico 2 Alnico 4 Alnico 5
piCKup SCreW pole 475 472 474.5
from NuT (NeCK)
piCKup SCreW pole 594 597 597.5
from NuT (Bridge)
CaviTY Shield No No No
lower tone control and designed to “revoice those who like ’em thin, front to back. Not volumes, of course. Few surprises, but
and augment the frequency range of each surprisingly, the more modern Godin’s neck with a recipe this good that’s certainly well
pickup and allows the player to go from is equally well shaped, with slightly more replicated here, who cares?
passive to active pickups with the simple trimmed shoulders, but simply doesn’t feel Yet the Godin will surprise many players
push of a button”. While the drive remains as big, though again it’s far from skinny with a voice that manages clarity, sweetness
simplistic with a shoulder-placed three-way front to back. The Eastman’s frets are and power with that simple two-control
toggle, controls are condensed with just slightly chunkier and of a similar height to drive. It has a lively resonance, too, married
master volume and tone. The output jack the Godin. Strapped on, the Eastman feels with a lighter weight. The HDR moves
is the recessed circular Tele-type and the heavier and like home; the Godin is lighter it further from the Eastman and not only
bridge is Graph Tech ResoMax design; with less of a body-centred feel. adds clarity (in a musical fashion), but
Graph Tech also supplies the Tusq nut. The differences continue as we plug in. just a very subtle level boost. It cleans up
The airy unshielded control cavity also As ever, we use various references and the the passive treble roll-off effect when the
houses the nine-volt block battery for the Eastman is the most ‘polite’ we have to volume is reduced, and if you just need a
active circuit. The pots and HDR circuit and hand, lacking the clarity of more modern- little more zing, especially with a more-
its switch are all mounted to a central PCB, style builds, not least a 2017 Gibson LP complex pedalboard setup, it’s here. It
which could make modding a little difficult. Standard T, a PRS McCarty or Singlecut, doesn’t quite manage the lower-mid thunk
and our Godin. It’s also the lowest in output of the Eastman and there’s a very subtle
Sounds and setting up a range of sounds from pretty compression – which, depending on your
The Eastman’s neck is similar in depth to clean, boosted clean, Marshall crunch style, could be good or bad. There’s a lot of
the Godin in its lower positions, but fills and boosted, that theme is continued. The single-cut sound here with a very simple
out as you move higher ending up in a full, Antiquities aren’t potted either, which can drive, which could prove a winner if you
rounded handful by the heel – not a neck for be an issue for some players at higher gains/ have more sounds to cover.

Another modern detail is

the use of Richlite for the
Godin fingerboard, instead
of rosewood or ebony. Godin
also uses it on other high-end
models, such as certain
Multiac models; Martin, too,
offers it for fingerboards
EaStman SB59/v Godin SummiT

PRICE: £1,769 (inc case)
ClaSSiC lTd
ORIGIN: China PRICE: £2,299 (inc case)
TYPE: Single-cutaway, solidbody ORIGIN: Canada
electric TYPE: Single-cutaway, solidbody
BODY: Carved maple top on 1-piece electric
mahogany BODY: Carved maple top on
NECK: 1-piece mahogany, glued-in chambered mahogany
NUT/WIDTH: Bone NECK: Mahogany, glued-in
FINGERBOARD: Bound ebony, NUT/WIDTH: Graph Tech Tusq
‘Ocean Pearl’ block inlays FINGERBOARD: Bound Richlite,
FRETS: 22, Jescar medium jumbo dot inlays
HARDWARE: Tune-o-matic-style FRETS: 22, medium jumbo
Back on the Eastman we have no such bells or bridge with stud tailpiece, vintage HARDWARE: Graph Tech ResoMax
whistles, but kicking in a clean booster/buffer from our Kluson-style tuners – aged nickel- bridge with stud tailpiece, Godin
pedalboard does have a similar effect to the HDR, and plated ‘High-Ratio’ tuners – nickel-plated
with a slight level increase there’s little between the ELECTRICS: 2x Seymour Duncan ELECTRICS: 2x Bare Knuckle Mule
two. Still, for many more seasoned single-cut players, Antiquity aged covered humbuckers, covered humbuckers, 3-way toggle
the classic four-control setup is essential to the drive. 3-way toggle pickup selector switch, pickup selector switch, master volume
We’re tempted to conclude that the Eastman is for the individual pickup volume and tone and tone w/ Godin High-Definition
player more in touch with his or her vintage side, but controls Revoicer (HDR) push switch
we’re less sure that, in reality, that’s the case from what OPTIONS: None OPTIONS: High-Gloss Desert Blue
we’re hearing rather than what we’re seeing or feeling. RANGE OPTIONS: The non-antiqued with TRIC case (£1,949)
That said, it’s a guitar we seem to just want to plug SB59 (£1,399) comes with gloss nitro RANGE OPTIONS: The other Summit
directly in and channel our inner Kossoff. finish, in 2 colour options, and covered Classic Ltd is the Supreme with either
Seymour Duncan ’59s Lollar Gold Foil single coils, in Cognac
Verdict LEFT-HANDERS: No Burst Flame (£2,299), or with Lollar
These are two single-cuts that nicely illustrate the FINISHES: Antique Classic varnish El Rayo humbuckers in High-Gloss
options we have in the current market. Eastman’s (as reviewed), Antique Amber varnish Cherry Burst (£2,499). The standard
vision looks and feels like a custom-made instrument; it Summit Classic starts at £1,299
closely follows Gibson’s blueprint with a slightly altered LEFT-HANDERS: No
shape. It’s these combined factors that makes it hugely FINISHES: Cognac Burst
valid and, as we’ve said, the same guitar is available with (as reviewed) – all gloss
a gloss nitro finish, Duncan ’59s and unaged hardware if
you’d prefer – at an even lower cost.
Godin, too, has cheaper alternatives, but its single-cut
vision in this ‘Ltd’ incarnation is top drawer, bringing
something different to the table with its chambered
construction, light weight, Richlite fingerboard, active
HDR circuit and streamlined controls. It’s less vintage-
inspired for sure, but being powered by the excellent
Bare Knuckle Mules, it has a broad single-cut voice.
8 8
As to value, that’s always a difficult one. We have to
conclude that the Godin does seem a little over-priced,
especially when compared with its standard Summit
Classic models (or the price of Gibson’s 2017 Les Paul
Standard T, streeting around £1.9k). And the Eastman PROS Old-school build and PROS Modern take on the single-cut;
in its antique finish? Some have questioned the validity handmade vibe; classic vintage-y vintage/modern voicing; simple drive
of a £1.7k Chinese-made guitar. But we’d suggest you single-cut feel and sounds
let the guitar do the talking. We’d give house room to CONS In contrast to the Eastman,
either – try them both and buy the one that engages CONS Might be too old-school for might be too modern for some in
you. Seriously good single-cuts! some in looks, spec and sounds looks, spec and sounds; a tad pricey?

feature Eastman SB 59/v & Godin Summit ClaSSiC ltd
Keeping Up Standards
Everyone’s doing ‘a Gibson’, it seems. But what exactly is
Gibson doing? Dave Burrluck takes stock…
G
ibson’s mainstream assault on our toying with different woods, many more
hearts and wallets comes from its are chambering or weight-relieving their
USA division, not to be confused single-cuts. “But it’s not a solidbody!” you
with its Memphis and Custom Shop brands. shout. Well, no, but this is 2017, not 1957.
Yes, all the instruments have Gibson on the Things have changed. Gibson’s “ultra
headstock, but – certainly to an outsider modern weight relief”, which is under the
– it’s almost like three different guitar hood of the Standard, is the latest of many,
factories working in isolation. And while and while it hardly produces an ultra-light
certain price-points overlap, it’s the more Les Paul, at 8.86lbs ( just over 4kg), our
affordable USA division’s guitars that most sample is far from a porker.
of us will experience. Its nicely striped AAA top – along with
The USA line is upgraded, changed one of the best finishes we’ve seen on a USA
and tweaked on an annual basis and in model – creates a pretty posh yet classic
recent years – 2015, in particular – it took a aesthetic, but there are plenty more tricks
modernistic turn that seemed to put off as up the Standard’s sleeve. The ’board radius
many players as it engaged. Fast forward to is classed as compound and measures
2017, however, and things have stabilised approximately nine to 14 inches. Yes, the
with a dual tier of models: ‘T’ for traditional, fret ends are the nibs of the binding, but all
more classic guitars, and ‘HP’ as in High are nicely smooth, while the ‘asymmetric’
Performance, for those who want their Les neck profile is slightly D shaped, hardly a
Paul to push the envelope. You choose. classic ’Burst alike, but it feels rather good,
And while many brands can be accused not least if you use your thumb behind.
of not giving us the choices we want,
Gibson USA isn’t one of them. If we focus Sounding Out
on just the Les Paul, the company’s original Still, it’s the sounds and the potential that
solidbody single-cutaway, the range starts again push this Standard forward. Each
with the Les Paul Faded T in Worn Brown volume pot has a ‘coil-tap’ that we believe
or Cherry at a lowly £699 and street price is actually a filter (the DC resistance hardly
nearer £550. We move up through the line changes in this mode, which it would if it
to the Standard: the Les Paul. Now, in its were a conventional coil-tap or split). The
T spec, that might have a retail price of bridge pickup’s tone control is a bypass
£2,299 (the HP model costs £2,699), but switch that runs the bridge pickup direct to
from the large Gibson dealers it seems to · the output, bypassing the other controls and
have settled at £1,899. providing maximum high-end. The rhythm
Since the Winter NAMM show, we’ve had pickup’s tone is an out-of-phase switch.
a request in to look at both the T and HP “On paper, it has a lot Our sample’s back pickup is a little
versions of the Standard, but at the time of going for it – its street underpowered compared with its spec, but
writing (July) we still hadn’t received either. there’s little doubt what you’re listening
In researching our Different ’Cuts feature,
price is tempting and to and it’s a pretty old-school take on the
however, I borrowed a 2017 LP Standard T its innovation creates Les Paul. The ‘coil-taps’ do sound very
simply because if you’re after a new Gibson a guitar that embodies single-coil-y, without the volume drop
Les Paul, it’s got to be a contender. On you experience with most coil-splits, for
paper, it has a lot going for it. Its street the key elements of the example, and it gives another texture,
price, for example, is hugely tempting and Les Paul and moves especially for gained sounds, and summons
its reined-in innovation creates, no, not up soapbar-equipped Specials. That bypass
a vintage ’Burst on a budget, but a guitar
it forward” is a great rock solo voice, particularly when
that embodies the key elements of the Les gained, and that out-of-phase voicing
Paul – and moves it forward. Innovation has
always been key to the history of Gibson and
· might not be exactly the ‘Peter Green’
sound, but it’s proved worthy for a variety
this Standard model does nothing to erode of voices, ranging from nasty gained gnarl
that reputation. and 70s-tastic funk, to clean King-style
model was designed back in the early 50s, (BB or Freddie) blues.
Changing Times of course, when supplies of choice South It’s one of the best new Standards that
Securing wood of the correct variety, American mahogany were plentiful, but this writer has had in his hands for some
condition and weight has been an ongoing today’s choice is much, much more limited years. Here’s hoping we get to fully road-
issue for every maker on the planet. The and expensive. While some makers are test it in a future issue.

feature Eastman SB 59/v & Godin Summit ClaSSiC ltd
Beyond The ’Burst

Not all single-cuts follow the Les Paul blueprint.
Here are six examples with a difference…
GreTsch G5435T supro Dual TonE £799 Gordon smiTh GS-1 ‘60’ £895
ElEcTromaTic Pro JET £529
Part of the new Supro Americana series that hails The UK’s longest-running production electric guitar
This Les Paul ‘clone’ that was never a solidbody from China, the Dual Tone emulates the original company is now in the hands of Auden – and going
kicks off the current Jet line and uses a chambered 60s model but with a moulded plastic ‘Acousti- through quite a renaissance. We took a look at this
basswood back with arched laminate maple top, Glass’ top and chambered mahogany back. The in issue 419 and while the base model starts at
‘Black Top’ Filter’Tron pickups and a Bigsby B50. Vista-Tone pickups look like humbuckers, but are £600, you can add options such as locking Gotoh
Colour options are Black or Silver Sparkle, while a single coils that closely emulate the originals. tuners, all-mahogany construction, a deeper
hardtail version (£445) and Professional Collection There’s plenty more in this range and also the 44mm-thick body, a proprietary P-90-style soapbar
Duo Jets (from £2,359) are also available. solidbody Island series, which starts at £899. single coil, and a gloss-topped solid-colour finish.
www.gretschguitars.com http://suprousa.com www.gordonsmithguitars.com

Eastman SB 59/v & Godin Summit ClaSSiC ltd feature
prs S2 SinGlEcuT Guild nEwark ST m-75 GiBson mEmPhiS ES-lES Paul

STanDarD SaTin £999 ariSTocraT £980 from £2,499
USA-made S2s are becoming the go-to guitars for Introduced in 1954, this oh-so-Les Paul was in fact It took Gibson a while to cotton on that numerous
those of us who can’t stretch to the full-blown Core- a hollowbody, a down-sized jazzbox. The current makers had crossed its ES-335 with its Les Paul,
level PRSes. There are four single-cuts to choose version is still unique, but with Franz-style soapbar but the company finally released the ES-Les Paul
from and this start-up all-mahogany solidbody now single coils, it’s superb for old-school jazz and in 2014, starting with the Studio (£2,499). The
has an upgraded adjustable wrapover bridge, #7 blues. Plus the light single-cut weight won’t give pictured Alex Lifeson (£3,299) is one of many
covered humbuckers, four-control layout, and is you round shoulders. Equally valid is the Duncan limited models offered by Gibson Memphis:
one of the few PRSes that comes with dot inlays. ’bucker-equipped semi-solid single-cut Bluesbird. lightweight and surprisingly hollowbody-sounding.
www.prsguitars.com http://guildguitars.com www.gibson.com
sEPtEMBEr 2017 Guitarist 115

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M a n u fac t u r e r pr ic e
P EDALBOARD
MusicPsych £129
Mode l 0207 607 6005

xtoMP Mini www.xtoMP.coM
Hotone
Xtomp Mini
A more compact version of the chameleon-like pedal that provides
a blank canvas for you to fill with whatever effects you choose
Words Trevor Curwen Photography Olly Curtis
H
otone’s original Xtomp, which models being added twice a month), any of load, but once a particular model has been
made its debut last year, might which can be loaded singly into the pedal. loaded, it will only take a few seconds
have seemed an enigma to The app itself takes several forms: it can the next time you want to select it. When
anyone looking at it and wondering what run on a computer (Mac or Windows), you load an effect into the Xtomp, the
on earth its knobs did as none of them making a USB connection to the pedal, or knobs that tweak the parameters for that
were labelled. But perhaps that was it can be a mobile app for iOS or Android, effect light up – some in different colours
the clue, because those knobs could be utilising a wireless Bluetooth connection relating to their function – although
whatever you wanted them to be: the to load the pedal with whatever effect you you’ll have to remember what parameter
Xtomp presented a smart pedal that could want. You just zap a new effect into the each controls from looking at the
be configured to be any effect you wanted, pedal at any time from your phone… representation in the app.
chameleon-style. Now its creators have The app’s Library page has all the
brought out a new version, the Xtomp SoundS models neatly laid out and categorised,
Mini, which has lost the original’s stereo As supplied, our pedal comes with a very mainly single amplifiers, cabinets or
inputs and outputs, in turn making it nice three-knob delay loaded, but with effects, but also with some models
slightly smaller with a more compact and the free app downloaded to our iPhone, working as a pair (Combo). However,
pedalboard-friendly footprint. we’re able to scroll through the available those Combo effects (plus those in the
The key to using the pedal is an app that models, choose one and load it into the Special and Signature categories) are the
provides 140 digitally modelled effects, pedal. Initially, some of the more complex preserve of the original Xtomp and won’t
amp sims and speaker sims (with new models can take up to two minutes to load into the Mini.

Tech Spec
ORIGIN: China
1 TYPE: Smart FX pedal
01 KnobS FEATURES: Selectable
true or buffered bypass
The pedal has six knobs: some APP COMPATIBILITY:
effects have six parameters but Android 4.3/any device
many have a lesser number, so that supports BLE;
only the relevant knobs light up iOS 8.0, iPhone 4S,
iPad with Retina display
02 SocKetS (3rd Gen), iPad mini,
iPad Pro, iPod touch
Input/output jacks are staggered 5th Gen or later
on the pedal – it could save space CURRENT MODELS:
if you’re using multiple Xtomps 30+ amps/cabs, 60+
effects, 50+ Hotone
03 uSb original effects
CONTROLS:
There’s a USB connection should Knobs x6, bypass
you wish to load the pedal from FOOTSwITCh
your computer rather than using 2 CONNECTIONS:
a wireless connection Standard input,
standard output, USB
POwER: 9V 200mA
adaptor (supplied)
DIMENSIONS: 62 (w) x
113 (d) x 43mm (h)
9
3
li br a ry
Models are neatly
laid out in a series of
categories: Amplifier,
Distortion, Dynamic,
2 Frequency, Modulation,
Ambient, Combo,
Cabinet, Signature
and Special
The variety of single effects, however, more unusual effects such as an Electro- not something you’d want to be messing
is outstanding, with models of many Harmonix Q-Tron emulation. with during a set: getting your phone out,
well-known types available, some with selecting the app, scrolling to the effect
thinly disguised names: if you want a Tube verdict you want, loading it and then resetting the
Screamer, Big Muff, RAT, Phase 90, CE-1, While it may lack the stereo operation and knobs for the new effect may be a little too
Uni-Vibe and many others, you’ll find dual effects of its older sibling, the Mini much to ask. But it’s really no hassle if you
pretty accurate emulations here courtesy has two advantages that, in our view, make need to configure it to a particular effect
of Hotone’s Comprehensive Dynamic it a more enticing proposition. Firstly, to see you through a gig, and could be a
Circuit Modeling (CDCM) technology. it’s cheaper (the original retails for £199) lifesaver for those who play with several
In A/B tests with some original dirt and, secondly, it’s easier to integrate into different bands and need a different set of
pedals, we find the Xtomp versions to be a pedalboard. With the advantage over pedals for each. This Xtomp Mini, quite
pretty close and note that the amp sims conventional pedals in that it can be any possibly, represents the most practical
capture the flavour of the real thing. But effect you want it to be, a single Xtomp addition for your ’board out there.
as an add-on to an existing setup, it’s Mini would greatly expand your sonic
likely that the main appeal here lies in possibilities – but imagine the potential PROS Compact; numerous effects; practical
the Frequency, Modulation and Ambient with several Minis, offering a complete bypass options; new models added frequently
effects where you’ll find a vast array revamp of your rig at any time.
of EQ tools, delays, reverbs, flangers, While the loading of the pedal from a CONS Doesn’t load Hotone’s Combo effects;
phasers, choruses, tremolos… and some mobile phone is well implemented, it’s pointing a phone at the pedal isn’t for everyone

m a n u fac t u r e r pr ic e
P EDALBOARD
ElEctro-Harmonix £64
mode l e l e c t r o - H a r mon i x
WailEr WaH Various uK dEalErs / WWW.EHx.com
ElEctro-Harmonix
Wailer Wah
Electro-Harmonix reinvents the wheel by rehousing its Crying Tone
wah circuit in a traditional rack and pinion-style pedal
Words Rod Brakes Photography Joby Sessions
S
ome things they just got right in the sound: yes, it’s essential, but it’s also pretty basic
beginning. Over the years, countless effects and without too much in the way of character, it
Tech Spec
pedals have been refined and redefined, may safely be described as, well, safe! Origin: USA
reviewed and re-engineered, reinterpreted and Electro-Harmonix is virtually heroic in terms of Type: Wah pedal
reissued only to find that we have returned to, taking risks on new and interesting sounds, but the FeaTures: True bypass
more or less, the original design. Such is the case Wailer Wah is a safe bet all round. In operation, it COnTrOls:
with this new Electro-Harmonix Wailer Wah. delivers a clear, expressive and tastefully defined Potentiometer sweep
In truth, there isn’t much new about this pedal: effect across clean, overdriven and heavily COnneCTiOns:
the previous incarnation of the circuit came in the distorted tones. It’s action is solid and intuitive, Standard input,
guise of the Electro-Harmonix Crying Tone in an with the vowel sat fairly low on the sweep. The standard output
attempt to solve the occasional problem of moving top end of the sweep gives sufficient percussive pOwer: DC 9V AC
parts wearing out, while the rack and pinion upper midrange without being too hissy or clangy, adaptor (not supplied)
assembly here harks back to Vox’s original wah and the mid-cocked sounds are just enough to cut 25mA, 9V battery
wah construction. Granted, it’s a construction that through without a grimace of pain or pleasure. (supplied)
may appear plain vanilla in terms of design, but DimensiOns: 87 (w) x
there’s a reason vanilla is still the most popular ice Verdict 252 (d) x 75.25mm (h)
cream flavour! Given its return to form, Electro- The Wailer Wah is a ‘one size fits all’ kind of wah
Harmonix president, Mike Matthews’, goal was pedal, and while some players will be looking
to “build a wah pedal that sounds great, deliver for something more from their wah-wah, it
it at an astounding low price and make it provide sounds great and at £64 offers some very serious
good weight savings”, and in terms of cost (£64) competition to other choices out there.
and weight (around 730g of rugged polymer), the
Wailer Wah is perfectly on point. Pros Inexpensive; light weight; stable and solid
SoundS
Wah-wahs are a pretty basic essential in the effects
feel (despite plastic construction); quiet; smooth
and tactile sweep
cons Plastic construction may put some people
7
pedal world. And that extends to the Wailer Wah’s off; fairly orthodox in terms of sound

P EDALBOARD tOnE mAkERs
M
ike Matthews
In this issue’s ‘Pedalboard’ interview, we hear about effects units
old and new from Electro-Harmonix’s charismatic founder
1 What was the first pedal you built

and how did the design come about?
“The first pedal that I built under
the first store I sold Big Muffs to and he
bought one of the first ones from there.
[Jimi] invited me to hang out at a recording
8 What’s your favourite vintage
pedal and why?
“Basically, I like making and coming out
Electro‑Harmonix was in late 1968 and session and there on the floor he had the with new effects, so my favourite is what
it was the LPB‑1 Linear Power Booster. I Big Muff he bought at Manny’s!” sells! Period. The Big Muff we brought out
hooked up with a guy from Bell Labs who in 1969 and I still sell thousands of them
was working on a distortion‑free sustainer,
and when I went to check out the
prototype I saw a little box plugged into
5 What’s new on the horizon for
Electro-Harmonix effects?
“The really hot stuff we just brought out is
a month and it’s my favourite because
of that! We still sell a lot of LPB‑1s. The
transistors are different, but other than
the front of the amp. I asked him, ‘What’s the Canyon, which has 10 different delays, that the circuit is the same.”
that?’ and he said, ‘Well, I didn’t realise and the Synth9, which has different types
the guitar put out such a low signal, so I
just built a simple one‑transistor booster
to stick in the front.’ When I hit the switch
of synthesiser sounds. We just came out
with a pedal called the Platform, which is
a fabulous ‘stereo out’ compressor/limiter
9 What are your favourite effects
moments on record and why?
“Back in the 70s I became friendly with
all of a sudden the amp was so loud! I said, that has some special features.” [Steely Dan guitarist] Elliot Randall and
‘Wow! That’s a product!’” the [CBS Orchestra] bass player Will
2 What’s your best-selling pedal and

why do you think that is?
6 Can you share your best tone tip?
“A lot of the feeling when you’re
playing guitar comes from the attack
Lee. They gave me this instrumental
album they recorded using only Electro‑
Harmonix effects!”
“In terms of combined total units, it’s the of the strings; it’s that first fraction
Big Muff [variants], but our biggest single
seller at the moment is the Canyon. In
terms of gross dollars, at the moment it’s
of a second – those short‑lived high
frequencies – that have a lot of the feeling.
The audience might not hear it, but the
10 What pedal problems do you
think effects designers have
yet to crack?
a combination of our 9‑series pedals. All guitarist who’s playing it senses it and “True polyphonic pitch extraction. I mean,
of them use the same circuit board – they feels it, and the more they feel, the better eventually as microprocessors get faster
just have different software. They’re they play!” and faster there’ll be better algorithms you
designed by the great British designer can build, but there’s always a problem
– who I think is the best in the world –
David Cockerell.” 7 Name some common mistakes that
guitarists make with effects…
“I don’t know. I mean, I guess everybody’s
with bass frequencies because of the long
wavelength. There’s a time lag in order
to capture what that frequency is, so
3 What makes Electro-Harmonix

effects unique?
“My philosophy is to keep it balanced
a little different… Not using Electro‑
Harmonix pedals for all of their effects –
that’s the biggest mistake [laughs]!”
the latency can be a problem, but we get
around that in certain ways.”
www.ehx.com
between a mix of simple products and
some more complex designs, but not The inimitable Mike Matthews
going overboard with the complexity and founded Electro-Harmonix
carrying on adding stuff to it – that can almost 50 years ago. Here
he is with two EHX newbies,
really muck up the software. Also, I like the Canyon and the Synth9
building in some extra special sounds at
the edge of the controls. Some companies
hate spurious noise, but I like to let the
user decide – they can always back off a
little bit if they want to.”
4 Which notable players/bands

have used Electro-Harmonix
pedals over the years?
“[Carlos] Santana bought a Big Muff from
me using mail order with a Santana cheque
and letterhead back in 1971! The Edge uses
our Deluxe Memory Man; in fact, he just
called up and got a special version – our
1,100‑millisecond Memory Man [1100‑
TT]. Kurt Cobain used our Polychorus
and Small Clone. Jimi Hendrix used a Big
Muff in 1969; Manny’s [of New York] was

P EDALBOARD cOmPREssOR ROunD-uP
cRAvE smOOthnEss AnD sustAin? tRy thEsE
Maxon EarthQuakEr DEvicEs
C
P101 £99 The Warden £205
As part of Maxon’s Reissue series, this ‘set and forget it’ Signal enhancement is strong on the agenda here with
unit offers solid, transparent compression multi-knob control for a natural, nuanced sound
ORIGIN: Japan The CP101 is an optical compressor ORIGIN: USA Another optical compressor, The
TYPE: Compressor pedal with just two knobs, Dynacomp- TYPE: Compressor pedal Warden offers a full complement of
FEATURES: Buffered style, to dial in your sound. There’s FEATURES: True bypass compressor controls to shape your
bypass no obvious tonal colouring going CONTROLS: Tone, Attack, sound. Balancing Sustain (input
CONTROLS: Sustain, Level, on here – this is pretty transparent Release, Level, Sustain, signal fed to compressor) and Ratio
bypass footswitch compression that, from the lowest Ratio, bypass footswitch (strength of compression) knobs
CONNECTIONS: Standard setting of the Sustain knob, adds a CONNECTIONS: Standard determines how much compression
input, standard output touch of dynamic solidity to your input, standard output you’re going to get, and it’s very
POWER: 9V battery or 9V signal. Advance that Sustain knob POWER: 9V DC adaptor natural sounding. The pedal doesn’t
DC adaptor (not supplied) and the compression increases, (not supplied) offer any obvious squashiness even
DIMENSIONS: 70 (w) x although it’s always smooth. There’s DIMENSIONS: 66 (w) x with Sustain and Ratio maxed, but it
113 (d) x 56mm (h) no real sense of having kicked in a 120 (d) x 59mm (h) does keep things solid and consistent,
compressor with this unit – the pedal and there’s also plenty of headroom,
Audio Distribution Group just bolsters your signal and evens it Audio Distribution Group so you can set the Level to drive your
www.audiodistribution out until you get into the second half www.audiodistribution amp’s front-end.
group.com of knob travel where single notes get group.com Tonally, there’s a nice open
www.maxonfx.com a little more snap to their front-end www.earthquakerdevices. sound with no obvious addition or
rather than any radical reshaping of com subtraction of frequencies, but you do
the note envelope. get a Tone knob to subdue top-end or
It’s actually quieter than some other – more likely – give it a boost to make
two-knob compressors, and is one of up for losses due to compression.
those pedals that you can just forget You could always just use that extra
about, leaving it on all the time once top-end to enhance your signal,
you’ve found an optimum setting to making this a good choice for an
suit your style. [TC] always-on tonal component. [TC]
VERDICT An easy-to-use, solid performer offering
nicely transparent control at an attractive price 8 VERDICT Expensive, but those six knobs will
deliver nuanced compression for a range of tasks 8
EMMa ElEctronic FairFiElD circuitry
T
ransMORGrifier £135 T
he Accountant £155
If you’re after vintage-style compression, this delivers It may have simple controls, but this pedal gives you
with a distinct voice and plenty of character more than compression with a few tricks up its sleeve
ORIGIN: Denmark Hand-built in Denmark, this pedal ORIGIN: Canada This JFET compressor offers a
TYPE: Compressor pedal offers compression control via four TYPE: Compressor pedal simplified interface. The single knob
FEATURES: True bypass knobs. Ratio turns up the effect FEATURES: True bypass adjusts the output volume, while the
CONTROLS: Level, Release, balanced against the Level knob, CONTROLS: Volume, Ratio compression is determined by two
Attack, Ratio, bypass which sets the right volume for your switch (1/2/3), Pad switch three-way toggle switches: a Ratio
footswitch signal chain. Even at lower levels (1/2/3), bypass footswitch switch that offers three different
CONNECTIONS: Standard of the Ratio knob you get a decent CONNECTIONS: Standard compression ratios of increasing
input, standard output amount of compression, the sort that input, standard output strength, and a Pad switch that sets
POWER: 9V battery or 9V adds a consistency to your playing. POWER: 9V DC adaptor the input level, with higher input
DC adaptor (not supplied) At the other extreme of the knob, (not supplied) levels offering more compression.
DIMENSIONS: 94 (w) x there’s a ton of squashy compression, DIMENSIONS: 45 (w) x With nine possible combinations, the
123 (d) x 48mm (h) which has a considerable effect on 92 (d) x 48mm (h) heaviest compression will be when
your note envelope – it’s here the both switches are set on position ‘2’.
Audio Distribution Group Attack and Release controls offer a Audio Distribution Group It’s more than just compression,
www.audiodistribution very effective shaping facility with a www.audiodistribution though. There’s a tone-enhancing
group.com wide degree of variation for anyone group.com treble lift and loads of scope for using
www.emmaelectronic.com wanting a click, snap or pop at the www.fairfieldcircuitry.com the pedal as an amp boost. You can
front-end of their note. Release is also get some gritty drive with the
particularly effective in dialling in Pad switch set to ‘1’ or ‘2’. The lighter
more sustain as it facilitates the note compressions keep signal dynamics
blooming and rising in volume after naturally in check, or you can switch
the initial compression. Not exactly to the highest compression ratio
transparent, there’s a slight treble where there’s a large amount of
boost and low-end loss, but that may squash with altered note transients
suit some players. [TC] for the chicken-pickers. [TC]
VERDICT A characterful choice for those who
like their compression as an obvious effect 8 VERDICT Micro pedal with easy operation that
adds a bit of colour, plus bite and grit 9
m a n u fac T u r e r Pr ic e
P EDALBOARD
Green Carrot Pedals £130
mode l gr een c a r roT Peda ls

PumPkin Pi www.GreenCarrotPedals.Co.uk
Green Carrot Pedals v i de o de mo http://bit.ly/guitaristextra
P
umpkin Pi
With so many Big Muff clones on the market, it can be a tricky choice
to make. Enter this orange option, which gives you two offerings in one
Words Trevor Curwen Photography Olly Curtis
T
he Electro-Harmonix Big Muff Pi is box, capable of a useful range of overdrive sounds
possibly the most popular distortion/ with good note clarity as well as buzzy fuzz tones.
Tech Spec
fuzz pedal of all time with a list of famous Besides the standard Sustain, Volume and Tone ORIGIN: UK
players across a range of styles. It is also one of the knobs, a toggle switch offers three different tonal TYPE: Twin channel
most cloned, although with the different historical variations including a scooped midrange option. distortion pedal
Muff circuit variations reflected in these clones, The IC78 is more gainy, compressed and FEATURES: True bypass
choosing which to buy could cause brainache. thicker sounding and would be the go-to channel CONTROLS: Sustain x2,
Green Carrot Pedals may have the solution, for sustained leads that take off into harmonic Tone x2, Volume x2,
though: its Pumpkin Pi features two different Big feedback. While its Tone knob offers the usual Shape switch x2,
Muff circuits, each with its own footswitch with wide Big Muff range, you can bypass it completely Bypass footswitch x2
the option of using them totally independently or with the toggle switch for a more direct signal CONNECTIONS:
with one feeding the other for a full-on Muff-fest. path with EQ that is just right for cutting through Standard input,
The first channel features a ‘Green Russian the mix. Using both channels together there’s the standard output,
Muff’, a variation that was produced in Russia obvious option of using the Russian as a booster POWER: 9V adapter
in the 1990s and is strongly associated with Dan for the IC78, but go beyond that and you’ll discover (not supplied)
Auerbach of The Black Keys. The second offers a creative juxtaposition that can yield a host of DIMENSIONS: 97 (d) x
the ‘IC78’ Muff, a late 1970s innovation that – in a practical distortion/sustain variations. 128 (w) x 53mm (h)
change from the usual four-transistor versions –
featured two op-amps (ICs) and was the preferred verdicT
choice of Billy Corgan of Smashing Pumpkins. This is a great idea that’s smartly implemented in
The Russian can cascade into the IC78. a home-grown pedal that doesn’t cost the earth.
So why take just one Big Muff-style pedal on stage
sounds when you can have two?
The choice of these two circuits is inspired,
because they feature a good amount of sonic
variation between them and complement each
Pros Two different-sounding Muffs in one pedal;
cascading option; extra switched tonal variations
9
other nicely. The Russian channel is a versatile dirt cons No battery power

P EDALBOARD BOARD GAmEs yOuR PEDALBOARD
PROBLEms sOLvED
the background the questions
Jame s Gray, 1 a r e t her e a n y ru les – or

G u itarist rea der: Just s ome Gu i da nc e – a bo ut
what k i n d of p eda ls wor k
“I’m having a trouble choosing overdrive pedals because of the wi t h d i f f er en t a mp s?
way they react so differently with different amps. I might watch
one demo where a pedal sounds really, really distorted and
another where it sounds much cleaner, even though the settings 2 i f i ha d a boost, over d r iv e
and the guitar are very similar. All I want is a wide range of gain a n d f uzz, how wou ld you
available from the ’board, from just breaking up to a heavy gain or d er t hem i n t o my a mp (s) ?
yet clear tone. I have two amps – an Orange TH30 and a Marshall
DSL40C – though I don’t use them both at the same time.”
boost, od & f uzz: c lea n a mp

To amplifier’s instrument input
Experiment with order of all three
From guitar
OD BOOST FUZZ
boost, od & f uzz: d r i v en a mp
To amplifier’s instrument input
Send
Return
From guitar
BOOST OD FUZZ
the answers
This is the fundamental of all electric We’d be looking at a full-range boost not even need an OD with the right boost
guitar sounds, James: gain structure. that can boost clean sounds, and/or drive and fuzz combination.
And you’re right, different pedals the amp’s OD into sweeter drive and
sound radically different with different compression without overly colouring the 02 If it’s a germanium fuzz, run that
amps. But don’t despair… sound. Having some bass attenuation will first. Then you can use the boost to boost
help with clarity. Fuzz-wise, the world is it louder. If the fuzz plays nicely after
01 Gain, compression and EQ: a Tube your oyster. Marshall and Orange amps the boost, try that, too, for some wild
Screamer works so well with a blackface tend to like fuzz because you can have compression and gain. As for boost and
Fender because it offers the amp a bit of the front-end of the amp breaking up OD, running boost first will push the OD
compression, a kick in mids and enough slightly. Fuzz Face, Big Muff, Tone Bender, into much heavier saturation; running it
gain and level to take all that sparkly clean Power Driver… all sounds that you should after will give you a level lift after the OD…
stuff into nice overdrive. By contrast, both experiment with. As for ODs, there are just but only if your amp is set relatively clean.
your amps have a lot of available gain, quite so many. Avoid a big mid hump, we’d say, If the amp is set dirty, you’ll just get more
a bit of compression in the front-end and a and go for something with plenty of sizzle gain and compression. In that case, try the
totally different EQ character. if you’re playing in a rock style. You may boost in the loop. Good luck!
Em ail us your quEs t ions: guitaris t@futurenet.com

We test the best of the rest
of the month’s new gear
Photography Neil Godwin & Joseph Branston

Martin 00LX1AE £649
CONTACT Westside Distribution PHONE 0141 248 4812 WEB www.westsidedistribution.com
With recent years seeing Martin and where aesthetic factors could divide, first
Taylor aim for the hearts and minds of impressions for the 00LX1AE, in terms of
new, younger players with their respective the Martin playing experience, makes a
Dreadnought Junior and Academy very clear case.
models, it’s easy to assume the entry level
of the market is a new focus for them. Sounds
But that’s not the case. Martin’s X Series It doesn’t take long to discover that this
was established with that in mind some feels and sounds like a Martin. The action
time ago. And just as the Dreadnought is very low and fast across the synthetic
Junior isn’t just for younger hands, the Richlite ’board, aided in the higher reaches
idea of scaling down in price and size for by the unintrusive heel. The playability
iconic brands should still carry a weight here even bears well after tuning down half
of expectation. Martin’s reputation means a step. The balance and sparkle we hope
a high standard is expected – not least to for every time we pick up a Martin shines
welcome players to its world and maybe from this guitar. Anyone expecting a mid-
even keep them loyal for life – even when dominant sound will be surprised at what
the materials being used are markedly an all-rounder this proves to be. There’s a
different to its higher end models. surprisingly rich bottom-end in play, too,
So while the grain of the back and sides for a small-bodied guitar, and the projection
appears to be mahogany, it’s an effect. The would be enough to woo dreadnought
X Series has long employed High Pressure players who want a smaller body.
Laminate (HPL) for these parts, causing The 00LX1AE is responsive in a way
some players to wrinkle their noses. HPL that all acoustic players will appreciate;
uses highly compressed wood fibres, and it encourages more dynamism in
in combination with a traditional solid fingerpicking especially, rewarding a
wood top in the building process, Martin lighter touch with its shimmering highs
claims it results in an instrument that equally as much as its chordal qualities
still possesses the famous Martin sound. under heavy strumming. The onboard
HPL also offers a distinct advantage: its Fishman Sonitone system reflects some
durability. It can withstand wear and tear of these organic qualities, but it’s a solid
better than many solid woods, and even performance compared to the detail and
some layered laminates, while it’s also more organic qualities we experienced
better at standing up to the temperature/ with the Taylor’s ES-B system on its
humidity fluctuations caused by everyday Academy models.
conditions and seasonal change that can
affect your guitar. You’re more likely to be Verdict
able to leave this on hand and away from a This guitar throws up an interesting
case and humidifier. question: beyond the top, how much
The neck’s Stratabond Rust Birch difference do tonewoods make to an
laminate doesn’t opt for a grain effect acoustic guitar? Martin is ahead of its
and its stripes of multiple birch layers competition in making its recipe work to
are again something of a Marmite look achieve stunning sound – though it’s worth
compared with good ol’ mahogany. It’s noting its shorter-scaled Dreadnought
said to be stronger than the latter, and Junior electro offers solid sapele back and
the satin feel here is welcoming, but the sides at the same price (plus a gigbag that’s
comparative weight of the neck seems not offered here). This guitar is a reminder
surprisingly heavy for this small shape, not to come to hasty conclusions based on
although the position of the strap button spec alone; you really need to play a guitar
on the underside of the neck heel means to know if it’s going to light your wick – and
this doesn’t prove a problem on the strap here’s a little chap we suggest you add to
standing up. The Martin tuners perform your ‘must-try’ shortlist. [RL]
well on our test model, but they seem a little
8
large on this otherwise understated 00,
perhaps again contributing to the weight;
we’d prefer a butterbean design. However,

SamSyStemS IM12 £107
CONTACT SAM Systems 2012 Ltd PHONE 07887 791406 WEB www.samsystems-uk.com
While there’s an increasing number that’s less than ideal and resulting in a movement noise. While it works equally
of cabinet simulators to help guitarists less-involved performance. well in the studio, the stage advantages
achieve fairly realistic mic’d up sounds So consistency from one night to the are so obvious one must ask why nobody
for live or studio use, a real microphone next is very desirable and now there’s a has done this before! A consistent sound,
is still the most popular and effective way to achieve it with the new IM integral night after night, makes a FOH engineer’s
method of extracting a guitar amplifier’s microphone system from SamSystems. job so much easier – if you travel with the
tone and transferring it to a PA or a DAW. The IM is a circular band of high-quality same PA your channel will never need to
In the studio, if time allows, guitarists and engineering plastic with a central moulding be touched and all your crew need to do is
engineers often experiment with different incorporating a high-quality super plug in a lead. It also means one less stand
mic types and placement. However, for cardioid dynamic microphone capsule, to trip over, making a stage look cleaner and
live work, time is a luxury and those rare, designed to point at the right part of a guitar less cluttered. If your cab has two or more
expensive studio microphones are kept in loudspeaker cone. Installation is simple: speakers, you can fit two IMs and go stereo
the safety of their flight case while sound the circular support has holes to fit nearly without running out of microphones.
engineers often deploy tried, tested and all standard loudspeakers, it’s just a case
expendable standbys in front of guitar amps of removing the bolts holding the speaker Verdict
– usually a battered SM57 that’s done a few to the cabinet baffle, fitting the IM over Currently available for 10- and 12-inch
gigs too many. the cone and replacing the bolts. The IM’s loudspeakers for about the same cost as a
At close range, microphone placement microphone terminates in a flush-mounted decent mic, SamSystems’ IM is a no-brainer
is a big variable to consider, with audible plate with an XLR chassis plug that can be for any working guitar player, offering fit-
differences from a centimetre or two of fitted on the rear of any speaker cabinet. and-forget peace of mind and great value
movement, so all it takes is a small nudge for money. Check it out now and hear your
to turn a great guitar sound into one that’s Sounds on-stage sound improve. [NG]
mediocre. It’s something that can easily We tried out the IM12 model ready-fitted
9
be fixed in a recording studio, but on a live to an Orange valve combo into a house PA
stage it’s a last-minute repair at the desk, system with impressive results: a clean and
leaving the guitarist with an onstage tone clear signal, with almost zero overspill and

Longtermers
A few months’ gigging, recording and everything that goes with it –
welcome to Guitarist’s longterm test reports
PRS S2 Not-So-Super Eagle

with Dave Burrluck

Longtermers
Writer Mayer’s Super Eagle circuit is super-
Dave Burrluck complex with coil-splits for all three pickups
Gear reviews editor, Guitarist plus an active preamp and a treble boost. It’s
In this extended laid out in a very different way to the S2, so I
edition of needed to compromise. I ditched the idea of
Longtermers, our splitting the centre DiMarzio, which meant I’d
reviews editor
only need two coil-split switches; instead of
prepares the Not-So-Super Eagle
and compares it with the real the two active switches of the Mayer model,
thing – in a David versus I’d just need one for an EMG PA2. To add my
Goliath-style showdown! own spin, I planned to install a ‘Seven Strat’
mod via a push/push switch on the tone
control, which adds, in this case, the bridge
pickup to the neck, plus – with the selector on
T
he idea of building our own ‘PRS neck and middle – all three pickups.
Super Eagle II’ started off as a bit of a With careful thought and even more careful
jape, and some hours into the rebuild measurement, I drilled two holes for the
of a PRS S2 Custom 22 Semi-Hollow I was coil-split switches (SPDT) between the tone
thinking I might have drawn the short straw. control and the end of the new five-way lever
I’d started off by stripping the chassis of its switch. I pondered the PA2’s positioning for
parts, cutting back the non-current opaque even longer, deciding the only place it could
black finish and hand-buffing it back to an go is behind the volume control. The wiring
ebony-like sheen. It’s a job and a half, but I proved reasonably complex, and if you’re
was pleased with the results: it looked like a considering a similar mod then be prepared
guitar that had been well used for a couple of to put the time in. If you’re not confident, seek
decades. As soon as I was done, I received a out a pro who probably won’t forget about the
call from PRS Europe’s super-salesman, Jez nine-volt block battery for the EMG preamp
Ayscough, announcing a possible audience like I did… I just about found room and, after
with the real £11k Super Eagle II John Mayer a couple of false starts, it all worked. The only
signature in a couple of days’ time. I suddenly blip was the cover for that DiMarzio: the white
needed to finish the Not-So-Super Eagle cover it came with is oversized and I didn’t
rather more quickly than I’d anticipated. have a black one. The naked pickup looks
It was the electrics that concerned me. pretty cool, though – it’d just have to do.
Yes, I had a pair of PRS 57/08s – the closest I knocked the edge off the nickel plating on
I could get to the Super Eagle’s Mayer-spec the vibrato, strap buttons and a bit more from
’buckers. You can’t buy a mini-humbucking the nickel vibrato screws and scratchplate
Narrowfield, so Chris George had routed a screws, plus I added ebony buttons to the
standard single-coil-sized hole for the middle chromed PRS tuners, just like Mayer. I didn’t
pickup. Without time to consider the best fit, have time to replace the friction-reducing nut
it was back to the ‘bits box’ where I found a with a bone blank I’d bought because refitting
DiMarzio Area 58 hum-cancelling, single-coil- the parts, stringing up and setting up still had
sized humbucker and, hey, the 58 bit tied in to be done.
with the ’57 bit of the PRS pickups. Throw me Despite the speed and compromises,
a piece of straw and I’ll clutch at it. its first play test proved that it’s certainly a

versatile concept – more so than the standard there’s exceptional sustain, resonance and & Company palette, but I’d be lying if I said
S2 model. But how will the approximately £2k clarity married with smoothness and bite in that it approached the clarity, resonance and
S2 Not-So-Super Eagle hold up to the real equal measure. It might look over-blinged (to dynamic range offered by the real thing.
thing? Time to meet our inspiration. some), but it’s a complete toolbox of sounds Then there’s that preamp, which creates its
that mixes the classic flavours into a hugely ‘HD’ effect by moving the guitar from passive
Wake-Up Call original dish that’s subtle or powerful: you to active. My EMG preamp is active in both
Readers, not to mention mates, often ask, choose. The preamp doesn’t boost the signal on/off modes, so it’s really doing a different
“can it really be worth that money?” when it but adds ‘high definition’. With the pickups job, although having a little boost to hand is
comes to instruments that have stellar price split and the volume pulled back it’s a real kind of fun to either add modern clarity to the
tags, especially new ones. As I opened the ‘produced’ Strat voice. The treble boost (again single coils or a slight kick to the ’buckers.
Super Eagle’s brown paisley covered case, remarkably subtle; it just adds a touch more After its first gig, however, I still felt there
any hopes of a “we modded a guitar that’s clarity) widens the sound, if you like, and once was further to go. I cut a bone nut and
better than the real one” type headline faded you get your head around the complex drive, replaced the original vibrato with an older
away like our national footballers’ hope of ever it’s surprisingly intuitive. PRS USA two-piece brass design. Better?
reclaiming the World Cup. I thought we might Our Not-So-Super Eagle does a similar Well, it really does feel like a much older used
be in with a chance… What was I thinking? job of providing a wide range of subtle tonal PRS, a guitar with considerable charm (and
The Super Eagle II is laughably good – as shades that certainly drop into the same Dead less ‘everyday’, if that’s the right
it should be – and you simply can’t fail to word), compared with the standard
be impressed by the craft of the luthier. But unmodded model. It’s further proof that
what does it sound like? I’m no Deadhead, PRS’s S2-level guitars are very good, viable
but having spent a considerable amount of
time listening to concert clips, it’s obvious
“ There’s exceptional working guitars – with or without any mods
– and if we failed to emulate the real thing,
that John Mayer uses his Super Eagles in a sustain, resonance we certainly created something that’s not
primary clean zone using other PRSes for only unique (the only PRS S2 HSH guitar
gainier sounds. He doesn’t seem to use the and clarity in existence!) but a tool with considerable
vibrato, either.
The Super Eagle has bags of Strat-iness
married with sonic potential. And while it’s the end of this
Longterm Test, it feels like it’s just the start of
but not a sharp, harsh edge anywhere; smoothness and bite” a journey with a new friend…
Reviewed 386 (S2 Custom) Price £1,825 (S2 Custom) On Test Since (In build) June 2017 Studio Sessions No Gigged Yes Mods Done! www.prsguitars.com

Q&A This issue: Home sound, swapping out speakers and string weight
HoME vS GiG SouND

Expert panel Do you need different
settings for live and
I’ve joined/helped form a band home use?
Jamie Dickson (called the The Unaccomplished)
Guitarist editor Jamie is as
a mere 35 years after playing in
happy with steel wool in
his hand as he is with Steely Dan in his my last one at school! Even more
headphones, and loves vintage-gear surprisingly, my wife took up bass
restoration and ambitious signal chains. so she could join in. We’re doing
the standard rock covers and it
Dave Burrluck gives me an excuse to play some
Guitarist’s assiduous reviews
of the guitars I’ve been collecting
editor is also the author of
numerous guitar books.Very handy with over the last few decades. We
a fret file and indeed any aspect of a finely played our first gig a couple of
fettled six-string. weeks ago. Terrifying!
However… I’m lucky enough
Mick Taylor to have a few nice amps (’65
Ex-editor of Guitarist, Mick
Princeton Reverb Reissue,
has wielded Allen keys,
screwdrivers and sandpaper from
Egnater Tweaker 15 combo, Boss directly if you’re standing SpiDEr SpEakEr
an early age; he also has a worrying Katana-100 1x12), which sound further away, or maybe it’s
obsession with pedalboards. wonderful at home. I spend hours raised on a chair. The physically I have a Line 6 Spider V 30 combo
getting the tone just so and arrive bigger space means the bass amp and would like to replace
Neville Marten at rehearsals full of confidence. isn’t as room-filling as it was at the speaker with one of quality
Edited Guitarist for 13 years,
But as soon as I turn any of home. Also, being louder will to improve the sound. I think
after working for both Fender
and Gibson as a repairer. From desirable
them on my sound is different: make everything more visceral it’s an eight-inch speaker and
Les Pauls to dream Strats, he’s owned the low-end has vanished, the and alive, so that could be possibly has a broader range
and worked on the lot. midrange is depleted, and the playing a part. than a standard guitar speaker.
treble you could use as a knife. After that we’re a bit I’m prepared to pay for the best,
Nick Guppy And that’s before the rest of the confused, because the general but is this worth doing and what
Guitarist’s amplifier
band have started, at which point advice when you’re playing would you recommend?
specialist has built up a
wealth of experience gained from I get even tinnier. I immediately louder with a band at higher- Martin Fennemore, via email
collecting, repairing and restoring all have to change all my settings. than-home volume is to turn
kinds of guitar-related audio. What’s going on? How can I the bass down, not up, in order There are precious few quality
set up sounds at home, or even to maintain clarity and cut. All replacement speakers available
audition amps in a shop, with any of your amps should be fine for in an eight-inch format, Martin.
Email us your confidence of what they’ll sound gigging. The Princeton has a Celestion makes the Eight 15,
questions: guitarist like on stage? Or do I need two solid gold history as a great amp but it has a maximum power
district settings, one for home and is probably the least bassy handling capacity of 15 watts:
@futurenet.com and one for gigs? of them all. not enough for the Spider V 30.
or write in to Paul Harmer, via email You don’t say anything about However, as you suggest, the
your guitars and pedals, but V 30 appears to have a more
Guitarist, Hmm. Let’s start with position obviously they will be a factor, full-range/PA-type woofer
Future Publishing, and physical proximity, too. It’s hard to say much more and tweeter arrangement, at
Quay House, Paul. We’re assuming that at other than, yes, you would tend which point we’re into PA/
home the amp is on the floor to use different settings for monitor/full-range loudspeaker
The Ambury, in a relatively normal-sized any change of environment. territory: not our area of
Bath, BA1 1UA room, probably against a wall, Perhaps your perception of expertise at all. You could
maybe even in a corner. That what a band-context guitar test the impedance of the
accentuates bass significantly ‘should’ sound like needs a little main woofer and get a high-
and also potentially reduces shot in the arm. Listen critically quality replacement (do a little
perceived treble because the to some of your favourite music research on what drivers are
speaker cone is low down and – maybe even hunt out some used in high-quality compact
you’re close to the amp. Get to a isolated tracks online if they’re PA cabs, studio monitors, and so
gig and it all changes; you may available. You’d be amazed how on, for inspiration), but there’s
be hearing more of the speaker little bass there can be at times. also a very important crossover
Email us your questions: guitarist@futurenet.com

GearQ&A
What Should i Buy?

Reasonable Solidbody For Home
I wanted to ask some We’re reading between

advice on purchasing the lines here, Frank,
a solidbody guitar, but your use of the
purely for home use. It will never term ‘solidbody’, your stage of
be played outside my practice playing and your desire for a 1. Yamaha
room. I would call myself better mellow tone suggests you’re revstar rS320
than a beginner, but not yet coming from a nylon-string £376
intermediate. My budget is £300 acoustic, or perhaps an older
to £350, and I’d like something archtop used for practice. We’ll Revstar is a recent design
with a good action and perhaps proceed on that assumption, for Yamaha, evolved in
a more mellow tone. I have been bearing in mind you’ve already part from its SG. The
looking at the Yamaha range, but thought about an amp. As you ergonomic nato body is
I’m open to whatever you might say, there is a lot of choice out comfortable sitting or
suggest – there’s so much choice there, so we could list 20 guitars standing, while a pair of
these days! no problem.You’ve mentioned humbuckers and tone
Frank Taylor, via email Yamaha, so let’s start there… control will enable biting
or mellow tones as you
desire. The relatively flat
fingerboard radius allows
a low action. The fixed
bridge will help with stable
tuning.
2. Squier vintage Modified 70s Stratocaster

£335
It doesn’t get more ergonomic, comfortable or iconic than a
Stratocaster. We like this take on a 70s big-headstock Strat, but with a
9.5-inch radius ’board and bigger frets for an easy action if you want it.
Strats can sound very mellow in the mixed pickup positions, but your
definition of that term may differ!
3. Epiphone Les paul Standard £349

Another icon, this Epi version uses alder instead of the classic maple
for the top, but still offers plenty of classic LP tones thanks to dual
Alnico humbuckers and two-tone, two-volume control setup. It comes
in a variety of finish options including Goldtop and a cool Pelham Blue.
Email us your questions: guitarist@futurenet.com

SPECIALISTS IN HAND-MADE BRITISH GUITARS
Forsyth is the ideal place to audition an exceptional range of
home-grown acoustic guitars by Atkin, Brook, Lowden,
Moon, Patrick James Eggle and Black Swan, as well as British
designed guitars such as Faith and Auden
Lowden F35 in Redwood and Cocobolo £4395
Can Martin change

the speaker in his
Spider V 30?
relationship with the tweeter, barrier to an answer thus far!

so you’re really into trial and So let’s forget maths. Instead,
error experimentation. It may while writing this we tried a
also be difficult to access the 0.009 and a 0.011 for the top
speaker, depending how it’s string on a Telecaster tuned to
mounted, so have a good look normal 440Hz pitch. (Using
at that. Proceed with caution; a fixed bridge is important
with due respect to Line 6, it’s because it takes any vibrato
an inexpensive, consumer- springs/tension/bending
focused practice amp. That’s out of the equation.) The
not to say it can’t be upgraded, 0.011 is under more tension
but we would question the than 0.009; logic says it
ultimate worth of doing so. should require less distance
movement to stretch it to the GORDON SMITH
STriNG GauGE same bent pitch. GUITARS
& BENDiNG However, we’d say it’s
very marginal, even though One of our favourite
I’ve watched a few videos online the 0.011 felt more ‘positive’, brands and for many
about string gauge/tension fuller and stronger in tone years a close neighbour
and the relative effects on tone. and fundamental note when in Manchester, Forsyth
The jury is still out on whether played acoustically, which is the best place in the
thicker strings sound ‘better’, may be what you’re hearing UK to see a wide range
but one bit of information and feeling. Clearly, the of these fabulous
caught my attention. When guitar’s setup is the crucial guitars, including
using higher gauge strings, factor in all of the above. special edition models
one video mentioned you don’t Either string gauge can work unique to Forsyth
have to push the strings as far perfectly as long as the frets/ New In!
to reach, say, a tone bend, than setup are optimised, but it’s
GS Semi Solid £750
you would when using lighter not uncommon to find people
gauge strings. Further, that this frustrated at the 7.25-inch
has implications for Fenders fingerboard and skinny frets ACOUSTICS
with vintage fingerboard radii for the exact reasons you Main dealer for Patrick James Eggle, Lowden, Atkin, Brook, Moon,
Black Swan, Martin, Faith, Auden, Seagull, Guild, Gretsch, Aria, Crafter,
because of the choking issue mention… which is the whole
Maton, Furch, Tanglewood
when string bending. Is this reason why many modern
true? I tried it and I think it is! Fenders have bigger frets and CLASSICALS
James Roberts, via email a 9.5-inch radius ’board. It’s Main dealer for Buguet, Ramirez, Sanchez, Ortega, Admira, Strunal
also worth saying that players
ELECTRICS
First off, we agree about of heavier gauge strings tend
Main dealer for Rickenbacker, Gordon Smith, Eastman, Fender, Gretsch,
the light/heavy strings/ to use a slightly higher action Danelectro, Maton, Squier, Revelation, Aria, Godin 5th Ave
subjectivity debate. Rock ’n’ to keep them buzz free, which
roll history rather proves the will help, too. There’s a lot Repair department specialising in acoustic and electric guitars
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idiots and offering a better
explanation. Let’s see… www.forsyths.co.uk/guitars
Forsyth Brothers Ltd, 126 Deansgate, Manchester M3 2GR
0161 834 3281 ext. 606 guitars@forsyths.co.uk
@ForsythMusic Forsyths.Music.Shop
classicGear
Riding the wave of 60s surf, the Jag topped Fender’s big-game guitars…
Fender Jaguar
A
ppearing in music stores in a younger and apparently more adventurous installed on Jaguars as standard (although
striking range of custom colours generation. Early advertisements for rarely used because it offered little control
in addition to the regular Sunburst the Jaguar show some impressive, albeit and often detuned the guitar) further
finish, Jaguars first arrived in mid-1962 eye-watering, double tasking: one man sets the two instruments apart, while
and topped the price list of Fender’s is pictured playing a Jaguar while riding the Jaguar’s unique ‘saw-tooth’ pickups
solidbody electric guitar line at $379.50 – a surfboard, and another ad depicts a produce a distinctively thinner, brighter
a major difference in cost at the time when motocross rider in mid-air with a Jag and characteristically detailed tone. A
compared with its $259.50 Stratocaster strapped to his back! ‘strangle’ switch located next to the pickup
and $209.50 Telecaster. But Strats and Although inheriting some obvious on/off switches on the control panel of the
Teles were the popular choice behind the similarities from Fender’s second most upper treble bout thins out the sound by
burgeoning rock music scene of the mid to expensive guitar at the time, the Jazzmaster way of engaging a capacitor/filter.
late 60s as far as Fenders go, and the Jaguar (priced at $349.50), such as the ‘tremolo’ The Jaguar’s ‘lead’ and ‘rhythm’ circuit
subsequently fell into relative obscurity. system and an offset body shape, Jaguars controls are spread across three chrome
Jaguars did, however, prove to be a are markedly different in terms of sound panels and might appear somewhat busy
popular choice for surf musicians in the and feel. Their 24-inch scale length – as or confusing at first, but they may simply
early 60s – The Beach Boys’ Carl Wilson opposed to the Jazzmaster’s 25.5-inch scale be thought of as a means to instantly swap
being one notable player – and were length – is, in fact, more similar to Gibson’s between the different volume and tone
generally marketed in order to appeal to the electric guitars. A bridge mute assembly settings of the front pickup: the back pickup
is disabled in ‘rhythm’ mode, and in ‘lead’
mode the ability to switch both pickups
on or off independently is activated (with
‘strangle’ switch engage optional).
The Jaguar fell so far out of favour during
the 60s and early 70s that in 1975 Fender
discontinued it altogether. However, it
Jaguars were
marketed to appeal
to the younger,
apparently more
adventurous
generation
became a guitar of choice for many, often

leftfield players who later discovered its
charms (including their relatively low
price!) on the vintage market. Following
the Jaguar’s abandonment, Fender has
since reintroduced its former flagship on
several occasions due to an ever increasing
demand, thanks in part to such notable
guitarists as Marc Ribot, Tom Verlaine,
Johnny Marr, Kurt Cobain and John
Frusciante. Even Jimi Hendrix was known
to strap on a Jag occasionally!
Nowadays, it seems as if there is a Jaguar
for everyone with Fender currently offering
the guitar in a wide variety of pickup
This switch-laden ’62 Jag
configurations and colour options across
was a real draw for the its Custom Shop, American Professional,
surf crowd of the 60s American Vintage, Artist, Classic and
Squier ranges. [RB]

classicGear
1962 ‘Green Sparkle’

Fender Jaguar
1. SERIAL NUMBER The Evolution Of

Consisted of five digits stamped
into the neckplate
The Fender Jaguar
2
2. HEADSTOCK
Mid 1962
Flared, matching headstock;
solid black ‘Jaguar’ logo,
redesigned Fender logo and Jaguar introduced with thick ‘slab’
‘Offset contour body’ decal; Brazilian rosewood fretboard, ‘clay’
single string tree dot inlays and flat pickup polepieces
3. PLASTICS
August 1962
Three-ply tortoiseshell celluloid
pickguard; foam mute; ‘lead’
circuit controls on treble side: Veneer Brazilian rosewood fretboard
volume and tone knobs with
independent pickup on/off and
1964
‘strangle’ switches; ‘rhythm’
circuit controls on bass side: 7
circuit selection switch (metal Staggered pickup polepieces
‘rhythm’ circuit volume and
tone roller knobs); white vinyl
1965
pickup covers
4. HARDWARE Bound fretboard and

Single line Deluxe Kluson pearloid dot inlays
tuners; ‘PAT # 2,972,923’
floating vibrato/’tremolo’
1966
system; ‘Fender Mute’ engraved
mute control; adjustable six-
saddle bridge; three chrome Block fretboard inlays
control panels 1
5. PICKUPS
Two Stratocaster-sized pickups 1967
with saw-tooth chrome pickup Kluson Deluxe branded tuners
cradles (concentrates magnet change to F-style and headstock
field underneath string and Fender logo changes from black
reduces interference) 5 and gold to solid black
3
6. BODY
1968
Solid alder body with
Jazzmaster-style offset 4
shape; ultra-rare ‘Green Nitrocellulose finish changes
Sparkle’ finish (with to polyester
matching headstock)
7. NECK
Bolt-on one-piece 1975
maple neck with thick Discontinued
Brazilian rosewood
‘slab’ fretboard and
1986
‘clay’ dot markers;
6
adjustable truss rod
Japanese ’62 reissue introduced
1999
American ’62 reissue introduced

classicGear
Buyer’s Guide
1962 Fender Jaguar
Dan Orkin of Reverb.com takes a close-up look at the offset legend
and why it’s still going strong today
O
ver the past decade, offset guitars
– a classification broadly defined
as any instrument with a body
Pricing Factors
shape similar to that of a Fender Jaguar or Get clued up on what makes a
Jazzmaster – have exploded in popularity. ’62 Jaguar worth its salt
While today’s guitar market overflows with
modern offsets of every sort, the original l Original PiCkuPs
Jaguar and Jazzmaster, introduced in 1962 The pickups on Jaguars are very
and 1958 respectively, remain the essential important to collectors. Original
templates of the format. Though similar, 60s Jaguar pickups were designed
these Fender models differ in two main and built specifically for this model;
ways: their scale length and pickup set. they are not just Stratocaster
The Jaguar was built with 24-inch scale transplants. Non-original pickups
length compared with the 25.5 inches of the on a vintage Jaguar can lower value
Jazzmaster, and incorporated two shielded even more than other Fenders of
single-coil pickups, as opposed to the the same period.
Jazzmaster’s feedback-prone soapbars. On
today’s vintage market, Jazzmasters remain l slab vs veneer ’bOard
the more in demand of the two as a result In 1962, Fender began to transition
of a general preference for the longer scale The early 60s Sunburst Jag has inspired many from a thicker-style fretboard, now
reissues, as above, and is the best-known variant
length. That said, there is certainly an active known as a ‘slab ’board’, to one
crop of Jaguar enthusiasts, many of whom made using a thinner, curved piece
would cite Kurt Cobain as a key influence. imaginable configuration. Fano Guitars, of wood, a ‘veneer ’board’. Since
As the first year of production, 1962 is the Vuorensaku Guitars and BilT are just three the Jaguar was introduced in 1962,
key vintage model year for the Jag. Jaguar examples of the countless builders who there are only a select few vintage
specs, however, remained more or less specialise in the offset genre. What’s less specimens with the more desirable
consistent up until the CBS Fender takeover common is finding a modern guitar with slab style. Original Jaguars with this
in 1965, and specimens from any year from the shorter 24-inch scale length, though feature will usually sell for around
’62 to ’65 tend to achieve similar prices. many builders will be able to offer this 20 per cent more than those with
specification by custom order. the more common veneer style.
The CurrenT MarkeT If you’re trying to stick in the Fender
Over the past several years, prices on family, the contemporary offset revival has l Finish
vintage Jaguars have remained mostly brought a number of reissues and limited- As with all things vintage Fender,
steady. Guitars with an original Sunburst edition Jaguars to the catalogue including the originality and vibrancy of
finish and no major mods and conditional a Kurt Cobain tribute model and the highly the guitar’s finish is of paramount
issues usually sell from £2,300 to £3,000, regarded Johnny Marr Signature Jaguar. importance to collectors. Most ’62
with some in pristine condition selling for For ’62 Jaguar specs specifically, Fender did Jags will carry a Sunburst finish,
more. Sunburst Jags with replaced parts, offer an American Vintage Reissue series though examples with custom
major repairs or non-original finishes can ‘62 Jag for a few years. It has since been finishes such as Lake Placid Blue
dip down closer to £1,500, or even lower for discontinued, but used examples are not and Fiesta Red do come to market
seriously ‘player grade’ examples. difficult to find on Reverb.com. The Made- occasionally. A rare finish can
At the top end of the market, recent in-Japan JG66 offers another worthwhile double the price of a ’62 Jaguar,
sales for rare-finish ’62 Jags, such as Fiesta reissue for anyone in the market. In fact, while a non-original finish job will
Red, have topped the £6,000 mark. Non- the Fender factory in Japan was the first usually decrease value by around
Sunburst Jaguars will sell for anywhere to bring the design back after its original 40 to 50 per cent.
from £3,000 to £5,000. Olympic White retirement in 1975.
appears to be the most common custom Beyond these variations, of course,
finish, and these guitars typically sell in a case-by-case assessment of originality,
Dan Orkin is content director at
similar range to the Sunburst examples. Reverb.com, where he reviews the condition, and playability can impact
Today’s boutique market abounds with thousands of listings and manages the value of an individual guitar.
60s Fender-style offset guitars of every the Reverb Price Guide

Nextmonth
ed o’BrieN Vox 60th 1959 epiphoNe

New signature Fender for ANNiVersAry CoroNet
radiohead’s stringsman Celebrating the history of this the entry-level slab body
great british brand with collector appeal
Next issue on sale: 22 September 2017
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Body Tremolo/Bridge PickuPs
Despite the similarity The tremolo and bridge assembly The Futurama featured a
to Fullerton’s finest, the rivalled Leo Fender’s Stratocaster Strat-alike three-single-
Sunburst-finished body design in terms of sophistication, coil pickup array with
was maple and sometimes with rear-loaded springs and white plastic covers
beech, as opposed to individual string saddle adjustment
alder or ash
conTrols
Simple master volume and tone
controls oversaw the Futurama’s
range of sounds. As Phil Carwardine
notes, “You can get Hank out of it…”
and what more could a young player
in the early 60s ask for?

1959
Futurama III
Photographs by Joseph Branston
M
ade in former Czechoslovakia and imported into the UK
by Selmer, the Futurama was the guitar to aspire to for
practically every young hopeful in British beat groups of
the late 50s and very early 60s. The prohibitive price of imported
Fenders and Gibsons at the time meant that the Futurama’s
comparatively modest price tag of 55 Guineas (£57.75) was just
about reachable for the more serious player. This was certainly the
neck case for George Harrison – who took a Futurama to Frankfurt with
Up until 1959, the Futurama’s The Beatles – and fellow Liverpudlian Gerry Marsden from Gerry
fingerboard was a light-coloured And The Pacemakers. Even Jimmy Page had a Futurama at one
wood. At the same time that point during the dawn of his career.
Fender changed over to Early Futuramas were built in Blatna at the Drevokov
using rosewood, Futuramas’ Cooperative in Czechoslovakia and featured a faux-maple
fingerboards were dyed to match fingerboard and a surface-mounted jack socket. Later models
– such as the one featured here – were manufactured in Hradec
Králové by CSHN, the major hardware change being the jack
socket, which was now edge-mounted.
When Fender switched to rosewood ’boards at the close of the
50s, Futurama followed suit, dyeing a cheaper hardwood (quite
possibly beech) accordingly. “They followed Fender and went for
a darker wood,” Phil Carwardine of Vintage And Modern Guitars
tells us. “But it’s a cool thing in that a Fender Strat was something
to dream about in ’58/’59 in the UK, so loads of people had these
and, actually, when you look at them, they’re not that bad – there’s
quite a bit in them. It’s quite engineered, really. You can get Hank
out of it, which is what everyone was doing, I guess, wasn’t it?”
Guitarist would like to thank Vintage And Modern Guitars in

Thame for allowing us access to this piece of guitar history.
www.vintageandmodernguitars.co.uk
swiTcHes
The pickup switches were
simple on/off affairs and
offered every conceivable
combination – more than
a Fender Strat of the day
HeadsTock
Three-a-side tuners, a string
guide and an offset truss rod
cover are the only features
on the Futurama’s headstock;
the model name appeared
on the scratchplate

Techniques Video & audio http://bit.ly/guitaristextra
Jump Blues Bootcamp

Continuing our journey back to the 1940s and 50s, we look at where jazz
and blues collide to produce one of music’s most exciting formulae!
The Tenor Of Tiny Grimes

Difficulty HHHHH | 10 mins per example
Tutor: Chris Corcoran | Gear used: Framus Broadway archtop (with flatwound strings) through a Honeyboy 5 amp
LLoyd ‘Tiny’ Grimes was an insight into his style. Grimes remained

Chris Corcoran important figure in the jazz and R&B musically active up to the time of his
channels four-string
tenor guitar player worlds. Born in Virginia in 1916, he death in 1989 and is regarded as one of
Tiny Grimes this issue began playing during the 1930s, the true unsung heroes of the jazz age.
adopting the four-stringed tenor guitar As Chris mentions here in the
as his main instrument after an initial accompanying video, Tiny’s choice of
foray into the world of music playing tenor guitar means that we regular six-
drums and piano. His career in jazz stringers might need to keep a careful
saw him playing with Art Tatum, Billie eye on the positions in which Tiny plays
Holiday, Charlie Parker and Coleman on the fingerboard, owing to the two
Hawkins, to name but a few. In fact, bass strings – the E and A – not being
we recommend that you rummage available in the mix. Naturally, this won’t
through YouTube to find the rare affect the actual pitches so much, but
footage of Tiny duetting with Art the timbre could be different if you’re
Tatum in order to give you more of an aiming for 100 per cent accuracy.
Chris Corcoran Band

Blues Guitar Grooves
Hear Chris’s guitar work on his latest album, Blues Guitar
Grooves, which sees him performing evocative swing-blues
instrumentals in fine style, backed by a horn section.
www.chriscorcoranmusic.com
Example 1
We’re in the default jazz key of B b for all of these examples. Despite Tiny’s preference for four-string tenor guitars, we’ve
transcribed it in a six-string-friendly fashion. A good exercise might be to work out the notes in the alternative 3rd position.
Otherwise, this is a great example of a jump blues lead line and would make a good starting place for a fully fledged 12-bar solo.
©»¡•º qq=qce
– Bb 1/4
b j j j j
& b 44 Ó Œ œ œ œ œ œ ‰ œ œ œ ‰ œ Œ Œ œ œ œ œ œ ‰ œ œ œ ‰ œJ ‰ b œ n œ Ó
bœ
1/4
E
B
G
D 8 8 8 8 8 11 8 8 8 8 8
A 8 10 10 10 8 10 10 10
E 9 10
1

Techniques Video & audio http://bit.ly/guitaristextra
Example 2
THis is another workout in the key of B b – which might not be particularly guitar-friendly, but is essential to feel comfortable
with if you ever find yourself playing with a horn section! There are a number of techniques to watch out for: accurate bending,
including a couple of pre-bends in bars 3 and 6, plus some string slides which all form a signature part of the jump blues style.
Bb 1/4
b 4 bœ œ b œ n œ Œ ‰ j œ œj b œ œ œ œ œ œ
& b 4 ‰ œJ œ œ œJ ‰ œJ ‰ œ. œ œ œ œ œ œ œ ¿
PB
1/4 6
E
B
G 3 3 3 5 6 3 3 3 6 ( 7) 3 5 6 5 3 5 3 6
D 5 5 5 0 5 5 X
A
E
1
b
& b œ œ Œ ‰ œj œ œ œ œ b œ n œ b œ œ œ œ œ œ ‰ ¿ œ œ œ œ œ ‰ œ œ œ ‰ œ œ œ œ Œ Ó
PB
6
BD
E
B
G 3 3 6 (7 ) (6 ) 3 5 3 3 3 3 3 3 3 3
D 5 3 5 5 0 5 X 0 3 5 5 5 5
A
E
5
Example 3
Here’s a look at the chords from a turnaround sequence in a jump blues. Essentially, it follows the cycle of 4ths in that it traces
G – C – F – B b with that A b 6/9 chord acting as a chromatic ‘bridge’ back into the home key. Don’t be too alarmed at the jazz
nature of the chords; take a look at the tab and you’ll see we’re dealing with some fairly straightforward shapes!
©»¡∞º B b6 G7b9 Cm F7 A 6/9 B b6 / 9

˙˙
b œœ b œœ œœ œœ œ œœ œ
& b 44 œ Œ nœ œ ‰ œ ‰ Jœœ Œ œ ‰ n #n œœœ ‰ ˙˙ Ó
J J
E 3 4 4 3 3 5 5 6
B 3 3 3 4 4 4 5 6
G 3 4 4 5 5 5 4 5
D 4 5
A
E
1

Video & Audio http://bit.ly/guitaristextra Techniques
Blues Headlines
Richard Barrett is on a mission to make you a better blues
player – with full audio examples and backing tracks
Albert King played

upside down with the
high E string at the top
Photo by baron Wolman/IconIc Images/getty Images
Sixes & Sevens

Difficulty HHHHH | 5 mins per example
Tutor: Richard Barrett | gear used: Knaggs Choptank, Vox AC15C1
Though The pentatonic/blues approaches; for instance, Freddie King played start or finish a phrase on the 6th. Certainly

scale has been used to create with a finger and thumbpick – bound to Eric Clapton, though he may have picked this
some of the most memorable encourage different phrasing to that of a up from Freddie King or Albert Collins, who
solos and riffs of all time in its dedicated alternate picker such as Steve also featured it a lot. Sometimes the 6th falls
purest form, it would be a particularly Morse. Albert King used an unusual C minor comfortably within the pentatonic shapes on
incurious player who didn’t drift outside these open tuning and played ‘upside down’ with the the fretboard, but at other times, it’s a short
boundaries from time to time. thinnest string where the thickest would stretch or slide away. There’s no need to get
When we look back to when this type of normally be. deep into music theory to broaden your
guitar playing was a new and radical idea (via But there’s no need to go to these extremes horizons – I’m pretty certain many of the
the recordings of Freddie King, Albert King, to come up with new soloing ideas. For the players mentioned here wouldn’t converse
BB King, and so on), we hear a surprising examples, I’ve gone for a funky, almost Little enthusiastically about scales, though it can’t
amount of diversification from what has Feat-style backing and targeted the 6th (as be denied that a little knowledge can help
become known as the ‘blues scale’… Some of we are in the key of E, this is C#) in various speed up the process of discovery. Hope you
this can be attributed to unusual technical ways. It’s surprising how many of the greats enjoy these ideas and see you next time!

Techniques
Example 1
going in with a combined minor 3rd and 6th (both given the characteristic quarter-tone bend), this example sets up the funky feel with
some swung semiquavers, which aren’t that fast at this tempo. Elsewhere, we stay within the bounds of the shape 1 pentatonic. A challenge is
making it ‘sit’ nicely over the backing. The semiquavers can be loose in feel, but the more strident bends need to be on the nail, timing-wise.
E5
©»•∞ √
˙~~~
1/4 1/4
# # nœ œœ
1/4
œ nœ œ œ œ j œ œ œ œ œ œ œ
& # # 44 œ nœ œ œ Œ Ó
nœ
nœ œ
. .
Swung
1/4 1/4
BD BU 1/4
E 15 15 12 12
B 14 14 15 12 15 (17 ) 15 12 12
G 16 (14 ) 12 14 14 12
D 14 14
A
E
Example 2
PlAying with major and minor like this by alternating the G and G# together is a real blues staple, particularly popular with piano players
who don’t have the luxury of bending the minor 3rd up a quarter-tone… Combining the 6th (C#) with this gives a distinctive sound,
reminiscent of a 50s rock ’n’ roll feel, right through to a Chris Robinson vibe. It’s a little fiddly at first, but don’t rush.
nœ #œ œ nœ #œ œ nœ #œ œ œ nœ œ
E5 1/4
# # nœ #œ œ nœ ~~~
& # # 44 Œ œ œ œ
j
œ œ œ œ
E
1/4
~~~
B 14 12 14
G 12 13 12 13 12 13 12 12 13
D 14 14 14 12 12
A 14 14 12 14 16 14
E
Example 3
ShifTing position for the A chord, this phrase features C# heavily. In this context, it’s the major 3rd of A, but I hope you’ll recall that it’s also
the 6th in E (and appears as such in the next example). While we’re looking at it this way, you can see this phrase is derived from the shape 3
E minor pentatonic, but adding the C# means we’re also hinting heavily at an A7th arpeggio, which also lives here…
œ œj œ œ œ~~~ œ œ œ œ b œ œ n œ œ œ œ œ
A7 E
# # œ œ nœ
j ~~~
& # # 44 ‰ n œ # œ œ œ œ œ Œ Ó
3
E
BU
5
BU BD ~~~ 5 7 6 5 5
~~~
B 5 7 (8) 7 ( 8 ) (7 ) 5 5 7 8 5 8 5 5
G 5 6 6 6 6
D
A
E

Video & Audio http://bit.ly/guitaristextra Techniques
Example 4
MAKing further use of the enhanced shape 3 E minor pentatonic over the E major chord makes C# the 6th again, plus gives an opportunity to
add a G to G# move on the fourth string. So here is a lick that could work over the A or E major chords (though maybe stay clear of the G# over
the A). Try playing a straight shape 3 E minor pentatonic then a bar A chord at the 5th fret and you’ll see many of the notes are in common.
#### 4 ⋲ œ œ nœ œ œ bœ œ œ œ œ œ œ nœ œ œ œ ~~~
6
& 4 œ nœ #œ œ nœ Œ Ó
6 œ nœ
j œ
3
6
E 5 7 6 5 5
~~~
B 5 8 8 5 8 5
G 6 7 6 4 4
D 7 5 6
A 7 5 5 7
E 7
Hear It Here
Albert Collins Freddy King Albert King
Truckin’ With Albert Collins Let’s Hide Away and Dance Away Born Under A Bad Sign
Recorded from 1962 to ’63 and Freddie (then calling himself Albert’s elastic phrasing is both

originally called The Cool Sound Freddy) inspired none other than fluid and expressive on this
Of Albert Collins, a listen to Eric Clapton with his use of the classic cut from 1967. The title
tracks such as Frosty, Tremble Gibson Les Paul – pictured on track treads a fine line between
and Backstroke will demonstrate how Albert the front cover of this album – plus tracks major and minor keys, which is unsettling but
would habitually open and close phrases with such as Hide Away, which Eric famously interesting. His soloing on Crosscut Saw and
the 6th. His overdriven tones must have been covered with John Mayall’s Blues Breakers. The Hunter is both inventive and influential,
nothing short of revolutionary at the time and San-Ho-Zay and The Stumble are also too. Albert King is certainly at the top of his
his phrasing contains some unexpected recommended listening. This is actually a game at this point and most tracks will reward
nimble twists. This was partly due to his very influential album in the blues world, you at least an idea or two with careful
unusual approach of using a capo and playing containing the original versions of several listening. It’s not hard to imagine many of
in open position, but we can take this and put classics, played through a loud amp on the today’s most respected players doing the
it to use in standard tuning, too. edge of breakup. Very rock ’n’ roll! very same back in 1967.

Specialist
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spruce top, ebony ’board, deluxe
dreadnought acoustic, great
condition. Hard case and Fishman
See Mansons Exeter. Contact inlays, 2009, vgc, hard case. £1,600. pickup£300. Contact Richard on
Accidental nickwilliams4@hotmail.com. Devon Contact Alan on 07731 748510 or 01900 603615. Cumbria
damage Fender Telecaster Custom in alanchew@sky.com. Brighton
Misc
– Walnut. Complete with case. £900. National Resophonic M1 Tricone;
Email joannelson4@hotmail.com with hard case. Very little use, in mint DiMarzio YJM (like HM4) pickups
Theft Fender USA Telecaster Thinline condition. Lovely warm tone and x5, all white, hardly used, excellent
– Deluxe, Natural. As new. £975. Call seriously loud. £1,750 ono. Email condition. Great Strat sound with
Loss 07950 641157. Essex for photos or more information: no hum or noise. £45 each + p/p,
Gibson 1967 ES-330. Sunburst, mike_dewsbury@yahoo.co.uk no offers. Call 01482 345494
excellent condition. Gibson case. Patrick James Eggle Linville Freelance transcriber offering
£2,950. Contact Matt on 07772 cutaway. Rosewood body, note-for note custom guitar
107574. Essex spruce top. Falling leaves inlays. transcriptions. www.guitarscribe.uk
…We’ll repair Gibson 1976 Les Paul Special slab

body single cut ‘Limited Edition’.
Immaculate. £1,800. Might trade for
similar condition Sunburst 335.
paulnhunter1961@outlook.com
Pickups by Seymour Duncan,
or replace Wrapover tailpiece, P-90s. £1,900.

Contact 07773 276815
Call Andrew on 07817 487305
Taylor 114ce electro-acoustic
Fender, Gibson, Bare Knuckle, etc.
Single coils and humbuckers. Used
within days!* Gibson 2008 Custom Shop SG with original Taylor gigbag. 2016. and sensibly priced! Email el34@sky.
Standard, Maestro, Faded Cherry, Excellent condition. Occasional com for full list
VOS, case, COA, all original, great home use only. £550. Contact Seymour Duncan Duckbucker
10%
sounding superb player, £1,995. Graham on 07547 921604, 01342 pickups x4, Seymour Duncan
Contact 01943 465357 719632 or Gshorrell@hotmail.com Vintage rails pickup x1, all white, all
Gibson Flying V, 1995 Jimi Hendrix excellent condition, hardly used.
OFF
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memorial edition, made for RCA Great Strat sound with no hum or
ALL QU Victor. £2,500. 07773 276815 Cornell Romany 12 latest model, 4 noise, £45 each + p/p, no offers.
using th OTES Gibson Les Paul Standard, 2005 position from 10 watt to 0.05 watt to Call 01482 345494
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