Guitarist - May 2024 UK

EPIPHONE FIREBIRD BOSS KATANA:GO
VINTAGE VIBES AT AN ATTAINABLE PRICE A TINY, KILLER TONE MACHINE FOR £119
Issue 510
MAY 2024
THE GUITARS HE
COULDN’T LET GO
& THE CHALLENGE
OF STAYING ON
TOP OF HIS GAME
MARK’S
NEW ALBUM
AND HIS RED
’61 STRAT
Reviews
PRS SE CE 24
STANDARD SATIN
GORDON SMITH
GRANDE & GEIST
BLACKSTAR ID:CORE
STEREO COMBOS
BEETRONICS
ABHELA FUZZ
& More
PR
S‘
DE
PL
N
US
EW
A D MAN
SP G
EC U
’ S ITA
ILV R
ER S
SK
Y
Future Publishing Limited, Quay House, The Ambury, Bath, BA1 1UA
Telephone 01225 442244 Email guitarist@futurenet.com Online www.guitarist.co.uk
Going For A Song

It’s so enjoyable to just noodle about on the guitar that it’s easy
to forget that the origins of the guitar’s 20th century boom in
popularity lie in songs, not soloing. You can find evidence of
this in the tiny frets of Les Paul Customs back in the 50s, built
to make moving between jazz chords up and down the neck
easy. Likewise, the beautiful Byrds-era Rickenbacker electrics
of the early 60s could be seen really as a kind of amplified
acoustic guitar, in terms of the intent behind their design,
rather than soloists’ instruments. I’d argue that even the most
famous solos in modern rock, such as Pink Floyd’s Comfortably Numb, only
work as beautifully as they do because they have as their springboard all the
emotional weight and poignant power of the song itself to launch off from.
Therefore, guitarists who focus solely on soloing as opposed to songcraft
can miss out on what is really the main reason people listen to music: because
they feel moved, compelled and involved by songs. Few guitarists understand
that as well as Mark Knopfler (see interview, page 56) whose post-Dire Straits
solo career has seen him find yet more depth and subtlety in his songcraft over
the years, to the point where crafting lyrics can dominate his working hours.
But fans of his playing needn’t worry – there are some vintage Knopfler guitar
moments on his new album, One Deep River. Clearly, the sale of much of his
guitar collection hasn’t been a farewell to the instrument, though he made some
frank and thoughtful reflections about his relationship with the guitar as we
chatted. If you love great songs, give the interview a read; you won’t find a better,
nor more experienced, exponent of what matters in songcraft than Mr Knopfler.
Moving on to unhappier news, everyone at Guitarist was saddened to hear
that Mike Lewis, long-serving head of Fender’s Custom Shop, has died. Mike
was an inexhaustible well of knowledge about Fender guitars and so many
articles in this magazine were the richer for his insights on everything from
Broadcaster pickups to vintage Stratocasters. More importantly, his leadership
of the Custom Shop saw its guitars become globally admired as the ultimate
expression of Fender’s lutherie, a legacy his family and friends can be proud
of, along with his many other prior achievements at Fender and in music.
Our thoughts and sympathies are with them at this difficult time.
Hope you enjoy the issue and see you next time.
Jamie Dickson Editor-in-chief
Editor’s Highlights
Go Figure Vince Gill Cheap Boutique?
Boss’s new Katana:Go is a One of the most capable, PRS’s new SE CE 24 Standard
startlingly capable little micro tasteful and modest players Satin comes in at under £500
amp for little more than £100. you could meet, Vince Gill but doesn’t stint on sounds or
Read Nick Guppy’s full review reflects on the Eagles’ last playability. Could this be the
over on p14 flight and old guitars p70 PRS for all players? p8
COVER: COVER IMAGE BY JOBY SESSIONS; ABOVE: VINCE GILL IMAGE BY JOHN SHEARER
MAY 2024 GUITARIST 3

Future Publishing Limited, Quay House, The Ambury, Bath, BA1 1UA
Telephone 01225 442244 Email guitarist@futurenet.com Online www.guitarist.co.uk
EDITORIAL
Editor-In-Chief
Jamie Dickson
Art Editor jamie.dickson@futurenet.com
Reviews Editor
Darren Phillips Dave Burrluck
darren.phillips@futurenet.com Deputy Editor dave@daveburrluck.com
David Mead
Managing Editor david.mead@futurenet.com
Senior Music Editor
Lucy Rice Jason Sidwell
lucy.rice@futurenet.com Content Director, Music jason.sidwell@futurenet.com
Scott Rowley
scott.rowley@futurenet.com
Contributors
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In-House Photography
Phil Barker, Olly Curtis, Neil Godwin
ADVERTISING
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MARKETING
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PRINT & PRODUCTION

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Contents
REG L RS
030 Gas Supply
032 Fretbuzz
034 New Music
036 Tones Behind The Tracks
040 Opinion
044 Substitute
046 Feedback
106 Subscribe
114 Bought & Sold
116 The Mod Squad
120 Nitty Gritty
124 Talking Loud
130 Next Month
FEATURES
050 John Smith
COVER FEATURE
056 Mark Knopfler

070 Vince Gill
076 Pioneers: Johnny ‘Guitar’ Watson
108 Blueprint: Newman Guitars
NEW GEAR
56 008 PRS SE CE 24 Standard Satin
014 Boss Katana:Go
018 Epiphone Inspired By Gibson
1963 Firebird I & V
024 Crazy Tube Circuits Hi Power
026 Beetronics Abelha Tropical Fuzz
028 PRS ‘Dead Spec’ Silver Sky
082 Gordon Smith Grande & Geist
094 Blackstar ID:Core V4 Stereo 10,
Stereo 20 & Stereo 40 combos
102 Boss BP-1W Booster/Preamp
& IR-2 Amp & Cabinet
TECHNIQUES
FEATURE
126 Blues Headlines with Richard Barrett
70
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GUITAR NEWS
6 GUITARIST MAY 2024

PRS SE CE 24
STANDARD SATIN
£499
WHAT IS IT? Hugely affordable

mahogany-bodied satin-finished
CE 24: PRS’s new start-up guitar
Satin
Stunner
Hot on the heels of the classic CE 24
launching in the SE line for 2024, this
new satin Standard version loses the
bling and drops the price. Yes, please!
Words Dave Burrluck Photography Phil Barker
I
t’s hard to second-guess PRS these days.
Having only just released a trio of new
SEs for its 2024 line-up, including the
Swamp Ash Special and CE 24 (featured in
issue 506), the company has released yet
another one: a Standard Satin version of
the still-fresh SE CE 24.
PRS fans will know that ‘Standard’ refers
to an all-mahogany body, rather than the
more commonly used mahogany back with
a figured maple cap. This all-mahogany style
dates right back to the first PRS guitars of
1985. Originally, there was just the maple-
topped Custom and the less expensive all-
mahogany ‘PRS Guitar’, which became the
Standard around 1987. The genus of this new
SE whizzes back to the following year when
PRS’s first bolt-on was launched, the Classic
Electric, which soon became the CE.
There have been plenty of Standards
over the years, of course, including a few
with satin finishes, and currently the
mainly Indonesian-made SE line boasts
the McCarty 594 Singlecut Standard, the

PRS SE CE 24 STANDARD SATIN

1. Unlike the USA-made Standard 24-08 and the Hollowbody looks and feels classier, more expensive 2. PRS’s SE and USA-made
CE 24 that has a natural Standard (also available with piezo). But even. Just remember, though, that a finish S2 use this cast (as
headstock face, the SE opposed to machined)
uses what PRS calls a
this new model is unique in that both the such as this will mark and ding easily. two-piece all-steel
‘Black Bakelite’ facing. neck and body have a very light satin finish. There’s no binding, like we see on the other vibrato. Don’t feel
The tuners are non- And while the glossy maple-topped SE CE glossed SE Standards, the top’s edges aren’t short-changed, though
locking, too, unlike the 24 lists at £695, this new version drops that radiused, either, unlike the back, and we – it’s a great design
low-mass locking types with push-in, tension-
on the USA model to just £499 (including a gigbag). We’re have the same lightly dished ‘shallow violin’ adjustable arm and is
reliably informed that dealers will probably carve with a light ribcage cutaway. set up here with four
be selling it closer to £450: it’s the lowest- Aside from the body change, then, tension springs
cost PRS guitar. everything else is identical to the glossed
To be honest, at that price we wondered model: the same 635mm (25-inch) maple
if we might get a bag of bits and some neck with scarf-jointed headstock, a 24-fret
instructions… but, no, the CE 24 Standard
Satin is fit to go from the off and any savings We’re scratching our heads a
are clearly down to the finish type, the lack
of a maple-veneered top and, we’d wager, a little. How can such a guitar be
few trimmed margins.
Available in three translucent colours,
so perfectly crafted and sound
our review sample is coined Turquoise, so good for this money?
although ‘Forest Green’ might have been
more accurate. Like the SE Swamp Ash rosewood fretboard, the generic enclosed
Special, you can clearly see that the 44mm PRS logo’d non-locking tuners, the all-steel
deep body is three pieces, and while the ‘cast’ vibrato, a pair of double black 85/15
jointing is immaculate, on the treble ‘S’ humbuckers, controlled with a three-
side you can see that things are slightly position toggle switch, master volume and
mismatched. That said, the machining tone (with a pull switch to voice PRS’s usual
and sanding is superb and with this light, partial splits). The pearloid solid bird inlays
slightly open-pore finish there’s nowhere are retained, even though dot inlays might
to hide, unlike a coloured, opaque gloss. In have suited this slightly more lowly start-up
fact, plenty of us might argue that this style style a little more.

UNDER THE HOOD

Any changes to the control circuit? Let’s take a look…
A
s you might expect, the control coil isn’t fully dumped to ground, like a plenty of potential for expanding the wiring
circuit here is exactly the same standard coil-split, achieved with a 2.2kohms here if you’re handy with a soldering iron.
as the gloss-finish SE CE 24 using resistor on the bridge pickup and a 1.1k on the PRS describes the 85/15 ‘S’ humbuckers
an Alpha ‘Made in Korea’ 500k audio taper neck. The tone cap is valued at .033µf and the as “uncovered pickups with clarity and
volume pot and an unmarked tone (also volume has a 108pF capacitor for its treble extended high and low-end – perfect for
500k nominally) with its pull-switch to bleed circuit. modern applications”. Our bridge pickup
switch both pickups to single-coil mode. Unlike some PRS pickups, the 85/15 ‘S’ measures 7.63kohms (5.16k when split) and
But these are partial coil-splits, so the screw humbuckers are four-conductor, so there’s the neck is 7.04k (4.37k when split).
Made in Indonesia,
All is clean these PRS-designed
and tidy in 81/15 ‘S’ humbuckers
the screened aim to replicate the
control cavity USA-made versions

3. With the tone control Feel & Sounds

down you’re in At 3.37kg (7.4lb) it’s virtually identical in
humbucker mode,
weight to the SE CE 24 and a great weight
but pull it up and
both humbuckers are for a solidbody. As we noted in that previous
simultaneously split review, the neck could probably do with
to single coil a rub with a light abrasive or 0000 wire
wool to burnish it to a more played-in
4. Like the gloss-finished
SE CE 24, the satin silky smooth satin, which would elevate
version uses 85/15 ‘S’ it further, along with just a little more
pickups with their double fingerboard-edge rolling. But there’s
black bobbins. As per
nothing wrong here.
the name, it’s a 24-fret
guitar, like the original The Wide Thin neck profile suggests
from 1988. There’s no some kind of shredder’s neck, but it
SE CE 22… as yet! doesn’t feel like that in the hand. Instead,
For any player, at any level,

needing to cover a lot of sounds,
this really takes some beating
5. Another change from we have a generous nut width and string
the USA style is the more spacing – 43.23mm and 36mm respectively
Fender-like bolt-on join
(also used on the SE
– and a depth of 21mm at the 1st fret,
Silver Sky and the SE 23mm by the 12th. It’s a pretty classic C
Swamp Ash Special), profile, although the relaxed shoulders
which means the do make it feel ‘thinner’ than it actually
bass-side cutaway has a
slightly different shape
is. Think ‘all-rounder’ and you’re not far
compared with the off. Typically, the medium jumbo frets are
USA CE 24 model perfectly installed and the setup is bang-

PRS SE CE 24
STANDARD SATIN
PRICE: £499 (inc gigbag)
ORIGIN: Indonesia
TYPE: Double-cutaway solidbody electric,
bolt-on
BODY: 3-piece mahogany with ‘shallow violin’
top carve
NECK: Maple, wide-thin profile, bolt-in
SCALE LENGTH: 635mm (25”)
NUT/WIDTH: Friction reducing/43.23mm
FINGERBOARD: Rosewood, ‘old school’ bird
inlays, 254mm (10”) radius
FRETS: 24, medium jumbo
HARDWARE: PRS patented vibrato (cast), PRS
designed non-locking tuners – nickel-plated
on. It plays superbly, holds its tuning well, thing that attracted this writer to those STRING SPACING, BRIDGE: 52.5mm
even with some pretty vigorous vibrato use. original CEs back in the day. ELECTRICS: PRS 85/15 ‘S’ Treble and
We’d take it on a gig as is. We’re scratching our heads a little here. Bass humbuckers (open coil, double black
The 85/15 ‘S’ humbuckers continue the How can such a lowly guitar be so perfectly bobbins); 3-way toggle pickup selector switch,
impression of a well turned-out machine crafted and sound so versatile and good for master volume and tone (w/ pull switch to
aimed at very mainstream use that, in this money? simultaneously coil-split both humbuckers)
typical PRS style, offers well-voiced single- WEIGHT (kg/lb): 3.37/7.4
coil sounds and bigger humbucker sounds Verdict OPTIONS: Colour only
that sit nicely between vintage and modern, With PRS having only just launched the RANGE OPTIONS: Maple-topped, gloss-finished
both in terms of sound and output. Just like first-ever SE CE 24, this second Standard SE CE 24 (£695). Other SE Standards: McCarty
the original PRS proposition, it sits rather version almost seems an afterthought, 594 Singlecut Standard (£899), Standard
beautifully in that middle ground between rather than a carefully considered 24-08 (£699) and Hollowbody Standard
a Les Paul and a Stratocaster. marketing move. Save for its all-mahogany (£1,035), also available with piezo (£1,399).
Compared with an original alder-bodied satin finished body, it’s the same guitar – USA-made CE 24 (£2,775); 24- or 22-fret
Classic Electric, the SE doesn’t quite and if the less-posh style ticks your box, S2 Satin Standard (£1,629)
capture the more vintage-y depth and vibe you can happily save yourself nearly £200. LEFT-HANDERS: Not this model
of the neck humbucker, it’s a little fuller and Surely, then, its introduction will dilute the FINISHES: Turquoise (as reviewed), Charcoal,
more balanced, while the bridge has less of sales of the glossed maple-topped version? Vintage Cherry – satin open-pore body finish;
the Classic Electric’s mid-focus. There are But that’s not our problem. Instead, satin neck back
big rock voices here, but even with some we now have a new entry point into PRS
throaty gain there’s welcome clarity. world that, on paper, is equally valid for any PRS Europe
Pull back the volume and a rootsier sound youngster to start their journey with, or 01223 874301
emerges, plus you’ll find some smooth
jangle that removes a little of the new-string
sparkle in a good way, while the partial
as a spare or modding platform for a more
experienced player. The thing is, as is, for
any player, at any level, needing to cover a
www.prsguitars.com
10
splits move easily into the single-coil realm lot of sounds, this really takes some beating: PROS Stripped-down vibe but with the crisp
– not as authentic as the SE Silver Sky but the pared-down essence of PRS, if you like, execution we’ve come to expect from the
more than usable. And whether it’s the and a guitar we really can’t fault. Try one of modern PRS SE, not to mention expansive
lack of body finish or the material, there’s these before someone realises they’ve made sounds; that price!
a very woody character here; the sort of a mistake with the price.
CONS Nothing. Just get your order in quick…

BOSS KATANA:GO

F I R S T P L AY
BOSS KATANA:GO
£119
WHAT IS IT? Boss’s latest (and

smallest) addition to the popular
Katana range – a guitar/bass
headphones amplifier
Pocket Rocket
For its latest addition, Boss has crammed a full Katana
amplifier into a tiny headphone-amp format – and its long
list of features and tones makes it practically irresistible
Words Nick Guppy Photography Phil Barker
T
he near-universal popularity of On the opposite side, nearest the
Boss’s Katana range shows no player when plugged in, there’s a Bank
sign of slowing down, with a full Up/Down switch that also operates the
range of affordable digital amplification tuner, together with three patch selection
covering every need – from big stages and buttons labelled A, B and C. On the top face
arenas, to pubs, clubs and the home. The is a small monochrome display and the
latest product to bear the Katana name, volume control, with a 3mm stereo jack
the Katana:Go headphone amplifier, is the socket for your headphones and a USB-C
smallest yet and likely to become another socket on the back face. The integral jack
success story for Boss. plug is hinged and folds to accommodate
The Katana:Go is small enough to fit in angled and straight jack sockets, covering
your pocket and exquisitely designed, with practically all guitars. Thoughtful soft pads
the same attention to detail lavished on all on the underside protect your guitar’s finish.
Boss products. As you might expect, it’s not The key to the Katana:Go’s power is
exactly bristling with knobs and switches, software, rather than hardware. A specially
and yet the various small buttons and designed version of Boss’s Tone Studio app
volume-control wheel handle everything connects via Bluetooth and lets you access
you might need, and they’re intuitive to use the five famous Katana amp voices, each
so after a while you don’t really need to look with a second variation. EQ controls include
at them any more. Bass, Middle, Treble, Presence and Cabinet
On the lower side, from a plugged-in Resonance, this last one with a choice of
perspective, you’ll find an on/off switch Deep, Vintage and Modern modes.
with a charge indicator LED that glows There are dozens of effects to choose
red when the battery is low, amber when from, covering all the bases you might need
charging, and green when fully charged. in the overdrive, distortion, modulation,
Two more button switches manage the delay and reverb departments, plus seven
Katana:Go’s Bluetooth connection and different signal chains to arrange them in.
a Stage Feel 3D ambience effect. There’s also not one but two parametric EQs

BOSS KATANA:GO
1. The jack plug is on

a hinge that rotates
through about 135
degrees, easily
accommodating
angled and straight jack
sockets while folding
flat against the case
for easy storage
2. The Katana:Go has

30 patches arranged
in 10 banks of three
that are accessed by
soft-touch switches on
the side of the case. The
switch that selects Bank
Up/Down also operates
1
the integral tuner
2 3
and a noise gate, with yet another global arrange songs in your favourite order, as 3. The concentric circles
EQ lurking in the system settings. The well as assigning your favourite patches on the volume wheel add
a touch of class, while
Katana:Go also unleashes 3D audio in its to play along with them. Roland account a small mono display
clever Stage Feel mode, which gives you the holders can make full use of the Boss Tone lets you know what’s
impression of a band playing behind you, Exchange to browse and download from happening with patch
either in a hall or a studio, with your virtual thousands of Liveset patches uploaded by and MIDI information
amp in front or behind, plus a custom users from all over the world; the Katana:Go 4. Within the Editor
setting you can tweak. is compatible with Livesets created on the section of Boss’s Tone
You can use the Tone Studio’s Session Mk1 and Mk2 Katana amps. Studio app you’ll find
this Chain Select screen
List feature to load and play music from Are we finished? Nowhere near. (far left), which offers a
4 your mobile device or YouTube, and This feature-packed device also offers number of chain layout
high-quality USB streaming and recording templates to choose
to your mobile device or desktop, is from, while the Session
screen (right) is where
compatible with the Boss wireless you can add songs from
expression pedal and footswitch, and your music library or
operates in either Guitar or Bass mode. YouTube, adjust the
speed of the track, and
also add markers to
In Use change the memory
The Katana:Go’s onboard memory holds presets/guitar sounds
30 patches (or 60, if you count the bass automatically
mode) that are arranged in 10 banks of
three. Soft-touch button switches on the
side nearest the player scroll through the
banks and select the individual patches,
with a useful tuner function if you push
in the Bank Up/Down switch.
In guitar mode, you can pick or choose
from Acoustic, Clean, Crunch, Lead or
Brown amp voices, each with a variation
and a regular EQ layout. Swapping into bass
mode gives you a choice of bass-optimised
Vintage, Modern or Flat amp voices, each

BOSS KATANA:GO
5. Headphones 6. On the other side of the

connectivity is case you’ll find an on/
5 thoughtfully placed on off switch with a battery
the rear of the case, condition indicator that
together with a USB-C glows red when the
socket for connection to battery is about to expire,
a desktop or standard amber when charging
charger. There’s enough and green for go. Two
level to drive regular other button switches
headphones as well operate the Bluetooth
as semi-pro and pro connection and the
types, which often need Katana:Go’s Stage Feel
slightly more power 3D ambient effect
GUITAR/BASS
HEADPHONES AMPLIFIER
PRICE: £119
ORIGIN: Vietnam
TYPE: Digital modelling headphones amplifier
DIMENSIONS: 45 (w) x 83 (d) x 25mm (h)
WEIGHT (kg/lb): 067/0.15
CASE: Plastic
CONNECTIONS: Single instrument plug, stereo
6 headphones jack, USB-C socket for desktop/
charger connection
CHANNELS: 30 slots organised in 10 banks of 3
with a Shape option, while the amp EQ for creative chord playing. Delays feature CONTROLS: Volume control, bank up/down/
defaults to a semi-parametric configuration, another favourite, the SDE3000 model. tuner switch, A/B/C patch select buttons,
with swept low and high mid controls and Boosts and overdrives include well-known Bluetooth button, on/off button, stage mode
shelving treble and bass. Boss hallmarks such as the HM-2 and select button
We used our regular Strat and Les Paul Metalzone, alongside other famous effects FOOTSWITCH: Optional Blue tooth footswitch/
guitars, together with standard mobile such as the Centa OD, Rat and imaginatively expression pedal
phone wired earbuds and a decent mid- named Muff Fuzz. They all sound great ADDITIONAL FEATURES: Bluetooth audio
priced closed ear studio-type headphone with a little careful editing, especially when streaming, USB audio recording, integral tuner
for comparison. The ‘out of the box’ EQ filtered through the Stage Feel surround POWER: Integral rechargeable battery pack
sounded somewhat fizzy with too much sound, which puts you and your virtual amp OPTIONS: EV-1WL wireless expression pedal
top-end for the small earbuds, but it was in a hall or room with streamed music from (£163); FS-1WL wireless footswitch (£112)
warmer and more relaxing to listen to on your favourite band coming from behind RANGE OPTIONS: Katana Air stereo wireless
the studio headphones. The Katana:Go’s while you’re centre stage. The quality of desktop combo (£499)
global EQ is the solution here, making it the Bluetooth stream is excellent with
quick and easy to dial the amp into your practically zero latency; the illusion can Roland UK
favourite pair of speakers. be quite convincing. www.boss.info
The effects are the same as the larger
full-sized Katana amplifiers and there are Verdict
dozens to choose from, including popular We’ve said on more than one occasion
9
staples such as chorus, flange and phasing recently that digital amplification for
alongside wilder options such as the Slow the guitar has now arrived at the point
Gear reverse effect and the Slicer, one of our where the differences between analogue
personal favourites and a brilliant source and digital are so small they’re not worth
arguing over. More so than the high-end PROS Impressive amp tones can be dialled in
The technology on devices that tend to get the attention,
the Katana range has arguably been the
to suit all kinds of headphones; USB recording
and audio streaming from Tone Studio app;
offer is so much fun most disruptive, taking over the highly remote control storage
competitive mid ground with great tone
and so inspiring – the and effects that practically everyone can CONS Side-mounted performance switches
Katana:Go is a steal afford. The technology that’s on offer in the
Katana:Go is so much fun and so inspiring,
aren’t so accessible depending on the guitar
type and whether you’re left- or right-handed;
at the asking price it’s a steal at the asking price. not immediately great on some headphones,
but the powerful EQ can correct that in seconds

EPIPHONE INSPIRED BY
GIBSON 1963 FIREBIRD I
£1,349
WHAT IS IT? Affordable remake

of the classic early 60s reverse-
bodied, single-pickup ’bird
EPIPHONE INSPIRED BY
GIBSON 1963 FIREBIRD V
£1,699
WHAT IS IT? The flagship

’bird with dual pickups, four
controls and Maestro Vibrola
Birds Of
A Feather
Two of Gibson’s most controversial designs,
reimagined and rebranded with Epiphone’s
moniker. Do they promise the ‘Cream’ of
the crop or a ‘Winter’ of discontent?
Words Neville Marten Photography Phil Barker
W
ell does this reviewer recall
hearing Cream’s live version of
the blues classic Sitting On Top
Of The World on the band’s Goodbye album.
Clapton spits out reams of notes with a
huge distorted tone that it turns out was
his 1964 sunburst Gibson Firebird I. Just as
memorable was first catching the infectious
swagger of Johnny Winter’s Rock And Roll
Hoochie Koo, most likely played on Johnny’s
own 1964 Firebird, this time a white model V.
While Winter made a Firebird the main
staple of his career, Clapton only stayed with
his for the final Cream tour and on a few
Blind Faith shows the following year. EC’s
use of the Firebird inspired Gary Moore
and Joe Bonamassa to purchase identical
models, and it’s likely that many a Firebird
lover took Winter’s fiery licks and slicing
tone as inspiration. Gibson later produced
limited-edition runs of both guitars.

EPIPHONE INSPIRED BY GIBSON 1963 FIREBIRD I & V
Plugging the Firebird I into our 20-watt 1. With its single pickup
and wrap-around
combo it’s immediately apparent that this

‘lightning bar’ tailpiece,
operationally the
Firebird is one of
dual-rail mini-humbucker breathes fire Gibson’s simplest
guitars. But that pickup
is a poky beast, and the
We’ll spare you the full history lesson, unusual features. Like all reverse-body tailpiece is compensated
but in the face of Fender’s success with its Firebirds it features a neck-through-body to help with intonation
futuristic designs Gibson brought in auto design with two body ‘wings’ glued into
industry designer Raymond Dietrich to see V-shaped recesses milled from each side 2. The laminated neck
assembly runs the
if his genius as a motor vehicle architect of the body end of this nine-piece multi- length of the entire
for brands such as Packard, Studebaker laminate. Using five mahogany lengths guitar and facilitates
and Lincoln would transfer to the interspersed with four slim walnut strips the Firebird’s signature
guitar. Visually, it most certainly did, but for additional strength, it’s a complex stepped body, onto
which the pickups and
commercially the result was more akin to build that also led to the model’s stepped bridge are mounted.
Ford’s ill-fated Edsel model (not a Dietrich body, onto which pickups and bridges are Note the pickguard,
design). Even when Kalamazoo undertook mounted. It also means that the pickguard, which neatly butts up
a radical rethink of the Firebird in 1965, with its natty Firebird emblem, butts against the centre ‘step’
partly due to threats from Fender regarding neatly up to the step’s lower edge. On the
headstock and body shape infringements, base model the fingerboard was unbound
by 1969 the range had fizzled out. rosewood with pearloid dots, and on our
Although Gibson has reintroduced the Chinese-built Epiphone it’s the same but
model in various guises over the years, with using Indian laurel.
none in the current mainstream line-up Firebird pickups buck the usual trend,
(you’ll find some Murphy Lab ones but for too. Those fitted here are US-made
mega bucks), it falls to Epiphone to fly the Gibson Alnico V ’buckers, which, although
flag for this largely undersung guitar. appearing like regular mini-humbuckers
The Firebird I with its single bridge but without adjustable polepieces, are
pickup and wrapover bridge would be actually quite different inside. A Firebird
one of the simplest guitars that Gibson pickup comprises a magnet set in the
ever made were it not for some highly centre of each of the two bobbins with

the windings effectively surrounding odds on the headstock surviving such a fall. 3. Ray Dietrich could have 4. This detail shot of the
them, as opposed to the mini- or standard A hanging stand, adjustable for height, is stipulated tuners on Firebird I’s tone control
the top or the bottom highlights the body’s
humbucker where a single magnet is your best bet here. of the Firebird’s reverse raised step, a clever
centred underneath both coils. That’s it in a With single volume and tone pots, headstock. Instead, he nine-piece laminate of
nutshell, and what it means for the guitar’s electronically the Firebird I is as basic opted for Kluson’s rear- mahogany and walnut
tone we’ll get to shortly. as it gets. The components are all top mounted banjo-style
machines to keep the
The Firebird I’s bridge is the wrap-around quality, though, with CTS pots, a Sprague design looking elegant
‘lightning bar’ style as found on various 60s capacitor and Switchcraft jack. And with
Gibsons. With its six raised compensated all constructional aspects the same, bar
ridges it’s a fair compromise between an the bound laurel fingerboard with trapeze
adjustable tune-o-matic and the more inlays, it’s only the Firebird V’s long
basic wrap-around of the Les Paul Junior. Maestro Vibrola with tune-o-matic bridge,
Which brings us to the tuners. Dietrich plus an extra pickup with twin volume and
didn’t want a line of buttons sticking out tone pots, that distinguish the two guitars.
to spoil his reverse Strat-style headstock As with all Epiphones we’ve played
design, so opted for Kluson’s rear-facing recently it’s hard to fault the build and
banjo machines instead. This wasn’t a bad finish. The Heather Poly of our Firebird I
move from a practicality point of view, packs a real statement, while the V’s Ember
either, as it allowed easier access to the Red look is classy and timeless.
keys than would have been possible had
the buttons been lined up facing the floor, Feel & Sounds
as the reverse design might have implied. These are big guitars, and getting used to
The downside is that they are huge and their playing geometry can take a while.
heavy, and on an already lengthy headstock With no top horn it feels like the entire
the tendency when hanging on a strap is fingerboard is at the player’s disposal, and
for the neck to dive. despite the Firebird’s size and odd shape,
Speaking of which, Firebirds have three sitting down to play, everything seems in
strap buttons: one on the body end, one the right place. Due to its hefty Vibrola
on the top shoulder, and one attached to tailpiece, extra pickup and controls, the
the heel. Due to the body’s shape you can’t Firebird V is a weightier lump than its
lean the guitar against an amp or it will tip junior sibling. But this will certainly make
over sideways, and we wouldn’t give great it balance better on a strap.

5. With the huge swathe of Plugging the Firebird I into our Laney
nickel plate and Ember Lionheart 20-watt combo it’s immediately
Red finish (used by Ford,
Chevrolet and others),
apparent that this dual-rail mini-humbucker
Ray Dietrich imparted a breathes fire. Johnny Winter said he
real automotive vibe to loved Firebirds because sonically they sit
his Firebird design. The somewhere between Fender and Gibson,
Maestro ‘lyre’ Vibrola is
mated to an ABR-1 style and our single-pickup model certainly has
tune-o-matic bridge the vibe of an extra beefy Telecaster about
it. It snarls and seems to suit a driving tone
that can be backed off to clean up. Also, the
single tone control is your best friend for
darkening the tone (which Clapton surely
did on Sitting On Top Of The World).
While the Maestro Vibrola has

something of a reputation as
a tone sucker, we spotted no
evidence of that on the Firebird V
While the Maestro Vibrola has
something of a reputation as a tone sucker,
we spotted no evidence of that here on the
Firebird V. The bridge pickup matched
that of the Firebird I’s in size and tone,
6. A rear shot of the while the neck humbucker is not exactly
Firebird V’s headstock Strat-y but certainly moving in that, or
showing its massive perhaps a DeArmond-loaded Gretsch’s,
Kluson ‘Planetary’ banjo
direction. The ‘both pickups on’ setting
tuners. They are easy
to get to but can weigh provides clear and clanky sounds and,
down the headstock of course, everything can be sweetened up

EPIPHONE INSPIRED EPIPHONE INSPIRED

BY GIBSON 1963 BY GIBSON 1963
FIREBIRD I FIREBIRD V
PRICE: £1,349 (inc case) PRICE: £1,699 (inc case)
ORIGIN: China ORIGIN: China
TYPE: Reverse solidbody electric TYPE: Reverse solidbody electric
BODY: 2x ‘wings’ of solid mahogany BODY: 2x ‘wings’ of solid mahogany
NECK: Mahogany and walnut 9-piece NECK: Mahogany and walnut 9-piece
laminate, neck-through-body design laminate, neck-through-
SCALE LENGTH: 628.65mm body design
(24.75”) SCALE LENGTH: 628.65mm
NUT/WIDTH: 43mm (24.75”)
FINGERBOARD: Indian Laurel, NUT/WIDTH: 43mm
305mm (12”) radius, dot inlays FINGERBOARD: Bound Indian Laurel,
FRETS: 22, medium jumbo 305mm (12”) radius, trapeze inlays
HARDWARE: Wrap-around ‘lightning FRETS: 22, medium jumbo
bar’ bridge/tailpiece, Kluson banjo- HARDWARE: Epiphone ABR,
style Planetary rear-mounted tuners Maestro Vibrola vibrato tailpiece,
STRING SPACING, BRIDGE: Kluson banjo-style Planetary
using the tone pots. Light waggles of the 7. The Firebird’s neck 51.5mm rear-mounted tuners
vibrato bar add pleasing dips to single notes heel deftly moulds ELECTRICS: 1x Alnico V Epiphone STRING SPACING, BRIDGE:
into the body, and you
and a lovely shimmer to chords. can clearly see here
Firebird mini-humbucker, single 51.5mm
that the stepped body volume and tone controls, CTS pots, ELECTRICS: 2x Alnico V Epiphone
Verdict feature extends round Mallory capacitor, Switchcraft Firebird mini-humbuckers, individual
The recent joint ventures between the back as well. Note output jack volume and tone controls, CTS pots,
the strap buttons: one
Epiphone and Gibson’s Custom Shop on the heel, the other WEIGHT (kg/lb): 3.4/7.5 Mallory capacitors, Switchcraft
have produced some stunning guitars of shoulder-mounted. We OPTIONS: No output jack
late, and this pair of Firebirds is right up recommend strap locks! RANGE OPTIONS: Epiphone WEIGHT (kg/lb): 4.0/8.8
there with the best. Of course, what such Inspired by Gibson Firebird V OPTIONS: No
collaborations also do is whack up the (as reviewed) RANGE OPTIONS: Epiphone Inspired
bottom line somewhat, and at £1,699 the LEFT-HANDERS: No by Gibson Firebird I (as reviewed)
Firebird V is closing in on Gibson’s own FINISH: Heather Poly (as reviewed), LEFT-HANDERS: No
price points. We don’t think it’s unfair for Silver Mist, Inverness Green FINISH: Ember Red (as reviewed),
what you get, which is some of our favourite Frost Blue
instruments of late, and perhaps we’ll Epiphone
simply have to get used to it (ask yourself www.epiphone.com
what you paid for half a pound of butter a
year or two ago!).
Aside from the pricing issue, however,
9 9
there’s nothing we don’t love about these
guitars. They look fabulous, play really
nicely right out of their huge leather-look
black cases, and sound phenomenal. Were
we to play one live, though, we’d definitely PROS A fabulous-looking guitar PROS Almost unbeatable in the
fit strap locks and use the shoulder- that was decades ahead of its time; cool stakes; a fantastic, incredibly
mounted button to aid balance. brilliant tones from one pickup; versatile set of tones; great to play;
If it came to a choice? It’s tricky, as the simplicity of use; great to play; better balanced than the Firebird I
Ember Red V is a fabulous beast, but for its killer image
unadulterated simplicity and staggeringly CONS You’ll need strap locks
good looks, we’d opt for the Firebird I. CONS Can be neck heavy; you’ll and a very large boot/trunk, and
Okay Ginger, “one, two, three…” need strap locks and a very large it’s pushing Gibson, price wise…
boot/trunk; it’s on the pricey side otherwise hard to fault

F I R S T P L AY
CRAZY TUBE CIRCUITS

HI POWER
£235
WHAT IS IT? Dual-drive pedal

channelling Hiwatt amp and
Colorsound pedal sounds
3
CRAZY TUBE CIRCUITS HI POWER first play
Flying Hi
Crazy Tube Circuits presents David Gilmour-favoured CRAZY TUBE
amp and drive flavours together in one pedal CIRCUITS HI POWER
PRICE: £235
Words Trevor Curwen Photography Olly Curtis ORIGIN: Greece
TYPE: Drive pedal
FEATURES: True bypass
C
1. Power Boost or Overdriver? razy Tube Circuits has a penchant for creating pedals that pair classic CONTROLS: Master, Volume,
A drive pedal before such amp and drive pedal sounds. The latest is the Hi Power, which offers Presence, Bass, Treble, Middle,
a thing was given a name,
the Gary Hurst-designed tones from Hiwatt amps with a recreation of the Colorsound Power internal EQ and Volume Boost
Power Boost was an Boost pedal, a combination that David Gilmour was known to use back in the trimmers, 103/504 switch, B/L/N
18-volt orange pedal that day, notably on the Wish You Were Here album. The two sections of the pedal switch, H Bypass footswitch, Master,
was revamped as the
Overdriver in 1971, grey
are independently footswitchable and the boost comes before the amp, but Volume, Bass, Treble, Buffer/True
with nine-volt powering there is added flexibility with a send and return loop between the two. switch, PWR/ODR switch, C Bypass
The Boost section has a toggle switch that lets you choose between the sound footswitch
2. The B/L/N (Brilliant/ of the 18-volt Power Boost or the slightly later nine-volt Overdriver version. CONNECTIONS: Standard
Linked/Normal) switch
selects the Hiwatt amp’s A Volume knob sets the gain and there’s a Master knob for output volume, plus input, standard output, standard
input channel. Linked Bass and Treble knobs with which you can temper the boost/drive, which send, standard return, standard
represents the sound comes with a glassy top-end. There are various degrees of boost and drive footswitch jack
you’d get by connecting
two channels on the amp
to be had, although higher reaches of the Volume knob add a fuzzy edge to POWER: 9V DC adaptor
with a patch lead proceedings until it gets raucously fuzzy up full. It’s here you’ll notice the most (not supplied)
difference between PWR and ODR settings, the latter being smoother and not DIMENSIONS: 122 (w) x 95 (d) x
3. This 103/504 switch quite as rampantly in-yer-face. 53mm (h)
refers to two different
Hiwatt amps: the DR103 is The amp section also has similar Volume and Master knobs, but you get a
a 100-watt amp, while the full quartet of amp-style EQ knobs. A toggle switch lets you choose Normal FACE bvba
DR504 is a 50-watt amp channel, Brilliant channel or a combination of the two working together for +32 3 844 67 97
4. The send and return
added gain. Starting with the recreation of a DR103 100-watt amp, there’s www.crazytubecircuits.com
loop allows you to add in really good dynamic response as the amp reacts to your playing across a range
9
other pedals or use the of authentic-sounding Hiwatt tones from clean to everything-on-10 crunch,
boost and amp sections the Master knob building in the sound of power amp distortion. You also get
as separate entities using
a switcher. If you’re a the choice to toggle switch to a DR504 50-watt version, which eschews the
Gilmour fan, you’ll know he former’s high headroom and greater dynamic response for more compression
used the Colorsound Boost and gain. Both sides of the pedal work fine independently, but together the PROS Two respected vintage
along with a Big Muff, so
this gives you two options
boost seems to be the perfect complement to the amp, pushing it into some sounds in one pedal; effects loop;
for Muff placement to find familiar clear yet smooth lead tones. plenty of tweakability; compact
what best suits you size for a twin-footswitch pedal
Verdict
Another nicely thought out addition to Crazy Tube Circuits’ twin-pedal CONS The Hiwatt side may need
range, the Hi Power has an obvious appeal to Gilmour fans, but from a wider a fair bit of dialling in for optimum
perspective it combines two classic tonal flavours that are rare in pedal form. use with your own amp
THE RIVALS
If this style of pedal appeals but you’re looking for
different flavours, Crazy Tube Circuits also bundles
Dumble and Klon sounds together in the Unobtanium
(£249), while its Crossfire (£189) pairs Fender ‘black-
panel’ sound with Tube Screamer drive. For a Hiwatt-style
pedal, check out the Menatone MenaWatt v.III ($209),
although you may have to import it from the USA. Macaris
does modern recreations of the Colorsound Power Boost
(£359) and Overdriver (£329). Also check out the Tru-Fi
Colordriver (£199), Electronic Orange Bananaboost
(€224) and, if you fancy building one yourself, Aion FX has
the Nucleus Vintage Boost printed circuit board ($12.50) Crazy Tube Circuits’ Unobtanium pedal
4 but may produce a full kit if enough people are interested. combines Dumble and Klon-style tones

F I R S T P L AY
BEETRONICS ABELHA
TROPICAL FUZZ
£299
WHAT IS IT? A fuzzbox from

the California pedal maker that
channels the spirit of tropicália
1
BEETRONICS ABELHA TROPICAL FUZZ first play
Brazilian Buzz
It’s designed for Brazilian tropicália music, but this fuzzbox
from Beetronics could create a buzz in any musical genre
Words Trevor Curwen Photography Phil Barker
B
1. The footswitch actually eetronics’ latest offering is described as a ‘Tropical Fuzz’, tropical in this BEETRONICS
has four operations, each
with a different outcome:
instance relating to tropicália – a type of music from Brazil that merges ABELHA
single tap (bypass), Brazilian and African rhythms with British and American psychedelic TROPICAL FUZZ
double tap when engaged rock and pop, and features lots of fuzz guitar. Beetronics says that the Abelha,
(mode switching), which incidentally is the Portuguese word for bee, reimagines the classic vibe PRICE: £299
hold when engaged
(momentary mode
of the music but infuses it with a forward-thinking twist. A large pedal, it’s ORIGIN: USA
switching), and hold when a proper work of art with an intricately engraved top surface and a large red TYPE: Fuzz pedal
disengaged (momentary jewelled bypass LED, as well as a ring of six smaller multicoloured LEDs that FEATURES: True bypass
activation of the effect) light up in different colour combinations to signify various operating states. CONTROLS: Loud, Buzz, Hi, Lo,
2. This ring of six Let’s hope it sounds as good as it looks… Flavor toggle (Polen/Nectar/
multicoloured LEDs A toggle switch calls up three flavours of fuzz – Polen (Portuguese for pollen), Honey), Bypass footswitch
lights up in four different Nectar and Honey – with the sound being dialled in with knobs to turn up the CONNECTIONS: Standard input,
combinations to let you
know when you’re in
output volume and the fuzz, plus high and low EQ knobs that are very effective standard output
Normal or Tropical mode, in getting the fuzz flavour just right to suit your rig. Polen is gated, sputtery POWER: 9V DC adaptor
both when the effect is fuzz; quirky but not unplayable. Nectar is classic creamy fuzz with a nice fat (not supplied) 60 mA
on and off midrange, while Honey has a more scooped tonality and top-end clarity. Both DIMENSIONS: 83 (w) x 180 (d) x
3. The Flavor toggle switch could pass for overdrive with the Buzz knob at lower levels, but turned up to the 65mm (h)
lets you select one of max you get full-on fuzzy goodness that you can roll back with guitar volume.
three different sounds, Further variation is available via Tropical mode, which is a high-pass filter FACE bvba
Polen, Nectar or Honey,
described respectively in
that cuts out a whole load of lower frequencies leaving you with something +32 3 844 67 97
the manual as “sagged really quite gnarly. You can keep it as your main fuzz tone if you want buzzy, www.beetronicsfx.com
low-gain buzz”, “round bright and edgy, but you may just like it dropped in for a passage or a single note.
9
high-gain fuzz” and A hold on the footswitch will momentarily switch between the two modes.
“sweet high-gain drive”
The footswitch, in fact, has several actions to facilitate all sorts of operation: a
single tap is standard latching bypass, while a double tap selects between Normal
and Tropical modes when the effect is engaged. If the effect is disengaged, a hold
on the switch will momentarily turn it on, whichever mode it is switched to. PROS Looks brilliant; range of fuzz
sounds; footswitching options;
Verdict different vibe from Tropical mode
We can confirm that the Abhela does indeed sound as good as it looks!
Beetronics’ new pedal is an excellent fuzz for your ’board with wide-ranging CONS Expensive and not exactly
tonal variation and performance tricks that set it apart from the crowd. pedalboard-friendly
THE RIVALS
The Abhela is unique, but here are some other
singular takes on fuzz. The Redbeard Effects
Hairy Squid (£199) puts three different fuzzes in
one pedal, with a toggle switch offering Silicon,
LED and Germanium options. The Kernom MOHO
(£319), the world’s first ever ‘augmented’ analogue
fuzz pedal, has a Mood knob controlling the
behaviour of its transistors that is said to allow
access to thousands of analogue fuzz pedals in
one box. With another distinctive look and varied
footswitching modes, the Stone Deaf FX Rise &
The Hairy Squid from
Shine (£265) puts three effects in one unit – Fuzz, Redbeard Effects puts three
3 Octave Fuzz and the Octapulse Tremolo Vibrato. fuzz favourites in one pedal

wishlist PRS ‘Dead Spec’ Silver Sky
Dream gear to beg, borrow and steal for...
PRS ‘Dead Spec’ Silver Sky £3,495

CONTACT PRS Europe WEB www.prsguitars.com WORDS Dave Burrluck PHOTOGRAPHY Phil Barker
I
t might have ‘broken the internet’ on its release While that Fender guitar aims to be a facsimile of 1. As far as we’re aware,
late in 2017, but PRS’s Silver Sky now seems very the ‘Alligator’, which Jerry started using in the summer this is the first time a
PRS production guitar
much a part of the high-end Stratocaster-inspired of ’71, PRS’s take is less specific but zones in on its has featured a brass nut.
market and is now also offered in the more affordable various mods: plenty of brass parts and a basic onboard The string retainer bar
Indonesian-made SE range. It’s PRS, so there have been boost that would become the Alembic Stratoblaster. emulates the one used
on the low four strings
some minor tweaks over the past few years, of course, The ‘Dead Spec’ also swaps its standard alder body to
of the Alligator, subtly
not least the addition of a maple fretboard option and swamp ash in a very tactile thin satin nitro Moc Sand increasing the back
a couple of satin nitro finishes for this year. But the finish. It uses a PRS Gen III brass vibrato but mounted angle behind the nut
‘Dead Spec’ version, released at the end of 2023, is the as a hardtail bridge, a brass nut and Floyd Rose-style
2. The guitar comes in a
biggest change to the ’Sky’s blueprint so far. string retainer bar, and that Stratoblaster circuit, now hard case and includes a
It takes us back to the 70s, a time when many called the Blaster, which is still made by Alembic. surface-mounted vibrato,
players would muck up perfectly good guitars with There’s a lot more to the ‘Dead Spec’ than simply which has no springs and
doesn’t move. There’s
active circuits and brass parts. It's that era that copping Jerry Garcia’s short-lived Alligator tone (he
also an easy access
Fender recently revisited with its recreation of Jerry retired the guitar on 1 August 1973, his 31st birthday). compartment for the
Garcia’s modded ‘Alligator’ Stratocaster – based We’d wager there’s a firmer, almost more fundamental battery necessary to
on an original 50s Stratocaster Jerry was gifted by tone here that certainly doesn’t lack sustain or indeed power the preamp
Graham Nash – a mere snip at £18k. The ‘Dead Spec’, very clear note separation; it requires an accurate 3. Alembic’s Stratoblaster
then, is a “significantly modded” Silver Sky that “pays touch. Adding in the Blaster, pre-set by PRS, there’s a was used by many
homage” to that ‘Alligator’ and is an exact replica of the small level boost that noticeably enhances the clarity back in the day, from
Adrian Belew to James
instrument that John Mayer has been using on his other and we’d say very slightly thickens the voice. But that’s Honeyman-Scott. It’s
day job: touring with Dead & Company. Considerably only one way to use it: pull back the tone controls, for a pretty simple circuit
less expensive at just £3.5k, the ‘Dead Spec’ is a limited example, and engage the boost to produce a more with a 3dB to 14dB gain
boost, adjustable via
run of 1,000 (the earlier Fender was a run of just 100 humbucking-like thickness, plus you can experiment
a trim pot accessed
pieces), but the demand has been huge: trying to get with the exact amount of boost that’s right for you. through that small hole
this one required some negotiation! Loon pants and beads are optional. on the brass plate

wishlist
4. One fundamental change

to the ‘Dead Spec’ is
the body wood: here it’s
swamp ash, not alder,
which contributes to
an overall weight of
3.46kg (7.61lb). Aside
from the other mods,
the ‘Dead Spec’ has the
same 184mm (7.25-inch)
fingerboard radius with
small width but high
fretwire and, of course,
the same 635 JM single
coil pickups of the
standard Silver Sky
5. “We made this non-

tremolo guitar with a lot
of brass, which gave the
guitar a beautiful warm
midrange,” says Paul Reed
Smith, “and the Alembic
Blaster switch, which
cleared everything up
and gave the guitar some
courage. The other thing I
love is that the finish sinks
into the wood. It’s part of
the guitar, so the guitar
feels alive in your hands.
That’s really cool. The
original guitar was made
in a few days to make
sure John was getting
the sounds he wanted on
that tour. Then he said he
wanted to release it, we
were like, ‘What?’ But I
got my hands on one the
other day. I wanted to own
it, I really like it”
Guitarist would like to thank

Wildwire Guitars for the loan
of the featured guitar
https://wildwireguitars.com
THE
LINEUP
Gas Supply
Our pick of the month’s most delectable
and wallet-bothering new gear
Mesa/Boogie Mark VII £3,849 to £4,199

CONTACT Gibson PHONE 00800-44427661 WEB www.mesaboogie.com
LOOKING BACK Mesa/Boogie! Haven’t seen one of them in Enough backstory, tell us about the amp!
Where’s Boogie Been? a guitar shop for a while. The Mark VII (the folk at Boogie decided to miss the VI,
We asked Gibson about
Mesa/Boogie’s absence,
Nope. In fact, a lot has changed since 2021 when the which remains in unreleased prototype form for now)
and the answer is more company was acquired by Gibson. Following some supply is described by Boogie as Randall Smith’s “Magnum
straightforward than you chain issues (see ‘Looking Back’ box, left), Boogie is now Opus” of tone. That’s because it crams a massive nine
might think: one of Mesa/ well and truly back, and it’s brought a brand-new amp preamp modes into one 90-watt amp, shared between
Boogie’s parts suppliers
closed its doors and design with it: the Mark VII. three channels. Each of those three channels is stocked
approval in the European with a three-band EQ (plus presence), as well as gain and
market is strict. So, with Brand-new? Or just new to the UK? channel volume controls, and each channel can also be
“supply chain issues and
Okay, so out of sight may not always mean out of mind, selected to run at individually assignable output powers.
due diligence with a new
supplier” now complete, and if you’ve been paying attention then you might More on that in a moment.
we’re now once again free have seen the launch of the Mesa/Boogie Mark VII last
to get our Boogie on. summer, when it was rolled out in territories excluding What circuits are they?
Europe. But it’s new to us and will be available in the UK You have three channels: Channel 1 has preamp options
for the first time by the time you read this. for Clean, Fat and Crunch; Channel 2 offers Fat, Crunch
FORMATS CHANNELS GRAPHIC EQ FEATURES

The Mark VII is available in Three channels, each with It wouldn’t be a Mark without As well as Boogie’s Multi-Watt
head, rackmount head and three preamp designs and three the five-band graphic EQ, would and Simul-Class output features,
1x12 combo formats. The individually assignable output power it? Here, it can be assigned to a there’s a CabClone around the
latter comes loaded with ratings, mean the MKVII is packing a footswitch, along with the onboard back, complete with headphones,
a Celestion Custom 90 huge amount of tonal options valve-driven spring reverb direct outputs and a USB interface

The Lineup
ALSO OUT NOW...

SHEERAN BY LOWDEN STADIUM EDITION
& SHEERAN LOOPERS FROM £299
and the new MKVII high-gain voice; and Channel 3

delivers a bit of Mesa/Boogie nostalgia courtesy of
the MKIIB, MKIIC+ and MKIV preamps. Suffolk’s biggest pop export has launched not one
but two signature products. First up is the first ever
That’s a lot of toggles to press – and that’s not handmade Sheeran By Lowden model, making it (for
even all of them? all intents and purposes) a full-blown Lowden. The
There are plenty of options, for sure. But the other Stadium Edition (£4,500) is limited to 150 pieces and
mini-toggles on each channel take care of the distinctive is designed to be an exact replica of Ed’s stage guitar,
(and footswitch assignable) five-band graphic EQ, featuring a WL (Wee Lowden) body made of solid
and the power switching we mentioned earlier. Over in rosewood back and sides with a spruce top, including
the master section, there are further mini-toggles for Lowden’s Stadium Voicing to maximise clarity and
switching-in/out the reverb for each channel, and as resonance, while also fighting feedback.
with the EQ, these can be assigned to a footswitch, too. Meanwhile, Sheeran has also launched a pair of
signature looper pedals. Designed by the guitarist and
What’s this power thing about, then? his production team, the Sheeran Looper + (£299) and
As with previous Mark series amps, Mesa/Boogie has the larger Sheeran Looper X (£1,199) put Sheeran’s
included the ability to drop each channel’s output from looping capabilities at your feet, with multi-track
the full 90 watts down to 45 watts or 25 watts. Boogie looping (two on the + model, four on the X), multiple
calls the power amp tech Simul-Class because, as well looping modes and effects all built in.
as a change in power, it also changes the class operation www.sheeranguitars.com
of the channel. With the switch in the 25-watt position,
the output is running two output valves (6L6 or EL34) in VINTAGE REVO SERIES FROM £449
Class A Triode. In 45-watt mode, it still only uses two of
the output valves but this time in Class A Pentode, and We love vintage gear – and we love affordable gear just
with the 90-watt position selected we get the full output, as much. Sadly, the two are often mutually exclusive.
which Mesa/Boogie says blends the best of Class A and But now Vintage (the brand) has teamed up with Alan
Class A/B to create “pure tonal magic”. Entwistle to ensure our retro cup runneth over with its
new REVO series. The REVO (Retro Vintage Originals)
The Mesa/Boogie Mark VII line comprises a staggering number of guitars split into
nine ranges: Deluxe, Vision, Trio, Midline, Surfmaster,
crams a massive nine preamp Integra, Colt, Supreme and Superthin. The entire
modes into one 90-watt amp line-up spans semi-acoustics, offsets, double-cuts
and more, plus there are 12-string and baritone models.
They’ve packed a lot in! Each one features Wilkinson hardware, Graph Tech
Yes, but we’re not done yet! On the other side of the amp, nuts and Entwistle pickups. Prices start at £449.
there’s a CabClone IR DI module, offering eight cabinet www.vintageguitarsrus.com
options per channel, dry line out, headphone socket and
XLR output, as well as a USB interface and MIDI in/out/
thru for comprehensive control.
So, what are the model options in the range?

There’s the Mark VII Head, Mark VII Rackmount Head
(both £3,849) and Mark VII 1x12 Combo (£4,199); all
are shipping now. If you want to check them out, head
to your nearest dealer or take a trip to the newly opened
Gibson Garage London to give them a go, along with
the entire Mesa/Boogie range. [SW]

THE
LINEUP
Fretbuzz
A monthly look at must-hear artists from all corners of the guitar world,
from the roots of their sound to the tracks that matter most
Artist: James Frankland

Album: Fate’s Right Hand (self-released)
J
ames Frankland has made a name for himself as When Classical Meets Rock
an instrumental guitar player who’s able to bring Like many instrumental guitarists before him, James
intricate layers into his music, as we see on his latest found classical music entering the mix. “I wanted to push
release, Fate’s Right Hand. However, he didn’t find an the piano and guitar accompaniment on this one,” he
immediate connection to music. “I first started playing explains. “When I was writing I was listening to a lot of
when I was seven, but I didn’t like it for about six years,” he music, but a big one was Rachmaninoff and his classical
says. “Then when I was about 13 there were YouTube and piano stuff because he has some really moody chord
Ultimate Guitar tabs, so I could access Joe Satriani and progressions. It made it quite a challenge – the sound
Fate’s Right Hand
comprises 12 tracks Guns N’ Roses lessons. It was a good time for learning.” takes up a big frequency spectrum. There’s super low
of instrumental guitar and high there, but all of the ideas began on the electric
jamesfrankland. Challenging Players guitar. There are so many instrumental rock albums, I
bandcamp.com
James explores a range of moods across Fate’s Right really wanted to find something that hadn’t been done
Hand, from the aggressively charged Stalemate to so much, like the piano accompaniments.”
piano-accompanied slowy In The Depths. It displays an
ability that has been honed through much listening and Audience Participation
PHOTO BY JARED STUBBINGS / ARTISAN IMAGING
playing. “Guns N’ Roses was definitely the one that got When it comes to performing live, James likes the idea of
me into guitar,” he says. “After that probably Alter Bridge, a more interactive show, where the audience can engage
but more Myles Kennedy’s playing, rather than Mark with the artist. “I’d like to do some clinic dates,” he says.
Tremonti. Myles goes for the gross notes; he’ll hammer “I’ve always liked those and it’s partly what drew me to
in the b 5 and he gets away with some nasty notes, which the instrumental side of music and gear demos. The clinic
A melting pot of influences I really like. Another one is Jeff Beck – it’s an acquired shows give the audience the opportunity to get to know
inform James’s approach
taste, but once I got my head around it I thought he was the performers a bit more; they get to learn why they
to instrumental guitar,
from Guns N’ Roses to untouchable. I managed to see him before he passed write the way they do and use the gear they use.
Rachmaninoff away. That was a cool concert.” “It’s a bit like a guitar shop tour,” he continues. “There’s
a much smaller audience and you might be on for an
hour and a half, but you’ll only play four or five songs in
that time and the rest is spent answering questions. I’ve
always been into that kind of performance. It’s also a bit
less daunting!”
Deep Listening
James is a meticulous audiophile, with his preparation for
a new album coming down to the finest detail. Much of
this prep comes from further listening. “I’m interested in
a lot of aspects of [creating music],” he tells us, “so when
it comes to composition, a lot of it comes from listening
to other artists for specific areas. It comes down to what
flavours I want to absorb. When we play we think we know
what should come next, but that changes with listening
tastes. I’ve been trying to train my ear towards a new set of
intervals or chords. For this one, as well as classical music
for augmented chords, I was listening to Muse a bit for
harmonies, too. It’s hard when doing instrumental music to
keep it evolving and not just do the same thing again.” [GK]
Standout track: Zenith

For fans of: Guns N’ Roses, Myles Kennedy, Steve Vai

The Lineup
“I wanted to push the piano

and guitar accompaniment
on this one, so I was listening
to a lot of Rachmaninoff – he
has some really moody
chord progressions”
ANGRY GUITARS
For the lead parts on Fate’s Right Hand, James
chose guitars with a particular personality
“The main rule was single-coil guitars for lead parts,” he says. “I really
like vintage Japanese Fenders. A lot of this one was done on a 1989
Japanese Esquire: just one pickup, super round fretboard and tiny
frets. I liked it because you have to hang on – it’s the angriest guitar I’ve
played! I also used a Chapman ML3 Standard; like the Esquire, it’s not
an expensive guitar, but it felt right and that’s the important thing.”
Elsewhere in James’s rig is a special collaboration with Ambler
Custom Guitars that resulted in the dual Seymour Duncan ‘Phat Cat’
P-90-loaded Capulet model, which has a master-grade 5A quilted
PHOTO BY SARAH FRANKLAND
maple top, swamp ash body and quarter-sawn roasted maple neck.
A Victory V40 The Duchess and Orange OR15 make up his backline.
THE
LINEUP
Albums
The month’s best guitar music – a hand-picked
selection of the finest fretwork on wax
Martin Simpson
Skydancers
Topic Records (available 12 April) 10
Moving, perfectly performed feast of
folk guitar delivers sorrow and joy
Any new Martin Simpson album is a treat
for folk-guitar fans, but with Skydancers,
he may just have delivered his magnum
opus. Comprising two discs, one of studio recordings,
the other of some superbly recorded live performances,
all of life is here – from nature in conflict with man in the
title track to ale-house rakes who’ve lost it all to drink
and hedonism in Flash Company, the sorrow and fleeting
joys of the world are etched in the listener’s imagination
with masterly skill. In so doing, Simpson draws upon a
PHOTO BY MURDO MACLEOD
deep well of extraordinary folk songs from both Britain

Knopfler’s flair for
and America as well as his own compositions. So
storytelling runs
deep in his 10th it’s testament to his artistry that everything coheres
studio album gracefully and movingly here – and we don’t think we’ve
ever heard him play so well as on some of the live tracks,
notably Leaves Of Life. As you’d expect, his Muiderman
Mark Knopfler and Taran acoustic guitars sound stunning throughout
– a record for both heart and head, Skydancers is one
One Deep River
British Grove/EMI (available 12 April) 9 of those albums that’s just good for the soul. [JD]
Standout track: Leaves Of Life

A storied masterpiece from the sultan of song For fans of: John Renbourn, Kelly Joe Phelps
There are very few guitarists whose style manages to win a
place in the ‘instantly recognisable’ club, but Mark Knopfler
is certainly a fully paid-up member of that particular elite. Eric Bibb
That unmistakable semi-clean Strat sound – plus, of course,
the occasional Les Paul, Telecaster and sundry Stratalike six-string exotica
– permeated every release by that fabulous beast that was Dire Straits.
Live at The Scala Theatre Stockholm
Stony Plain Records (available 5 April) 9
But when that enterprise took its final curtain call in 1995, Knopfler engaged Velvet-voiced bluesman creates
upon a solo career that has seen him release no fewer than nine albums to atmospheric live album
date. One Deep River is the tenth, the title song of which is a personal paean “The Live At The Scala concert was,
to the Tyne that flows through his beloved Newcastle. without a doubt, the most ambitious gig
Produced by Knopfler and long-time collaborator Guy Fletcher and and recording project of my career…”
recorded at MK’s state-of-the-art Grove Studios, One Deep River features says Eric Bibb of his brand-new live album. Ambitious it
12 songs in its single CD release format, expanded to the tune of four or certainly is, too. Perhaps known more for playing solo,
five bonus tracks depending on which deluxe package you choose. Always accompanied only by an acoustic guitar, this album sees
the master storyteller, lyrically the songs cover everything from early days the bluesman with a full band and a string section adding
trying to make it in the music business to a daring railroad robbery in the a brilliant extra dimension to songs old and new. Eric tells
old Wild West on Tunnel 13. Aside from the signature Strat tones, there’s us that the mission here was to deliver a live album that
sensitive acoustic playing on tracks such as Sweeter Than The Rain. But as offered songs that had not been visited on live outings
is the case with every master craftsperson, it’s the songs themselves that before, plus a few fan favourites, and it succeeds on every
bask in the spotlight, the guitars playing only what’s necessary and nothing level. The band proves to be a perfect foil for the pristine
more. As such, the album is a masterclass in the art of subtlety and restraint guitar work, with soulful ballads such as Along The Way
that will sit happily alongside Knopfler’s finest work. [DM] and Rosewood being particularly effective in this context.
Simply fabulous. [DM]
Standout track: Black Tie Jobs
For fans of: Dire Straits, JJ Cale, John Hiatt Standout track: Along The Way
For fans of: Keb’ Mo’, Taj Mahal

Sophie Lloyd
proves her
credentials on
star-studded
debut album
Sophie Lloyd
Imposter Syndrome
Autumn Records (available now) 8
UK shred-rocker delivers powerful debut
Sophie Lloyd has been a social media
whirlwind, drumming up lots of views on
YouTube and other outlets. An ex-BIMM
student, she’s grabbed the guitar world’s
attention and has now released her debut album.
Enhanced with various guests including Matt Heafy
(Trivium) and Nathan James (Inglorious), her classic rock
and metal roots shine throughout, be it with palm-muted
powerchords or slippery legato leads. The title track
begins with clean ambient guitar before thick distorted
chords take over, and with Lzzy Hales on vocals, it’s a
big-sounding song with one of Lloyd’s more chilled solos.
The drop D fuelled Let It Hurt features Chris Robertson
for a husky American-styled rocker, big on production
and sonic punch. For a more modern shred presentation,
Fall Of Man with Matt Heafy is worth a listen, not least
for the tapping legato intro and later solos. [JS]
Standout track: Let It Hurt

For fans of: Halestorm, Alter Bridge
Troy Redfern
Invocation
RED7 Records (available 17 May) 9
One-man blues-rock army
ignites the airwaves
Troy Redfern sure knows how to wield a
slide! With a new batch of 11 stomping
songs, his playing and vocal delivery here
are sure to grab attention with well-crafted compositions
and arrangements. Opener, The Strange, is a pounding,
low C throb rocker with huge chorus vocals and a
cracking slide solo, and low C tuning occurs again on Van
Helsing with clipped Clash-esque chords and propulsive
chorus guitars and rhythm section. Getaway has a Rolling
Stones meets Mötley Crüe vibe with slinky guitar action
and raucous vocals, while The Calling nods towards The
Cult, with great anthemic guitar work and dynamic shifts.
The swampy stomp of The Fever is a particular standout,
with a span that nods back to ZZ Top and forwards to
modern rock production intensity. And if you hanker for
further rock pulverising, Voodoo Priestess is outstanding:
grungy guitars, screaming slide work and exclamatory
vocals will shudder your speakers for sure. [JS]
Standout track: The Fever

For fans of: When Rivers Meet, JD Simo
THE
LINEUP
Tones Behind The Tracks

Steve Hackett dishes out a rich helping of prog on The Circus And The
Nightwhale. We look behind the scenes with the ringmaster himself…
Artist: Steve Hackett

Album: The Circus And The Nightwhale (InsideOut Music)
S
teve Hackett has been enjoying phenomenal acceptable again and we’ve done various things that are
success worldwide with his Genesis Revisited stories within themselves, like Under A Mediterranean
project, but live shows are always peppered Sky [2021], my instrumental album, describing different
with material from a solo repertoire that extends back countries around the Mediterranean.”
into the 1970s. Recent years have seen his albums
gain traction in the charts with his signature melodic How did you begin to shape the story?
guitar tone always to the forefront. As he’s continually “Jo suggested Travla as a third person so that we could
searching for new themes to explore, the latest album take it into realms that were perhaps more Pinocchio-
Essentially a concept is largely semi-autobiographical, featuring the life esque, or more Homeric, perhaps. The hero’s quest
album, The Circus And
and times of a fictional character called Travla. Heavy approach. That’s how we work together, things are born
The Nightwhale details
the varying fortunes of a riffs and lavish orchestrations are the order of the day out of conversations and then Roger King [keyboards,
character called Travla hereabouts, and we couldn’t resist the opportunity to programming and arrangements], who puts all this
find out more about the album’s origins… stuff together, makes our dreams a reality. I play
guitar, I sing, I try to get involved in the close detail as
Your albums have always had quite a strong much as possible. We do computer sketches, then we
narrative to them, but this one in particular, get humans to play it – that’s how it seems to work.
to the extent that you have described it as It’s always been a mystery to me how anything gets
semi-autobiographical. Could you explain finished at all with the amount of time we spend on
a little bit about the story behind The Circus the road doing shows. We even recorded some stuff
And The Nightwhale? at soundchecks because we were challenged for time,
“Well, my wife, Jo [Lehmann], had the idea for the title. so some of this album is recorded live in halls that we
We had been kicking around the idea of something were doing concerts in.”
that was semi-autobiographical so I could draw on
the experience of what it was like to be born in 1950, What form did the main recording sessions
in London, as in People Of The Smoke, the opening take for this album?
track – ‘the smoke’ being a nickname for London. Like “I found a unique way of working where I think you
so many of the things that I work on with her, it took get a lot out of yourself and other people if you’re
a little bit of time for the penny to drop. She was the working in so-called ‘downtime’, where you’re not
one who said to me that people like a story. I resisted really expecting anything. So anything you get from a
The sessions for the new
that for a while, I thought, ‘Oh, concept albums…’ they situation like that is a plus. It was recorded in maybe
album include recordings
from soundchecks while were something always heavily criticised by critics at four or five different batches at home, in this very room,
Steve’s band was on tour one time. It became very passé. But then it became co-ordinating everything and playing guitar here. But
PHOTO BY DANIEL KNIGHTON/GETTY IMAGES

“Concept albums were
heavily criticised… but
then became acceptable
again. We’ve done various
things that are stories
within themselves”
PHOTO BY TINA KORHONEN

THE
LINEUP
I don’t think it’s harmed it at all, you know? Having to of time on my hands. I’d like to do the whole thing, but
wing it seems to have helped it. I wanted things to be at the moment I’m supposed to be celebrating Foxtrot
pretty brief, as it’s very easy to overstay your welcome in America, The Lamb Lies Down On Broadway over
with any one particular idea, it seems to me.” here – not in its entirety. It’s a real conundrum.
“I would like to think that although it works as a
One of the acknowledged millstones of a cohesive whole, it should be possible to do some things
concept album is that there’s the expectation from it. If I was watching The Beatles and they suddenly
that it has to be performed in its complete went into Being For The Benefit Of Mr Kite!, I’d be on
form – something you will have experienced my feet. Things should be able to work in total, and they
before in Genesis with The Lamb Lies Down should be able to work separately. I’ve headed towards
On Broadway. Are you going to get a chance doing Genesis albums in total; the two that I’ve really
to perform this album as a whole? gone for have been Foxtrot and Selling England By The
Steve’s albums have “That’s a huge challenge. I hadn’t expected that it was Pound from ’72 and ’73. That was when John Lennon
always featured his
going to be so well received. One of the videos has said he thought that Genesis were true sons of The
classical guitar playing,
his main instrument gone viral – the one for People Of The Smoke – and Beatles, so as far as I’m concerned that’s the golden
being a 50-year-old Yairi I’m at this point where I’ve only got a certain amount era of Genesis to celebrate.”
“It’s always been a mystery

how anything gets finished
with the amount of time
we spend on the road…
We even recorded some
stuff at soundchecks”
PHOTO BY KEVIN NIXON/CLASSIC ROCK MAGAZINE/FUTURE PUBLISHING

The Lineup
How much of your own story is wrapped up

in the album’s storyline – or are you going to
let people draw their own conclusions?
“I have to be a little bit careful because I don’t want
to point fingers at people and blame them for my
extremely screwed-up state of mind at various points.
There was an aspect of claustrophobia that invaded
my time with Genesis, and I had to work outside the
band. I think if you’re feeling creative and you’ve
got that album or that book or that film inside you,
you don’t want to let it fester. You’ve got to get it out
there. Genesis was becoming a little bit too much of
a closed shop and it was affecting my ability to sleep.
I agonised over leaving the band for a good two years
and then I thought, ‘No, I’ve got to make a leap of faith
at this point in time.’ And there’s no doubt that I made
the right decision. If you look at it purely in financial
terms, you would have said, ‘Yeah, but you could afford
Buckingham Palace by now if you’d stayed with the
PHOTO BY DAVE SIMPSON/WIREIMAGE/GETTY IMAGES

band.’ But on the other hand, music is its own currency.
It’s what nourishes you, if you need to do it.”
Let’s talk a little bit more about the recording

process. Obviously, you’ve experienced being
in a band, recording together in the studio,
but these days it’s far more common to have
contributions made remotely, thanks to the
internet. Do you have a preference?
“There’s no doubt about the camaraderie of a band
when everyone is swinging together and there’s virtual
telepathy going on. Those moments are irreplaceable There’s some classical guitar on the album, Steve performing live at
and I had that with Genesis; there were certain too. What type of nylon-string do you use? Auckland Town Hall, New
Zealand in 2022 with
moments where the music was literally writing itself. “When we were working on The Lamb Lies Down On his favoured Fernandez
That also happened with my own first touring band. Broadway in 1974 I bought a Yairi; it was the loudest Sustainer guitar
When we were making Spectral Mornings, we were guitar in the shop and I could just about afford it.
partying into the night and there was an album at the I’ve kept this guitar now for 50 years and I just had
end of it! Everyone was getting a chance to express the action lowered on it recently, which improved its
themselves and play and sing wonderfully. playability. I use light gauge strings on it – D’Addario
“So I’ve seen it from both sides. But I also love the Pro-Arté – which probably squeak the least of all the
modern way of working where you do some kind of ones I’ve worked with over the years.”
demo, some kind of computer sketch, and then you
send it off to someone, and you’re not poring over their “There was an aspect of claustrophobia that
shoulder, they’ve got time to absorb it, figure that they
can do this and that and nobody has to hear all their
invaded my time with Genesis, and I had to work
bum notes. I just get the finished product from them.” outside the band. [I had to] make a leap of faith”
Were the guitars on the album primarily Did you use amps or modellers for the album?
your Fernandez and Goldtop Les Paul? “For this I went straight in. No amps were harmed,
“They’re both in evidence on the album and they they’re all virtual models. I don’t think it’s obvious that
produce different sounds. You sacrifice a certain I work like that. Live, I use Engl amps and my overdrive
amount of tone control with the Fernandes Sustainer is Sansamp. Just for practice, I’ve started using two
pickup aspect, but it gives you something else – those of those in series; whether that will work live, I don’t
screaming kettle police car noises and sustain to die for, know. I’m after boosting a little bit more all the time.
with no tyranny of volume, because it’s the guitar itself Then there’s a volume pedal, Whammy pedal… I’ve got
that’s feeding back. So once you’re managing to isolate a little Peavey practice amp that I use at home and I
the notes you can get something absolutely spectacular sometimes record with that. But it’s not the size of the
from it. Then on Wherever You Are, the penultimate amp, it’s what you’re doing with it.” [DM]
track, I was using one of Brian May’s guitars that he
invented, a Red Special. It was overdriven, but I was The Circus And The Nightwhale by Steve Hackett
using the neck pickup out of phase with the other two, is available now via InsideOut Music
providing this kind of upper harmonic honky quality
that you’d normally get from cocked wah.” www.hackettsongs.com

NEVILLE’S
ADVOCATE
...
He Ain’t Neck Heavy…

Neville Marten wonders why some manufacturers, who otherwise do
sophisticated, musically wonderful things, sometimes fall at the final fence
T
hey say that with 12-string guitars you spend and actually got through. I said to the guy: “Why don’t
half the time tuning and the other half playing you say how long the delay is, then we can decide
out of tune. They should have added, “and lifting whether or not to find another route? You think that
the neck up because it’s dropped due to the weight of by writing ‘Long Delays’ you’ve done your job, but that
12 cast metal tuners!” doesn’t help drivers at all.” He hummed and hawed, but,
As someone who’s ironed his own clothes since he no kidding, a little further along the overhead sign was
was about 12, I can’t count the times I’ve cursed the reading, “70 Minutes Delay.” I’d like to think it was my
iron’s creator: “Did the idiot that designed this ever doing. Needless to say, we exited the motorway as soon
as we could.
“The headstock on my new 12-string has dived This general beef with everything arose because
I have tried a few 12-string acoustics recently, and
towards the floor. Could it be that the headstock looked at lots more online. So can the manufacturers
is carrying an extra half pound of metal?” tell me why, when adding a third as much again onto
the headstock’s length to accommodate six extra
actually try it?” The cables always foul up, and the one tuners, do they almost invariably fit a dozen heavy
I currently use has a space where you’re supposed to cast metal machineheads? Especially when they
coil the cord, but the space isn’t big enough unless don’t use these on the six-string version?
you spend five minutes meticulously wrapping it, and “Oh look, the headstock on my new 12-string has
there’s no clip to stop the thing simply unravelling. dived towards the floor. Could it be that the headstock
And driving. My old gig travelling companion Rog is carrying an extra half pound of metal?” Yes, perhaps
used to say, “The trouble with ‘smart’ motorways is, that’s it! A few, like the American-built Guild 512, have
they’re only as smart as the people who design ’em!” 12 open Waverly-style tuners, and open six-a-sides
One time, we were gigging in England’s North West, and are readily available. So, surely it’s not beyond the wit
Rog was driving. It was a Friday, I think, and traffic was and buying power of other big acoustic companies
heavy. A sign over the motorway suddenly read, ‘Long to address the issue? True, some like Takamine often
Delays Ahead’. I said to Rog, “So how long is long?” fit lighter plastic buttons, which certainly helps, but
20 minutes we could live with, but if it’s an hour we’re Schaller and Grover-type tuners – which have kept
stymied. I found the local Highways Agency number guitarists in tune for decades – both supply lighter
wooden or plastic buttons, so why aren’t they more
commonly employed?
GAS OF THE MONTH
Daily Dozen Slot Machines
Vintage 12-string Martins used the slotted headstock
design. It removed wood to save weight, plus they fitted
What? Takamine GJ72CE-12NAT side-mounted classical style six-on-a-strip tuners.
Where seen? www.bax-shop.co.uk Today, it’s 12 heavy Schallers on a solid headstock!
Price? £569 It looks so inelegant, too. Taylor, who usually gets
everything so right, does the same. Old Gibsons had
Despite Takamine’s bonkers naming six-on-a-plate Klusons, now it’s 12 cast Grovers.
scheme, this company does know Now, I admit I haven’t played every single one of
how to make great stage acoustics. these actual guitars, but years of playing and reviewing
This jumbo 12 is a case in point. With experience tell me that most of them will neck-dive
a cutaway laminated maple body when played on a strap. Many makers now fit a button
and solid spruce top, and 20-fret on the underside of the heel, which pulls the neck up
bound rosewood fingerboard with more than if it were screwed to the heel tip, but my
dragonfly 12th-fret inlay, it’s a own six-string Taylor also neck dives so I’m replacing
fine-looking beast. Pickup-wise, the metal Grover buttons with lighter ebony ones.
PHOTO: WWW.BAX-SHOP.CO.UK
it boasts Takamine’s simple but Perhaps we should go back to how the live acoustic
excellent TK-40D preamp with guitarists used to work. And that was to attach the end
volume, three-band EQ, notch filter, of the strap to the headstock, usually by a bootlace
mid contour, and tuner with LED type affair that slipped under the strings behind the nut;
display. Oh, and its 12 cast tuners at new straps even came with the lace. It looks so cool
least have lighter plastic buttons! that way, too – think of Elvis, Johnny Cash or Joan Baez.
Who agrees? I’m going to try it. See you next time.

CONFESSIONS OF
A LUTHIER
...
Taking Shape
Alex Bishop attempts to charm some timber into shape
with little more than heat, water and perseverance
I
’ve mentioned before what a privilege it is to work for example, has a remarkable memory and will
with some of the rarest and most beautiful woods spring back much more than something like walnut,
on the planet. Like many acoustic guitar makers, which will follow your direction all too readily, like an
it fills me with gratitude to be able to set my hands overenthusiastic dog chasing an imaginary stick.
working upon the smooth honey-coloured grain of A controlled source of heat and moisture is critical,
cherry wood, or scrape ribbons of fine gossamer from too: I use a bending iron designed for this very purpose.
the surface of a Macassar ebony guitar back. It is a column of metal with a cross-section resembling
As woodworkers, we can quickly intuit the useful an aeroplane wing, with a thermostatically controlled
properties of different woods as we work them with heating element inside. It gets easily hot enough to fry
hand tools. Rosewood is dense and oily (great for hard- an egg on top, so a generous spritz of water is required
wearing fingerboards and bridges) whereas Spanish to not only help avoid charring the wood but also to
cedar is feather-light but stiff (ideal for well-balanced
necks). But we get even more intimate feedback from “Feelings of wood appreciation can dissolve into
timber when we try to bend it into shape.
As anyone who has built their first guitar by hand
palpable fear when faced with the prospect of
will attest, feelings of wood appreciation can easily coaxing an expensive tonewood into the mould”
dissolve into palpable fear when faced with the prospect
of coaxing an expensive tonewood into the guitar percolate through the wood fibres in the form of steam.
mould. There is significant jeopardy involved, given the This allows the fibres to stretch and twist according to
possibility of wood splitting or even cracking under the the way the guitar side is pressed and pulled against the
pressure to conform to the undulating curves of a guitar. curve of the iron. The resulting shape must follow the
There are many factors at play, but the thickness of outline of my template perfectly to avoid unnecessary
the wood is a key starting point to problem-free side stress in the joins to the front and back. Once cooled,
bending. Too thick and the workpiece will stubbornly the guitar sides must relax into the desired shape,
resist bending at all, but too thin and the resulting dropping perfectly into the mould without putting up
instrument will end up too delicate for practical use. a fight – or, at least, that’s the theory.
A prescribed thickness would be helpful, but then
all types of wood respond differently to bending Stop & Smell The Rosewood
and optimise within a range of thicknesses. Ebony, Bending the sides in this way highlights another other
aspect of the timber: the aroma. Visitors will invariably
comment on the (normally) favourable smell of my
workshop if I have spent the morning bending wood
in this way. Steaming rosewood, for example, gives rise
to the sweet floral fragrance that provides us with its
name. Yellow cedar produces a delicious aroma that
reminds me of my grandma’s apple crumble. Not all
tonewoods, however, are a treat for the nostrils –
steamed bubinga is not unlike the odour of a forgotten
pet hamster’s cage.
As the wood is pulled and stretched, a guitar outline
begins to emerge. It might be missing some crucial
parts, but I feel a satisfaction in seeing the project
quite literally taking shape. My hand runs across the
sides to check for flaws and inconsistencies and I
realise that the direct physical contact between my
hands and the timber is, to me, a vital part of building
musical instruments. As a species, we grasped wood
PHOTO BY JOSEPH BRANSTON
in our hands before we even descended to walk on the

ground. We made offerings of wood to the fire as the
first communities began to emerge. We made music Problem-free bending
even as we learned to speak. Given the burdensome depends on many factors,
including the thickness
trappings of life in the modern age, I’m pleased that
of the wood and keeping
guitar making – in its own way – maintains that the source of heat and
connection to my primal roots. moisture under control

RAISING
THE TONE
…
It’s A Wrap
After his year-long project comes to a close, Jamie Dickson shares the
tone lessons – and more – from completing his first acoustic album
R
egular readers may recall that around March of 1. You Don’t Have To Do Everything
last year I began recording an album of acoustic The first big lesson was the value of working with a
fingerstyle pieces inspired by John Renbourn, John professional producer in a well-equipped studio. I’m not
Martyn and 70s folk guitar at large. Chris Turpin, of the going to knock the home recording approach; it works
acclaimed roots-rock band Ida Mae, agreed to produce the really well for a lot of people. But I felt I was able to do so
record and, working around his busy touring schedule, we much more than I could have imagined by working under
completed the sessions throughout the course of a year. Chris’s guidance in his studio. He has years of experience
Thanks to his excellent contacts, plus a few old friends making records, great ears and carefully chosen vintage
of mine, we were able to get some amazing musicians studio gear. Also, his skills in managing the engineering
onto the record, including bassist Nick Pini (Laura Marling, side of the recording process allowed me to focus solely on
Tom Jones), vocalist Bethia Beadman (Courtney Love/ playing as well as I could and making good creative choices.
For example, Chris put up a variety of vintage and
“Accept that you are a real artist, as entitled modern mics at first to see which would best capture the
sound we were after. In the end, a high-end Neumann U 47
as any other to make a record, who has a clone called a FLEA47 did most of the heavy lifting. But
clear vision of what they want to achieve” Chris’s knowledge and well-equipped studio gave me great
options to choose from before we settled on a preferred
eponymous solo work), fiddle player Aaron Catlow approach. No, a producer’s time doesn’t come for free –
(Sheelanagig/Kit Hawes) and Stephanie Jean Ward, Chris’s but find the right one and it will help your album flourish
musical partner in crime in Ida Mae, on flute and piano. and grow well beyond what you first imagined it could be.
From all these wonderful ingredients a finished album
Though the bulk of the

emerged that added just a touch of Glastonbury mysticism 2. Work With The Best Musicians
album was recorded with to its British folk influences and, happily, I can place hand I recommend moving heaven and earth to get top-notch
a Martin Custom 000-14, on heart and say I’m very proud of it. And so, in this final musicians to play on your record. Ask around for who’s
this extraordinary Musser report about the recording process, I’d like to pass on a few considered seriously good in your area and pay what
dreadnought brought the
lessons I learned along the way, for whatever they may be they’re worth to have them do a session. Even musicians
final track of the album
to life with its endlessly worth. I hope they may be of some use to you if you should in fairly high-profile acts are sometimes happy to do a
sustaining, piano-like voice decide to make a record, too. session on the side for fair pay, especially if they like the
vibe of your project. Their input will really raise the overall
quality of your record, and if they’re really good they may
suggest doing things with the arrangement you hadn’t even
thought of but that fit perfectly.
3. Embrace The Unexpected

I went into the studio expecting to use my Martin 000-14
for everything, as I was so familiar with it and very happy
with how it sounded. Yet by the end of the process, the
album also featured a Beard Deco Phonic with birch back
and sides, a National Resonator, a 1957 Martin 0-18, plus a
beautiful hand-built acoustic by Don Musser kindly loaned
by Vintage ‘n’ Rare Guitars in Bath. While I did, in fact, use
my 000-14 for the bulk of the album’s songs, which were
mostly in DADGAD, I didn’t really want to mess with it too
much by retuning it to standard and back again when
necessary. Producer Chris had wisely brought out a few of
his own guitars and that’s how I got to try the Deco Phonic
and decide it sounded perfect for all the standard stuff. The
National, meanwhile, added a kind of clanky charisma to
one track, while the vintage 0-18 brought a kind of woody
midrange twang that helped another track stand out.
Trying a few different things usually yields a bit of
welcome light and shade and, in so doing, you might just
be surprised how a guitar you never used before becomes
central to a whole recording.

Opinion
THREE TO GET READY

Useful Accessories For The Studio
PHOTO: WWW.GUITARGUITAR.CO.UK
4. Coated Strings Are Your Friend Jamie and his producer,
Mainly one for the acoustic guitarists, this, but if you want Chris Turpin of Ida Mae,
toast the completion of
your recording to be free of those intrusive squeaks and their studio adventures
squoinks that sound like sneakers on a basketball court, with some Czech wine
I seriously recommend using coated strings. My album bought, appropriately,
was recorded with an Elixir Nanoweb 12 to 53 gauge set on a visit to the Furch
acoustic factory last year
on the Martin and (I think) on the Beard Deco Phonic as Cooperstand Pro-G Collapsible Guitar Stand £59
well. To my ears, these smooth off some of the sharpest Nothing worse than knocking guitars flying in the studio,
treble frequencies and also help your fingers glide over the so a nice secure guitar stand is a must. These little wooden
strings. Not all coated strings are the same – some coat Cooperstands, made of African sapele, are small enough
only the wrap wire not the core, while others sheath the when folded to fit in a gigbag front pocket and they’ll securely
whole string – but whatever the pros and cons, there’s a hold both electrics and acoustics on the closed-cell neoprene
very strong case for using coated strings in the studio. pads that line each leg. They look a fair bit nicer than clunky
Curt Mangan’s coated sets are also very good in my
experience, but there’s a wealth of coated sets to choose
from including D’Addario’s XS set and Rotosound’s Nexus
range. Try a few and see which works best for you.
5. Take The Work Seriously

This project showed me the importance of taking the
recording and yourself, in an artistic sense, seriously.
I don’t mean you should be an unpleasable perfectionist
or, God forbid, a prima donna – but simply accept that you
are a real artist, as entitled as any other to make a record,
who has a clear vision of what they want to achieve. If you
have a sound in your head you really want to bring into the
world, dig deep for it. Go the extra mile to get it recorded Snark ST-8 Titanium £32.99
just as you envisioned it. No-one else is going to make the In the heat of recording the last thing you want to do is get a
record you have in your heart and mind; you are uniquely really nice take down only to find that your tuning is a little
qualified to do it. So rehearse the material to a sharp edge off and it then bugs you forever. The solution is to keep a
before you even set foot in the studio – be fully ready. little clip-on tuner primed and ready on the headstock. Few
Then, when the moment comes, you can deliver a fluent, are as unfussily good as Snark’s inexpensive models, and its
expressive performance full of drama and grace. latest ‘Titanium’ model is handily rechargeable and also has
a specially designed casing that helps prevent ambient noise
I could go on, but I don’t want to bore you! I’ll only add from throwing the reading off.
that getting album cover art done professionally felt like a
good move, even though it was another expense to factor
in. And if you’re thinking of selling or sharing your record
via digital platforms such as iTunes and Spotify, I highly
recommend using a one-stop digital distribution service
PHOTO WWW.STRINGSDIRECT.CO.UK
such as DistroKid. For a few quid a year they’ll publish

your work to all the major digital marketplaces in one go
after you’ve given them all the relevant files, art and info
– a great labour saver.
Thanks for listening to the story of my little album and
I hope it may have inspired you to consider making a
record yourself, if you haven’t already. And if you should
feel like listening to Withershins now that it’s finished, GHS Fast-Fret Guitar String Cleaner & Lubricant £8.99
I could ask for no finer reward. As mentioned, it will do you no harm if your strings are
slick and gunge-free when you head into the studio. A quick
Withershins by Jamie Dickson is available application of Fast-Fret is your friend here, ensuring that your
now on iTunes and other digital platforms fingers will glide over the fretboard without squeaks and that
the strings will perform at their best. Best of all, a stick of the
https://bit.ly/withershins_album stuff lasts forever. A gigbag essential.

AUDIO http://bit.ly/guitaristextra
SUBSTITUTE
...
Secondary Dominants
Richard Barrett embarks upon some jargon busting as
he explains the mystery behind secondary dominants
N
ot all chord progressions stay strictly within
the diatonic/chord scale convention – and
that’s a good thing. Taking a little look at the
theory involved here, the C major diatonic/chord scale
is Cmaj-Dmin-Emin-Fmaj-Gmaj-Amin-B diminished
(Bm7 b5 is also commonly used). These are often
numbered sequentially using Roman numerals, so a
II-V-I progression in C translates as Dm-Gmaj-Cmaj and
so on. The ‘resolve’ from V to I in a chord progression
PHOTO BY CHRIS PUTNAM/FUTURE PUBLISHING VIA GETTY IMAGES

is a very popular move. Let’s embellish it a bit and say
the V is a V7, short for dominant 7 – namely a V chord
with the b7 added. In C, G7 is the dominant (V7) that
resolves to Cmaj (I).
But what if we take this move and apply it to all the
other chords in the diatonic scale, and so pretend each
chord in the scale (whether major or minor) is chord I
and play its V7 first? In the way that G7 resolves to C, A7
Paul McCartney has
would be the dominant to Dm if it were chord I (actually
created some unusual but
harmonious progressions chord II), or B7 to Em (actually chord III). This is known
using this musical device as using a ‘secondary dominant’. More on this below!
Example 1 Example 2 Example 3 Example 4 Example 5

Using Cmaj as our home key, Coming straight from Dm C7 is the dominant (V7) in the This D7 is V7 in the key of G, This E7 is V7 in the key of A,
our first secondary dominant (chord II), our next diatonic key of F, so this becomes the so inserting it between Fmaj here pressed into service
is A7, as this is chord V7 to chord would be Em (chord secondary dominant, giving (chord IV) and G (chord V) as the secondary dominant
D. Played between chord I III). If we want to insert us the option of an elegant gives us our next secondary to Am, the VI chord. Play
(Cmaj) and chord II (Dm) as another secondary dominant stepping stone between Em dominant idea: Fmaj-D7- Gmaj-E7-Am in sequence
Cmaj-A7-Dm, the A7 sets here between Dm and Em, (chord II) and Fmaj (chord IV). Gmaj. We’re pretending the and you’ll hear it in action.
up the Dm in the same way we would add B7, which is Play Em-C7-Fmaj in sequence Gmaj is our chord I, leading We’ve only really scratched
that G7 sets us up for Cmaj. chord V in the key of E. So the and you’ll hear the secondary us to incorporate chords the surface with these ideas,
It resolves in a similar way next part of the sequence dominant at work again. from other keys that sound but hopefully it gives a fresh
to playing Dsus4 then Dmaj, would be Dm-B7-Em. interesting but harmonious. viewpoint on how chords and
as an example. harmony can work for you in
your own compositions.
A7 B7 C7 D7 E7
5- 7- 8- 10- 7-
E A D G B E E A D G B E E A D G B E E A D G B E E A D G B E

FEEDBACK
...
Feedback
Your letters to the Guitarist editor.
Drop us a line at guitarist@futurenet.com
STAR LETTER Angelo Proni’s

custom-built offset
was inspired by Ron
Kirn’s Telemaster
AMERICAN DREAM?
I bought a Mexican Strat for £329 as a teenager back in 2002. A Strat fan, I always
had in mind that I’d upgrade to the ‘real thing’, a USA Strat, when I could afford it, but
never got round to it. Playing more recently, I finally made it along to the local guitar
shop and tried out a couple of Professional II models and an Ultra. They were great to
play, but, on reflection, were not the step up I was expecting from my Mexican Strat.
The Ultra’s neck was nice and the heel shape with better upper-fret access is
a good feature, but back home my Mexican has a neck that actually feels more
slimline and easier to play. The big difference was on the bridge pickup, which
sounded fuller with more sustain, the noise-cancelling making a big difference.
The ability to add the neck pickup in also sounds really great here.
The Sunburst and Arctic White finishes on the new models look great, but again
my Midnight Blue with a rosewood neck – and some pleasing dents and bashes –
still feels special, too. I’m probably being a bit sentimental about my long-standing
friend, but the £2k upgrade didn’t seem worth it. I’m thinking instead of upgrading
the pickups, with the option to blend the neck in with the middle and bridge if
possible. Does that sound sensible? Am I missing something about the US models?
Nick Seeley
Nick, your thoughts on all of the above touch on some really important matters.
In the final analysis, the only guitars you should own and buy, if you want to be
satisfied, are ones you just click with. That feeling of connection usually happens
instantly and it isn’t necessarily about price, country of origin or cachet – the
editor of this tome has had that feeling of connection with both a £4k Patrick
James Eggle Macon and an old Antoria Les Paul Junior copy worth only a few
hundred pounds. So perhaps we should try to set aside our preconceptions about OFFSET IN MOTION
what is ‘better’ and try not to feel that we must inexorably rise higher up the
escalator of a maker’s guitar ranges as we pass through life. I greatly enjoyed issue 509 on offsets – a body style
If you try a USA Fender or even a Custom Shop model and love it to bits then that is manifestly becoming increasingly mainstream,
go for it. But if you’re happy with your MIM Strat as is, there’s no law (or indeed also thanks to more recent illustrious endorsements.
sense in) saying you have to spend £2,000 on a US replacement. Okay, if you That said, I was surprised to see no mention, or
want to just treat yourself to something cool, new and shiny, then fine. But you even passing reference, to offset T-style models: ie,
don’t need to do it. Telecaster hardware, configuration and neck, all of
As to whether new pickups would be good, we would ask what it is you think the which applied to an offset body shape. So let me fill
current ones lack, if anything? Again, you may not need to change them. However, that gap with a quick show and tell.
quality pickups from makers such as Bare Knuckle, DiMarzio, Lollar and others will As a dyed-in-the wool Tele player, I first stumbled
often bring something extra to the voice and feel of a factory-spec guitar. But try upon the offset Tele concept via the TDPRI forum
to be analytical about what you want from any upgrade and, where possible, talk to and a certain Mr Ron Kirn’s ‘Telemaster’ more than
the maker about which pickups meet your exact needs before pushing the button. a decade ago, which absolutely blew me away and
slowly made its way into my GAS fantasies over time.
Then Fender produced the offset Tele.
Cut to the attached pic [above] – my own custom-
made offset T-style. I sourced all the parts online, had
the body finished by RF Custom (Candy Apple Red,
poly), oil and wax-finished the neck myself, and had
Each issue, the Star Letter will win a pair of it put together by my trusty luthier, Mr Tim Marten,
Vox VGH AC30 guitar amplifier headphones! here in London. It features a four-way switch, Fender
www.voxamps.com Custom Shop Nocaster pickups, Kluson vintage-style
tuners, domed knobs (gotta have those), generous

Feedback
James’s striking Fender

American Professional II
Jazzmaster (near right)
came into his care
following a charity raffle
conducted by UK label
4AD, in aid of War Child.
The guitar itself was built
to celebrate the label’s
40th anniversary and
features designer Chris
Brigg’s cover artwork from
the compilation album,
Bills & Aches & Blues
(40 Years Of 4AD)
D-profile one-piece maple neck, cost about £1,200 all it was enlightening to read about their history. I went
in and six months’ production time from start to finish. to see PJ Harvey a few years ago, and she and the two
Am I happy with it? Take a wild guess… The only guitarists had Jazzmasters strapped on throughout the
problem is that now I want a spare in Lake Placid Blue set and it looked fantastic. I wanted to give a shout out
with a black pearloid ’guard. Help! to offset Telecasters, too, which offer the Tele sound
Angelo Proni with great looks and nice access to the high frets.
My Jazzmaster [above right] was commissioned by
Thanks for sending in your creation inspired by Fender’s the 4AD record label to commemorate an anniversary,
mash-up of Jazzmaster and Tele, Angelo. There are quite a few and I was lucky to win it in a charity raffle. I currently
companies that specialise in exploring such happy collisions have it tuned FACGBF, inspired by Yvonne Young, which
of classic design cues. Kauer Guitars comes to mind, with is pushing things in some interesting directions.
its Tele-meets-Les Paul Korona model, or Novo Guitars with I want to finish this note by acknowledging the
its offset Les Paul Junior-style Nucleus Solus M1 model. But photography in the magazine. The photo of the Lake
Tele-meets-Jazzmaster style guitars seem to hang together Placid Blue Jazzer was just sensational! Looking at the
particularly well and offer classic sounds in a package that photos is one of the highlights of the printed mag.
offers a different playing experience and very cool looks. James Hayward
Be interested to hear from players of this style of guitar if
they feel the larger body has any influence on its voice. Thanks for the kind words, James, and interesting to see you
join Angelo Proni above in singing the praises of the Tele/
JAZZED FOR OFFSETS Jazzmaster hybrid. Maybe not only Guitarist but Fender is
missing a trick by not upping production! Your rather special
Writing in to say how much I enjoyed the offset Jazzmaster looks great, too – there are few guitars cooler
issue. Some of my favourite artists – Sonic Youth, than a tasty-looking JM and we praise your adventures in
Television, Dinosaur Jr – all used Jazzmasters, and alternative tunings, we expect they sound immense on it.

FEEDBACK
...
The unique talents of the

late Ollie Halsall (pictured
PHOTO BY ERICA ECHENBERG/REDFERNS/GETTY IMAGES

right, performing with
the band Boxer in 1976,
featuring vocalist Mike
Patto) went under the
radar, but he was known
as a guitarists’ guitarist
In his short life, Jimmy

McCulloch (pictured below
in 1974, five years before
his death, aged 26) made
an impact with Wings,
Small Faces and Stone
The Crows, among others
UNSUNG HEROES
Reading your Denny Laine obit in issue 508, I noticed

guitarist Jimmy McCulloch as part of the Wings line-up
in the accompanying photo. Jimmy, who featured in
those Rolling Stone magazine ‘100 Best Guitarists’
PHOTO BY MICHAEL PUTLAND/GETTY IMAGES)

lists in the 70s, is not much remembered these days.
A reassessment would be timely and in order. Jimmy
had a remarkable, if short, career from the child
guitar prodigy who was taken under the wing of Pete
Townshend to Thunderclap Newman, John Mayall,
Stone The Crows, Wings, Small Faces and The Dukes.
His solo on the live version of Maybe I’m Amazed
is legendary, although his most up-front playing
is probably to be found in the Stone The Crows:
In Concert DVD.
I would love to see a Guitarist article on Jimmy. His BRAVE NEW ‘GUITARIST’?
biography Little Wing: The Jimmy McCulloch Story
by Paul Salley is an excellent place to start. Congratulations on reaching your 40th anniversary
Mick Lamont and I really hope you’re all delighted at having such
lasting success. I’ve just done the 40th anniversary
Regarding unsung/forgotten guitarists, how about survey and it prompted me to suggest something I’ve
Ollie Halsall of Patto? He was the reason I bought a been wondering about for a wee while. Reading the
walnut SG Custom with gold hardware and a Bigsby survey it looks as though you’re wondering whether
from Selmer, even though his was white. I never came to go forward with the ‘classic era’ version of the
close to figuring out what he played. John Etheridge magazine (Clapton, Gibson, drive pedals) versus
is one of the only guys who still mentions him. keeping an eye on the future, and this is where my
Steve Mitchell suggestion originates.
I read Guitarist via Apple Music. As I play a lot of
Thanks so much to both Mick and Steve for their excellent ambient music I also read Computer Music. My own
suggestions of Jimmy McCulloch and Ollie Halsall following music is guitar focused but uses plug-ins and Logic
last month’s request for unsung heroes we might take a look Pro extensively. I’m one of your respondents to the
at in a regular column. Hallsall’s style was so unique and survey who has never bought an amp, and neither
unpredictable – it’s such a rare quality to take so many risks do I own any effects pedals. I would love to see a
Reader Adrian North’s and really let fly with them. Jimmy McCulloch, meanwhile, was hybrid of Guitarist and Computer Music that certainly
music straddles the the quintessential tasteful, soulful, song-lifting presence on covers new guitar design and technology (such as
fretboard and the
guitar that can be the backbone of a band. Oh to have such groundbreaking effects pedals) but also plug-ins, DAW
keyboard, so he’s keen
to see a Guitarist meets an assured feel for melody and timing. Great guitarists both. techniques, groundbreaking musicians irrespective
Computer Music spin-off Keep the suggestions, and the memories, coming. of their preferred instrument (since most of us use a

Feedback
keyboard as well as a fretboard) and other aspects of

audio processing. I use all of these in my music as do Paul Cooper’s striking
many other people, of course. If there is a new MIDI Ford Electric Orange
S-style is a culmination
interface or plug-in, then I’m more interested in that of many years’ experience
than a new drive pedal. of modding and building
For what it’s worth, Guitarist is still the magazine I
look out for, but would be great to see a spin-off that
is really future-facing.
Adrian North
Thanks for the kind words and interesting suggestions.

Adrian. While I don’t know if a whole new publication on
the interface between tech and guitar could be launched
in the near future, we do publish regular supplements on
subjects such as acoustic guitar, buyer’s guides and so
on which accompany the main edition from time to time.
Would readers like to see one dedicated to the topics Adrian
has usefully suggested? Or even a cover feature on the
subject? If so, let us know and we’ll look into it.
MOD JOB
I’m a regular reader of your mag and I’ve been building
and modifying guitars now for about 40 years.
The guitar I thought you may like to see is a highly
modified Strat copy [pictured right]. The body has
added contours and is finished in Ford Electric Orange.
The headstock has been reshaped and the electrics
consist of a Seymour Duncan Little ’59 in the neck and
a modified home-built ‘Burns Trisonic’ for the bridge.
Then there’s a three-way mini-toggle selector switch,
CTS pots and an Orange tone cap.
Paul Cooper
What an amazing creation, Paul – kudos for completing this

ambitious project and coming up with something completely
distinctive with a very useful range of tones we’d wager. A very
useful tool for rock and more with, in our experience at least,
a unique pickup combination. We’d love to hear it some time!
THE PLANE TRUTH

Much as this may be of little concern to your readers,
as a professional forester and fully paid-up member
of the National Pedantry Society, I feel compelled to
point out that London Plane is not a hybridised form
of sycamore as Alex Bishop says in ‘Knock On Wood’
(issue 508). Whilst the sycamore we have here in
the UK is indeed a type of maple, and even though
Americans refer to their plane trees as sycamore, the
London Plane is, in fact, entirely unrelated to maple.
Cameron S Crook
Thank you for your very polite but illuminating correction,

Cameron. A mildly abashed Alex sent his thanks and these
words in reply: “Haha! Brilliant – glad to be put right on that
one. It’s always going to be the technical tree stuff I’m most
likely to get wrong. Woodworkers have been mixing up species
for years. I also welcome the fact the tone is much friendlier
than the average YouTube comments section!”
Send Your letters to the Guitarist editor. Drop us a line at guitarist@futurenet.com

JOHN
SMITH
As singer-songwriter John Smith
gears up to take his new album,
The Living Kind, out on the road,
he joins us to explain how a shift
in his gear and writing process has
had a profound effect on his music
Words David Mead Photography Olly Curtis

John Smith INTERVIEW
I
t’s a case of all change for John What were the origins of the new album? hear it. But we were in the middle of winter
Smith. Not only has he just released “Back in 2011, I met [The Living Kind and there were no trucks outside, there was
a brand-new album, he’s also producer] Joe Henry for the first time. I’d just cold and snow and a very dead sound.
reorganised his touring gear to include been drafted in to play guitar on Passenger He said, ‘If you can write a record, just do it.’
a specially designed thinline Fylde electro- by Lisa Hannigan and over the course of “One of Joe’s magic tricks is to get
acoustic as a one-size-fits-all solution for that album [produced by Joe Henry], Joe people and make them feel very natural in
his acoustic repertoire. But there’s also a and I became good friends. Since then the studio, so they’re able just to express
custom electric guitar joining the party, he’s been a brother, a mentor and a very themselves; I’ve always been excited about
as well as an effects array more associated significant influence in my musical life. trying that with him. So I wrote the songs
with a metal act. What the heck is going on? I’ve always wanted to make a record with and they just kind of came out. It was like as
The new album, The Living Kind, is very him, and just after lockdown lifted back soon as you turned on the tap, or you put up
band orientated, but John is still planning in 2022, I was on tour in the States, so your antenna or whatever, the songs started
to tour the material as a one-man unit. I stopped in with Joe. flowing. I went into the studio with about
“So that my solo show is not just me and an “After dinner one night, we sat by the fire 20 songs and we chiselled it down to 12,
acoustic guitar, like it used to be, I’m trying and wrote this song called Lily, then went and 10 went on the record.”
to make it much more three-dimensional: upstairs and demoed it. He said, ‘You know,
stereo effects, very tasty pedals,” he tells us there’s no reason why we can’t make a That sounds like a very positive and
during his visit to Guitarist HQ. “The long record in here.’ He has a music room above speedy process.
and short of it is taking a band on the road his garage; it’s not a studio, it’s just a playing “All the songs were really fresh, really felt
is hard and expensive. I think I can do this. and writing room that is subject to the very potent in my mind, because some of
Well, I’m gonna try…” elements. If a truck goes past outside, you them I’d only played three or four times.

INTERVIEW John Smith
But I went in pretty well rehearsed. And to Jay Bellerose in Los Angeles, who is There’s a distinct shift towards you
then as we played through things and Robert Plant’s drummer. Patrick Warren playing more electric guitar on this
listened to them, Joe would say, ‘Well, why [keyboards and strings] I know through album. How did that come about?
don’t you try it on that guitar?’ or ‘Why playing with Joe, but Patrick has played “In a word: Mule. Matt Eich, in Saginaw,
don’t you just try singing it and pick up the with everyone; Joshua Van Tassel [drums, Michigan, builds these incredible guitars
guitar in a second?’ So he was steering the percussion] up in Toronto, he plays with out of steel. I knew he existed because we
ship and I was just on the deck, singing and Donovan Woods, he put down some drums had spoken in 2017 when I was promoting
playing. I realised what was happening, he on the track Candle. So then we had a pretty Headlong in Seattle. He wrote to me and
was producing me, but it felt like I was just complete picture. said, ‘Hey, man, just to let you know, I
playing and singing, quite carefree, while he really love what you do. And I built these
was guiding things towards the destination.” · Resophonic guitars…’ I wrote back and said,
How did you recruit the other players

“In four days we’d cut the ‘I know who you are because of Kelly Joe
Phelps.’ You know, my hero and friend Kelly
on the album? record, and in two days Joe played a Mule so I knew of this amazing
“I’d never met the bass player, never played
with him before. He’s Ross Gallagher; he
of remote recording it was guitar on [Kelly Joe Phelps’] Brother Sinner
And The Whale. Later on, I found out
was Paula Cole’s bass player. He’s based in complete. It happened very through watching Joey Landreth that Matt
New York and he’d driven up with Joe’s
son Levon who’s a great sax and clarinet
quickly and naturally” had started building electric guitars. And
then I learned about this Mavis guitar that
player and he plays with Julian Lage. Ross
and I cut the songs live. Joe said, ‘Why don’t
· he was building. I said I’d love to try a Mavis
and he sent me one and I wrote a bunch of
you guys try playing Dividing Line?’ I think “I didn’t write a lot of string arrangements songs. It’s an instrument where songs just
that was the first one we did and we played because it felt like the songs had really come fall out of it, you know?
through it and Joe said, ‘That’s the take.’ through quite a journey in the four days that “Maybe six months later I wrote to him
Ross was very instinctively following me we’d recorded them. So I just sent a couple and said, ‘Look, I’m in love with this thing.
around and dancing with me in a way that to Patrick and said, ‘Look, if you have any I need one of your electric hollowbodies.’ I
it’s taken me years to establish with bass ideas for potential strings, put them on here.’ was going back to the States and I picked up
players in the past. In four days we’d cut the record, and in two the Mulecaster. I got it home and something
“So then I overdubbed some guitars days of remote recording it was complete. It different started happening. Whereas I’d
and Levon would open up his clarinets happened very quickly and very naturally in written a bunch of songs on the Mavis and
and saxophones and, when we had the a pure burst of creativity. Totally amazing to I thought I was going to make a record on
bare bones of the record, we sent it out me that it happened like that.” the Mavis, I actually parked a lot of that
1. John’s new Fylde

thinline acoustic
is petite enough
to fit in a double
gigbag alongside his
Mulecaster electric
for overseas touring
2. Another touring
companion is a Benson
Nathan amp (top right)
with its no-nonsense
control layout (below)

3. Nicknamed ‘The 4. Matt Eich of Mule
Smithcaster’, the Fylde Resophonic Guitars in
thinline custom was Saginaw, Michigan, is
specially built by Roger the man behind John’s
Bucknall. It features new Mulecaster T-Style
a redwood top with a
highly figured Asian
ebony back and sides
·
“I was going back to the
States and I picked up the
Mulecaster. I got it home
and something different
started happening…”
·
5. Among the guitars that
John takes out on the
road in the UK is this
Collings 470 JL Julian
Lage signature model
6. The Mavis was John’s

introduction to Mule
Resophonic guitars
7. John’s Schmidt Array

UK touring pedalboard
is controlled by a GigRig
G3 and features a Quad
Cortex by Neural DSP
John Smith INTERVIEW
8. A look under the hood

of the ’board reveals
a host of other effects
John uses on the road
9. The Mulecaster proved

to be an inspiration for
many of the songs on
the new album
material because the stuff that started · in this beautiful handmade timber ’board
coming out of the Mulecaster felt even more by Schmidt Array in Germany. I’ll also
relevant to what I wanted to say for this
“The riffs came out probably take my Benson Nathan amp
new record. All those riffs that are on the with the Mulecaster. An on the road as well because I just love the
record came out with the Mulecaster in the sound of that thing.
first eight weeks of owning it. An amazing amazing instrument that “Meanwhile, I’ve managed to condense
instrument that weighs a ton but sounds weighs a ton but sounds my travel ’board into two pedals. Thanks
utterly timeless and three dimensional. So to Neural DSP I’ve got a Quad Cortex, on
half the record came with that, the other utterly timeless” which I’ve managed to approximate the
half I recorded on my Fylde Falstaff, the · [Strymon] Blue Sky and the El Capitan. It’s
guitar that I’ve used on every record I’ve got EQs, so I can mix my pickups and do all
made since 2009.” and get that bass drum hit and get the air my signal routing off one guitar cable for
moving around the sound – I can’t stand my acoustic and my electric. So the four or
Touring with multiple guitars is always a just a piezo signal. So we put my stereo LR five pedals I used to have to take on a ’board
problem when you’re a soloist. Was your Baggs pickup in this guitar – half piezo, half that weighed a ton now fit in a suitcase.
new Fylde ‘Smithcaster’ acoustic a way mic, take all the treble out of the piezo, some It’s now just all on the Quad Cortex, which
of getting around the problem? of the bass off the mic – and between those is a total revelation. I’ve only seen it used
“Yeah, it’s a problem. I’m independent, two things, you get what sounds almost like by metalheads previously, but then Jenn
I don’t have a crew, I don’t have a guitar an acoustic guitar. The idea now is that I can Butterworth, the great trad guitar player,
tech. When I’m in the UK and I’ve got travel with my Mulecaster and my thinline explained she had started using it just for
my car, I’ll take three or four guitars out Fylde in a double gigbag, and then go fly. acoustic work and it got me thinking…
with me. When I’m in the US, I generally We’re going to America in a couple of weeks “I spoke to Neural and it seems that
take one. I was talking to Roger Bucknall to try this idea out and see if I can play my actually I could put my rig just on that one
about how to get around this and I’ve whole gig on those two guitars.” unit. So I’ve got that and an expression
been keeping my eye on thinline acoustic pedal, and I can approximate much of my
guitars and the development of that Have you added to your pedalboard in bigger ’board, my UK pedalboard, just on
kind of instrument by some of the bigger order to tour the new album? a little 18-inch Templeboards fly rig.”
manufacturers and wondering how it can “The main ’board is housed in this Schmidt
be done in a way that suits my sound. Array that’s actually been built for me to John Smith’s new album,
“Roger and I developed this idea of my specification, which is amazing. I’ve The Living Kind, is available now
a thinline acoustic guitar that still has got all of my effects on there, all wired up via Commoner/Thirty Tigers
a microphone inside so that I can hit it by The GigRig. It’s the mothership, housed www.johnsmithjohnsmith.com

THE
INT ERVIEW
RIVER DEEP
Mark Knopfler is at an interesting crossroads in his life and music. He’s just
sold most of his guitar collection and he’s got a new album out that’s as deep
in emotion and storycraft as its title suggests. As you’d expect, it’s also got
some sublime guitar on it, though Knopfler himself believes his playing
became “rusty” during the pandemic and is still in recovery. On the eve of
the release of his new long-player, One Deep River, we join him to hear his
perspectives on songcraft, gangland Britain in the 1960s, his enduring
relationship with the Stratocaster, and the guitars that he couldn’t let go…
Words Jamie Dickson Photography Joby Sessions
T
his April will see the ballad writing. There’s humility, unhurried and beautifully performed
release of Mark Knopfler’s grace and nuance in their unhurried as ever, while the addition of slide
10th solo album since stories and poignantly phrased maestro Greg Leisz lends it some of
he struck out on his own guitar lines that hold the listener’s the melancholic grandeur of a movie
with Golden Heart in 1996. Dire attention like a fireside story or a soundtrack set somewhere in the
Straits had disbanded the year before personal confession. American West. And, of course, it
and you’d have been forgiven for So it was all the more intriguing has those unmistakable moments of
thinking, at that moment in time, that to learn that, just after selling the guitar that only Knopfler seems to
his best years were perhaps behind majority of his guitar collection at be able to deliver, saying much with
him. But it says much of Knopfler’s Christie’s in London for a record just a few notes that always make the
musical integrity that both the depth total (25 per cent of which went to listener feel something, rather than
and quality of his work have only charity) in January, he announced just another ego‑buffing solo.
improved in the 30 years that have a new album, One Deep River, to be And yet joining Mark to talk about
passed since then. released on 12 April. Would this be a the album we find him – perhaps
In fact, listening to his latest album, swan song, then? A final statement on surprisingly for a man who’s a hero
One Deep River, you get a sense of his life in music? Happily the answer to so many players – musing on what
an artist who – strange as it might seems to be ‘no’ – but it’s fair to say he calls his “rusty” technique and
seem to say – has quietly revealed that the album’s songs cast longer ongoing struggles to stay engaged
the real mettle of his songcraft in shadows than those of his previous with playing the guitar while he
his post‑Straits solo work. Money two records. works on the deep craft of lyric
For Nothing may have made him a Thematically, the album is full of writing. Introspective yet frank, his
household name, but ballads such departures – from relationships, thoughts on where he’s at with guitar
as Matchstick Man from his 2018 from towns, from life itself – and its and music are as absorbing as the
album, Down The Road Wherever, 12 tracks are haunted by the uneasy new album, so join us as we wade a
or Basil from 2015’s Tracker are presence of mobsters, scam artists little deeper into Knopfler’s views
masterpieces of powerful, mature and stick‑up men. Yet the songs are as on music, guitars and recording.

interview Mark Knopfler
“Some guitars are just Mark’s original 1961

Fender Stratocaster
that little bit special… with rosewood ’board,
famously used to
You wouldn’t want to sell record Sultans Of
Swing. Its voice, for
them because they’d be too many, remains the
definitive Knopfler
hard to say goodbye to” sound and it was
acquired by Mark in
1977. It is perhaps no
surprise that it was
not among the guitars
put up for sale at
Christie’s in January
Mark Knopfler interview
“The musician part [of me] is much

reduced, I think, but the writer part
is as strong as ever. It’s not that I’ve
forgotten how to play, I’m just rusty”
1. The ’61 Strat is Congratulations on the album. It
beautifully and feels like you’re playing more Strat
naturally aged and
on it, such as on the single Ahead
is an icon of his early
Dire Straits work. Of The Game, than we’ve heard
In 1995 Mark told from you for a while.
Guitarist, however, “Yeah, I think that was the old ’54.
that Sultans was
written on a National
Oh, I’m sure it’s a pretty backward
resonator and the kind of an approach. But, you know,
arrangement was I’ve always been a soft touch for
originally quite something like that – a little figure
different to the version
on the Strat, which [simple melodic pattern] like that.”
became so celebrated
Does a Strat still feel like ‘home’
2. With a slab ’board
to you after all these years, given
and spaghetti logo,
not only is this 1961 that there’s another big strand of
guitar famous for your work that’s played with Gibson
the music recorded electrics and the like?
with it, it’s also many
people’s idea of
“I think I’m equally at home with
the definitive 60s either. I mean, not that I’m at home
Stratocaster spec with [any] guitar now. I’ve looked
at so many words over the past few much reduced, I think, but the
years, through the pandemic and writer part is as strong as ever. If a
beyond, that I’m hardly playing. My song wants to be born, then I try to
guitar playing has become a real let it happen, but I think the playing
passenger. So when I sit down to has deteriorated a little bit… I’d
look at songs, I’m always just looking [find I’d] be ready to sit down and
at lyrics, that’s where I am, really. look at a song on the computer, but
I tend to be more interested in the I wouldn’t be playing enough. But
song that I’m just writing, a song that that’s just something that seems to
I’ve just finished writing, or the song have happened recently, and I should
that I’m just in the middle of writing. really take steps to spend more time
So that’s where I’ll be and it won’t behind the instrument, to just get
be practising [guitar]. So I’m afraid playing. It’s not that I’ve forgotten
that’s the truth of it.” how to play it – I’m just rusty.”
Do you find that as time goes by Guitar is funny – it kind of waxes

there’s more you want to write and wanes a bit in every player’s life.
about – in terms of subject matter It’s a real lifelong relationship, with
– or, in fact, less? ups and downs.
“Well, I’ve certainly been writing “It is, and it’s often how you just start
more songs and I don’t know off. So the first good move for me
whether that was [specifically] to is to get the damn thing out of the
do with the pandemic or not, or case. Certainly, for me, if it’s in the
because I just had more time. But it case I’ll often just start looking at
certainly hasn’t helped my playing the song, rather than looking at the
any. The musician part [of me] is guitar. So I’ll try to keep an acoustic

and an electric on stands so that I

can just reach for them and play and
I don’t have to start picking up the
case, hitting somebody’s chair with
it, getting the guitar out, knocking
something off another stand as you’re
sitting down again… The whole thing
is just kind of cumbersome. So I like
to have a couple of guitars out of
their cases and on stands, and that
way they’ve got a fighting chance of
getting played.”
Your 2015 album, Tracker, was full

of songs about people who could be
described as unsung heroes, such as
the Irish labourer in Mighty Man or
the poet Basil Bunting. By contrast,
the new album has a lot of villains
in it, such as the murderous train
robbers on the track Tunnel 13. Why?
“I don’t know… I suppose it may be
just getting older and looking at the
world. And I suppose, even in terms
of social history, I’ve been looking at
a certain period, which was a kind
3. British social
history inspired a of a pivotal time in Britain. I wrote
lot of the album’s a song once called 5:15am. It was
themes, especially about a miner coming onto his shift
the emergence of
and he came across this car, a big
gangland crime in the
Northeast of England Jag Mark X, and inside it was a man
in the 1960s whose body was full of bullet holes.
This was the introduction to the 4. The Gibson Custom

Northeast of that kind of gangland Shop’s ageing work
includes numerous
killing, which was really about the fine details aiming
fruit‑machine [racket] that had to reproduce Mark’s
come up from London. And so in a original 1958 Lester
roundabout way, I suppose I’ve been
reading about that period.
“There was a revolution in Cuba
and the Mob had to do a quick reverse
out of there and start up again,
and London was the kicking‑off
point. So then the nightclub scene
“‘One Deep River’ could be a

description of a person or the
river itself. I like the idea of
[a range of possible meanings]”
changed and the Gambling Act was
brought into place so that those guys
could start operating…. I’d started
to read about that stuff way back a
couple albums ago, and it’s still an
interesting period to me. A lot of
people lost their innocence during
that time. Sometimes they lost their
bank accounts, too [laughs].
“Actually, there were some extra
tunes from this album and I suddenly
realised that I could take four of

“I like the idea of writing This is the first

prototype of Mark’s
a good song: the challenge 2016 Gibson Custom
Shop Mark Knopfler
being to do that and the ’58 Les Paul Standard
based on his original
other challenge being to 1958 ’Burst, which
remains in his keeping.
make a good record of it” It was used to record
Janine on Mark’s
new album and was
also used to perform
Money For Nothing
and Going Home
live on tour in 2019
“The [forthcoming] The 2004 Fender

Stratocaster is a
EP features songs that 1954‑spec model made
to commemorate the
combine thematically, Strat’s (then) 50th
anniversary. It has
about fairgrounds toured with Knopfler’s
and Neil Diamond’s
and showgrounds and sideman Richard
Bennett, who played
vanishing boxing booths” it from 2005 to 2019.
Knopfler used this on
the tracks Tunnel 13 and
Before My Train Comes
on the new album,
while Richard Bennett
played it on the track
This One’s Not Going
To End Well
those songs and make them into an 5. Veteran slide master straight away it felt as though he’d be doing would be thinking about a
EP [The Boy, out 20 April], which is Greg Leisz added his been with us for a long, long time so possible approach, thinking about
trademark graceful
yet to come out. It’s just songs that playing to the album,
he didn’t need to become assimilated things that might or might not work,
combine thematically, about the lending it a feeling of – it was an instantaneous thing. With and possibly discussing it with you
fairgrounds and showgrounds and the American West this band, it’s the high point of a year at some point but not needing to
the vanishing boxing booths [boxing in many places when they get together and, with have a set of directions put in his lap.
booths pitted veteran fighters who Greg, it was just more of that. I don’t And it’s the same thing with these
journeyed from town to town against give directions [to musicians such guys. I just sing them the song and
onlookers brave enough to challenge as Greg Leisz]… leave them to it, really, and then just
them in the ring – Ed]. There were “If you’re directing Colin Farrell or keep an eye on what’s unfolding
someone you don’t say, ‘I’d like you and maybe nudge things in certain
“Greg Leisz is a phenomenal player to walk over to the window, lean out directions, possibly.
and then I’d like you to scratch your “But that’s part of the joy of it –
and straight away it felt as though head and look as though you don’t welcoming people into your song
he’d been with us for a long, long time know what you’re doing…’ That’s
the last thing you would tell a good
and them finding their place in it
themselves, rather than being told
– it was an instantaneous thing” actor to do. Because what he would where to go and sit.”
once many, many hundreds of them,

but they were trying to introduce
the British Boxing Board Of Control
to control it more – and also the
showground culture.
“I was always fascinated by the
fairground that came to Newcastle
once a year when I was a boy and, of
course, it had its boxing booth, too
– so that time was quite interesting.
There’s a song on the EP called
Mr Solomons Said and a song about
a bad day for a knife thrower and
[narratives about] people who were
attracted to the bright lights of
London, maybe like the boy who’d
cycled in from the countryside.
So it’s just where I’m at now.”
You called the album One Deep

River. What does it mean to you?
“Well, what does it mean to you? It
could be a description of a person, or
it could be a description of the river
itself. So, you know, I like the idea of
it being available across the range
[of possible meanings].”
With lyrics, you have to leave

a certain amount open to
interpretation by the listener.
Otherwise, it becomes a bit trite.
“Yeah, that’s right. And very often,
you know, if you try to explain the
song to somebody I’ve found that
just gets you in deeper.”
The album also sounds like the

most Americana-influenced record
you’ve done in a while, on tracks like
PHOTO BY GARY MILLER/GETTY IMAGES
Janine and Before My Train Comes.

The superb lap steel playing from
Greg Leisz certainly evokes that
melancholy Western feeling. Would
it be fair to say that’s a theme?
“Yeah, well, it’s never very far away.
Greg is a phenomenal player and

When working with really great changed, and has changed their path have answered for some songs on
musicians, it can be a pleasure without mentioning it, just adapted this record and I don’t know how
to surrender control and just to your change with no words, no many tracks it’s actually on, but
enjoy letting them react to the words necessary. It’s a wonderful it’s four or five. That’s become the
song instinctively. gang to be part of and it makes all guitar of this album.
“You’re so right – that’s part of it, the other times worth it – because “The song Tunnel 13 mentions
part of the joy of it. I think these guys, a lot of times you’re just struggling. redwood, but it’s not actually a
they just take it for granted now that But when it comes clear like that, redwood‑top guitar [being played],
they’ll be skating on their own for it’s tremendous.” although Boswell makes beautiful
a bit, you know, and they’ll just be
finding out that they’ll be listening There’s some beautiful acoustic “I like to have a couple of guitars
to each other as well, as much as parts on the album – and we
anything else. You have to be able to couldn’t help noticing that your out of their cases and on stands,
seamlessly fit in with all the existing
textures and that takes a certain
lovely pre-war Martin D-18, which
featured on the last album, Down
and that way they’ve got a fighting
amount of time and experience and The Road Wherever, wasn’t up for chance of getting played”
confidence in what it is that you’re sale at the recent Christie’s auction
doing. If I change my part, you can of your guitars. redwood guitars – and, in fact, I’ve
be sure that the band will hear it “Well noticed. That’s a ’35 D‑18 that 6. This detail of Mark’s got one and they’re lovely. But this
and will mark that change and play was given to me by a good friend. Duesenberg Gran one’s a mahogany guitar and it seems
according to it. But you probably That guitar, the D‑18, will have got on Royale shows off its to have spoken on a few songs quite
unusual retro‑styled
won’t even have a discussion about a lot of songs up to this point. But I pickups – deceptively, nicely. Quite why that should be
it with anybody. found another little guitar that seems one is a P‑90 and the I’ve no idea. I’m looking forward to
“That’s what musicians love more to have gotten onto a few songs on other a humbucker working with the redwood [guitars
beneath the foil‑like
than anything else – when you’re this album, taking that role, and it’s a by Boswell] and seeing where that
covers, selectable
playing with someone who has little mahogany parlour guitar made with a vintage‑style goes to – but until I sort of test them
heard what you’ve done, what you’ve by Arthur Boswell. It just seems to four‑way rotary switch in the songs, I won’t really know.”

“The Duesenbergs are Mark’s Duesenberg

Gran Royale was
great guitars – I found delivered to him at a
2019 concert in Berlin
they went straight on at the Mercedes‑Benz
Arena. It was used on
to records and I didn’t the new album
expect them to sound

as good as they did”
“That’s part of the This 2008 Mark

Knopfler signature
joy of it, welcoming Stratocaster has been
refitted with Callahan
people into your song pickups and it features
on the new album
and them finding
their place in it”
When it comes to recording an

album in the studio, the guitars
that actually make it onto a record
aren’t always the ones you go into
the studio meaning to use. Have
you experienced that before –
been surprised by how central an
unexpected guitar became to the
sound of an album?
“I certainly have – I remember the
Grosh Electrojet doing that. With
this album, it was the Duesenbergs.
Because I bought two, I have
a Caribou and a Gran Royale.
They’re great guitars, I’ve found
that they just went straight onto
records and I didn’t expect them
to sound as good as they did. But
they’re great instruments and I
haven’t even scratched the surface
yet with those guitars.”
You’ve spoken a fair bit about your

motivation for auctioning much of
your guitar collection at Christie’s
earlier this year. But what about the
guitars you decided to keep? Why
did you decide to hang on to some
guitars in particular?
“Partly it’s sentimental, but also I
wanted to have enough left to record
with, you know? Enough that I’d be
happy to be recording with in years
to come. So I need to have a few of
those. Also, I’ve got a son who plays
guitar – actually, both boys play
guitar – and a daughter who plays
guitar. So I wanted some stuff left for
“[Not auctioning guitars is] partly from his sweaty gigs that it needed a
new fingerboard anyway. So I got a
“A melody like that just resonates
with childhood for me because
sentimental, but also I wanted to new fingerboard for it and I use that of listening to Jimmy Shand and
330 on every record that I make now; Scottish country dance music
have enough left that I’d be happy to it’s just become part of the scenery. when I was small. I think that was
be recording with in years to come” So, again, some guitars are just that among the earliest music I would
little bit special that they work their have heard in Scotland. I’m more
the kids to enjoy playing as well. Plus, way in, you know? Or like the Martin or less half‑Scottish so it’s in the
you want to hang on to things that D‑18 I mentioned before, there will genes already on my mother’s side,
are family heirlooms, really. Like the be guitars like that. You couldn’t sell who are just a family essentially of
National that Steve Phillips played them and you wouldn’t want to sell Scottish Geordies. There’s a lot of
– that was Steve’s National and I them because they’d be just too hard links between the Geordies and the
treasure it and that was the Romeo to say goodbye to.” Scots; a lot of Scots moved down to
And Juliet National… but it’s the same Newcastle to work in the shipyards
thing for Strat Number One from You recently made a special and in heavy industry. So when I’m
Sultans, so I am careful about that. recording of the theme to the writing in that vein, it doesn’t seem
“There’s things that you get really Local Hero movie, Going Home, like it’s a foreign language to me at all.
closely attached to. For example, which ended up featuring the better Sometimes [Scottish] musicians will
I got to be good pals with Tony Joe part of the world’s top guitarists say, ‘Oh, that’s very ‘West Highlands’,
White and … he gave me his ES‑330 on it (see box over the page). It’s Mark,’ or ‘That’s Strathspey that
that he used for Rainy Night In such a memorable and timeless you’re playing there, Mark…’ And
Georgia and Groupie Girl and all of melody. Where do those powerfully I’ll say, ‘That what that I’m playing?’
those things. I said, ‘You can’t give emotive, Celtic-sounding lead So you live and learn. But anyway,
7. Note the black
me this thing…’ but it was under lines come from, with you? They I’m reasonably at home with [those
pickup selector
his bed and covered in dust and the switch tip on Mark’s feel like a really important part of musical traditions] and they don’t
fingerboard was pitted so deeply signature model Strat your musical DNA. seem like a foreign country to me.”

Mark Knopfler
8. The new charity There are often distinct chapters in

single version of every person’s life that can be quite
Going Home (Theme
From Local Hero) different from each other. Musically
features a who’s who speaking, do you feel that way about
of great guitarists, your own work over the years?
with cover art by
“No, I think the ditties [sic] are pretty
Sir Peter Blake
much nursery rhymes and they
haven’t really changed musically.
I haven’t been too interested in
improving that side of it. There was
a spell a few years back when I was
in New York a lot of the time and
I was kind of interested in learning
how to play a little better, just to
learn a bit more about the music
game. But generally speaking, it’s the
same old nursery rhyme and so, no,
“The ‘Going Home’ melody resonates

for me because of listening to Jimmy CALLING ALL THE HEROES
Shand and Scottish country dance Mark Knopfler on recording a charity single that ended
music when I was small” up with the bulk of the world’s greatest players on it
I don’t think so. But, lyrically, I’m still While Mark Knopfler was busy chuckles, adding that the number of
interested in trying to improve as a making One Deep River, he also players who got involved meant that
writer – I like the idea of writing a found time – along with partner in two separate edits had to be made
good song: the challenge being to do crime Guy Fletcher – to produce for release.
that and the other challenge being a remarkable recording in aid of “Cutting it down to two [versions]
to make a good record of it. Gillian the Teenage Cancer Trust charity. was the solution, really,” Mark
9. Mark’s iconic 1988 Welch once said to me that, ‘All I’m Taking his well-known theme music explains. “Just one for the radio –
Pensa‑Suhr MK1 went
under the hammer
trying to do is write a good song from the 1983 film Local Hero as its which would be desperately savage
at Christie’s in late and make a good record of it,’ and I basis, over 60 of the world’s greatest cutting – and the other one that lets
January where it thought to myself, ‘Well, I’ve never guitar players contributed parts to the track stretch out a bit… I think
fetched a remarkable heard a better explanation of the the single, including Eric Clapton, it’s about eight or nine minutes. But
sum of £504,000,
with 25 per cent of process,’ and it’s all that matters.” David Gilmour, Pete Townshend and we used to make records that long
the auction proceeds Slash. Poignantly, it also features anyway, in the old days [laughs],
going to charity. One Deep River is set the last known studio guitar session so it’s fine. But I just really want to
Mark’s remaining
for release on 12 April on by Jeff Beck. The project, which thank everybody for such fabulous
guitars will be used
on future recordings British Grove Records/EMI was released under the name Mark input and such great session
or kept for posterity www.markknopfler.com Knopfler’s Guitar Heroes, made playing from beginning to end. Pete
plenty of headlines when it finally Townshend came in first and did
came out in March, so we asked Mark what only Pete Townshend can do
for his behind-the-scenes account of with a chord – or two or three. And
how it all came together. then Eric Clapton came and played
“I mean, the organisers knew more some lovely guitar and different licks.
people than I do,” Mark says with a After that, it was David Gilmour… and
smile. “I couldn’t believe it. And yet people like Joe Bonamassa would
it seemed that the more people the just send stuff in from their studios.
organisers suggested to me and Guy, But it was all fantastic.”
the more people were getting on Of the process of making such
it. Poor Guy did great – I mean, he disparate contributions hang
worked a lot harder than I did on this together in something like a
thing. We did have time to discuss coherent, musical fashion, he says:
the way something felt occasionally “All you have to do is just try to treat
PHOTO BY BEN STANSALL/AFP VIA GETTY IMAGES
and where it might go, but a lot of it the way you would treat your own
the hands-on work had to go to Guy playing. And, I mean, it’s your baby,
because he’s got all the recording you just want the best thing you can
and engineering skills at his disposal. for it. Obviously, it’s a little crowded
Thank goodness he does. Guy did a down there in the vegetable market
great job, really. Because [the list [sic], but I think Guy did a sterling
of contributing players] could have job, considering, and I’m really
gone from here to Leeds,” Mark pleased with the way it came out.”

“You want to hang Mark with the 1937

National Style O
on to things that are resonator that is one
of the guitars he’ll
family heirlooms. never part with, as
well as being a key
Like Steve Phillips’ part of his live and
recording setup on
National. I treasure it an ongoing basis
– that was the ‘Romeo

And Juliet’ National”
interview Vince Gill

VINCE GILL
In the midst of the Eagles’ Long Goodbye tour, world-class guitarist
and songwriter Vince Gill joins us to explain why “brevity and restraint”
are all-important when playing for the song, how he was next in line
for a reissue of Clapton’s ‘Beano’ guitar after EC himself,
and why vintage guitars will always have his heart
Words Andrew Daly Photo John Shearer
B
y Vince Gill’s admission, most know him as a great lesson when I was a young whippersnapper when
the ‘country-rock guy’. And in all fairness, I played a solo on a record, and when I was done, the
that checks out given his resume, including producer said, ‘That was impressive. Now do it again.’”
Pure Prairie League and a decidedly country He explains: “I learned then and there only to do half of
leaning solo career spanning over 20 records. When Gill what I know. It was like a knife to the heart, but I got it.
joined the Eagles in 2017 in the wake of Glenn Frey’s The real gift is playing what’s appropriate, not always to
death, some were surprised that the SoCal classic rockers chase the first instinct but to take it, edit it and refine it.”
would choose such a Nashville-leaning player to take Time is ticking on the Eagles, as they’re currently on
his place. But the move made sense if you think about their final tour, The Long Goodbye. They seem to be
it – especially considering the Eagles’ own early 70s taking their time, and there’s no end in sight just yet,
country roots. “I enjoy spontaneity,” Gill tells Guitarist. but, regardless, Gill is prepared for whatever comes
“I love trying different things, and with this gig I knew next. “There’s a sense of mortality in music,” he admits.
it wouldn’t be much of a guitar gig.” “Great playing has a beginning, a middle and an end.
That’s an odd take for a player known for plenty of I try to have my playing tell that story, just like any song.
guitar exploits, but there’s a method to Gill’s madness. I think about all the elements; I intend always to serve the
“I’m fine with it,” he says. “My favourite compliment song, not myself. My favourite music is never distracting;
came from Don Henley, who got a country rock guy in the things you don’t notice mean the most.”
his band because I know how to be in a band. That’s He adds: “People always ask me, ‘Who is the greatest
high praise. I know what’s needed and don’t waste guitarist ever?’ I always say, ‘There’s no such thing.’ Why
time playing stuff that no-one wants to hear.” does anyone have to be the best? There’s a bunch of good
If the Eagles had gone with a younger gun, the players; it’s funny how guitar playing turns into a matter
inclination to overplay might have influenced the of outplaying each other. I don’t want to show anyone up.
nuances within the band’s iconic songs. But Gill, through I like things simple. That’s how I live my life, that makes
years of experience, doesn’t have that issue. “Man, I got sense to me.”
Vince Gill is a renowned

country music songwriter
and guitarist, with more
than 20 Grammy Awards
and 30 million album
sales to his name
You’re currently out on the Eagles’ The Long Goodbye 1. A keen collector of To your point, you’re covering the parts of players who
tour, and by the looks of it, you’re having a blast. vintage gear – “Buy came before you and who wrote these songs. How do
the right stuff to begin
“It’s pretty surreal, to be honest with you. Some nights, with,” he says, and
you manage that?
I look over to the side and see Joe Walsh while we’re “The most important thing is that I don’t put my spin
“you will never get
playing Rocky Mountain Way, and I’m transported back on things. The beauty of what this band is, as it is today,
hurt” – Vince remains
to being a kid in my bedroom trying to learn that song. faithful to his white
is that we replicate those songs verbatim. It’s been
Tele, which he bought
I played it at every school dance and there’s even tapes for $50 in 1978
interesting to learn to play these songs the way they
of me singing Eagles songs when I was a kid [laughs]. It’s deserve to be played because they’re not only iconic
been pretty amazing to be a part of keeping the legacy of but also great songs. The solos and the background are
those songs going. You’re right – it’s a blast.” memorable. As a listener, you want
“As I’ve gotten older to hear whoever is up there play
Joe is a hell of a player, but you are, too. After all these Hotel California the way it was
years, what keeps you inspired? I spend more time recorded. Anything other than that
“It’s interesting because as I’ve gotten older I spend more thinking about what would be a disservice to the songs.”
time thinking about what not to play. That’s very different
from when I was young and constantly thinking about not to play. That’s Reviewing your playing history,
playing as much as possible. My mindset is all about
brevity and restraint now. That’s what I love about the
very different from restraint has always been
integral to your style.
way Joe plays – he shows tremendous restraint. He could when I was young” “Yeah, I think you’re right there.
play more, but he doesn’t. I really enjoy that. The songwriter in me understands
“My inspiration comes from the little things I’m trying that side of it, you know? That part of this is powerful.
to do, like sounding better and choosing the right guitar The lesson I’ve learned over the years is how important
for the songs. This is an interesting gig for me with the songs are, and when you look at this catalogue of songs,
Eagles because I only play a little lead guitar; there are it’s crazy.
PHOTO BY JOHN SHEARER
only two or three songs that I solo on, which is different “Don Henley told me the first song he wrote for the
from what I’m used to, where it’s solos all night long. But Eagles was Desperado, and I said, ‘Oh, come on, man!
I knew going in that they needed a rhythm player more You started with the lame stuff!’ He started laughing and
than a free-wheeling lead. I’m more than happy to spend said, ‘No, that was the first one,’ which, jokes aside, is a
the night ripping powerchords for Joe.” great example of the catalogue.”

Vince Gill interview
make them more rhythmic. I love playing rhythm guitar,

so I don’t see it as secondary. Sure, it doesn’t grab the
same amount of attention as the lead stuff, but in a way,
it’s almost more important.”
So, when you do take a solo, how do you approach it?

“I trade licks with Joe on Funk 49, which is amazing.
That’s enough for me, and my head would explode if
I had to go back and forth with Joe on a song like Hotel
California [laughs]. I try to show Joe I’m listening to
him play by throwing back similar things. I’m not going
note-for-note; it’s more like a spiritual way. It’s like,
‘Yeah, I hear you. Check this out.’ That’s the essence
of what makes call and response so much fun. Some
guys just go off when it’s their turn, and they have no
clue about what’s just been played. But when we do it,
we listen, have a sense of humour and try to make each
other smile with the things we’re playing.”
What gear are you relying on most these days?

“The big thing is for the last few years I’ve been using
these great amps by Little Walter Tube Amps. I really
like the way they build and design amps. There are a
lot of great amps out there, but regardless of whether
I’m playing the guitar with humbuckers or single coils
– the Little Walter stuff handles anything I throw at
them. They’re very musical sounding, but I’m far from
technical, so I couldn’t begin to tell you why.”
Do you get much into effects pedals?

“I don’t get much into the minutiae of all that; I trust my
ears. I use a handful of pedals, like overdrives and some
compression. It’s not a ton of stuff and, really, I mainly
depend on my amp sounding good from the get-go
before I go messing around with stompboxes.
“I keep it minimal and, aside from the overdrive and
2. For the past few Is it easier to disassociate from a guitar perspective compression, I might do a little delay. The overdrive
years, Little Walter because you didn’t write the songs? comes into play on, say, Boys Of Summer where I need a
Tube Amps – built
by Phil Bradbury in “I don’t take ownership of a single note within that music nice hi-fi sound to complement Joe, so I try to use pedals
North Carolina – have because I didn’t create any of it. That would be foolish to do things like that. It’s all about the right gear for the
become a mainstay of me to do, though I do have enough respect for it that I right song, rather than a one-size-fits-all mentality.”
in Vince’s backline:
really want to try to honour the songs and be respectful
“They handle anything
I throw at them. of what they are. Again, they’re not just iconic; every And you’re a big user of vintage guitars, too.
They’re very musical part of those records, meaning the lyrics, backstory and “Man, vintage guitars have a soul to them. They’ve got
sounding,” he says everything else is so familiar. The Eagles, as a band, is the a different kind of soul, which is different from new
furthest you could get from a jam band, so it’s important guitars. I’ve had a few ’Bursts, though I’m not bringing
to do what’s appropriate in the name of moving the song them out as much these days. The one nice Les Paul I
along and keeping everyone happy.” am playing out now is a reissue of Eric Clapton’s 1960
Gibson Les Paul Sunburst. It’s the one they called the
Joe is a laid-back, off-the-wall guy who doesn’t plan ‘Beano’ guitar – it’s been on the cover of magazines,
much. You seem different, so what’s the secret to was on the album he did with John Mayall, and it’s well
locking in with him? known. Gibson was cool enough to reissue that guitar,
“The big thing with Joe is to follow him. I also need to and they gave me one when they did. Eric Clapton took
trust him and know that, regardless of what happens, he’s the first of the reissues they made and they let me have
gonna show up. I play a lot of rhythm with the Eagles, and number two.”
there’s a lot of people who don’t look at playing rhythm
guitar as important. But, in many ways, I think it’s even Do you have any vintage guitars on the road with you?
PHOTO BY JASON KEMPIN/GETTY IMAGES
more important than playing lead.” “I’ve got an old custom-coloured Strat, which I believe
is a ’64 or ’65. I’ve also got a Les Paul Junior that I use on
And why is that? three or four songs. People know me for my old white
“If you’re playing rhythm the way I am, using it as a device Tele, but I’m not using that all that much for this gig.
to guide the song and inspire things… rhythmically, that It doesn’t fit the songs; it’s about the right guitar for
in and of itself can make you play better but feel better, the right song. I do have an old ’60s Thinline Tele that
too. I’ve learned to apply the way I play rhythm guitar to I use for Hotel California, and I’ve got a couple of great
my leads over the years. This seems obvious, but I want to old Martin acoustic guitars, too.”

“It’s been a fun journey

with the gear. I’ll find
old Les Pauls that I
love and then I’ll find
one I like even better”
PHOTO BY JASON KEMPIN/GETTY IMAGES FOR THE COUNTRY MUSIC HALL OF FAME AND MUSEUM
Vince is always on the

hunt for the “different
kind of soul” that’s
present in vintage
guitars. He has a few
’Bursts in his collection,
favouring the ’59
and ’60 models
PHOTO BY KEVIN MAZUR/GETTY IMAGES FOR THE EAGLES
Vince Gill interview
What types of vintage guitars tend to catch your eye? 3. When he’s on Of course, you have to be able to lay out – or comfortable
“Oh, man, all the shops know me and they sure do find stage with the Eagles, with laying out – that amount of money…
Vince never forgets
me [laughs]. I’ll get random emails from different shops, “The prices do sometimes make it very difficult, if not
that it’s his duty to
saying, ‘Hey, I have this. It’s the neck profile you like,’ or impossible, for a young musician to be able to acquire
honour the band’s
whatever. I like the ’59 and ’60 ’Bursts, but I’m always on some of this stuff. I mean, when I was a young musician,
historic catalogue.
the hunt. I love Gibson stuff, Martin acoustics, and even “The beauty of what
I couldn’t afford this stuff, even back in the day. When I
this band is today,
mandolins and banjos. I love the possibility of always was a kid, an old Blackguard Tele was 600 or 700 bucks
is that we replicate
being able to find a new instrument. Something about – I didn’t have that. But when I did, I spent it on an old
those songs verbatim,”
trying to do that moves and speaks to me.” he says. “Anything
guitar, meaning I found enough to buy one.
other than that would
“Little by little, the prices have increased over the years,
be a disservice to
Is there a guitar you let go of that you wish you hadn’t? the songs” and my laying out of that money back then has been
“No, not really. I’ve never been much of a seller. I still have worth it. I don’t know… it’s been a fun journey with the
my first guitar from when I was 10, a ’67 Gibson ES-335. gear. I’ll find old Les Pauls that I love and then I’ll find one
That’s not the most desirable year for 335s, but it was I like even better. It’s always like that.
my first and I love it. And I’ve got my white Tele, which “Don Henley got a I guess it’s pretty neat to work your
I bought in 1978 for 50 bucks. It’s been my go-to guitar way up the gear ladder, but if you buy
since and it’s the one that’s given me my definitive sound. country rock guy in the right stuff to begin with, you will
“I don’t let guitars go often, but I’m also aware of because I know how never get hurt.”
reaching for guitars that are right for the space and sound.
It’s about creating the right frequency that is needed, so to be in a band, I With the Eagles winding down,
I don’t let the special ones go. I’ve bought a lot of Tele’s
after that white one, but I’ve never found one like it.”
know what’s needed. what’s next for you?
“I’m always working on new music
That’s high praise” and another record. There’s always
What advice would you give to young players just some sort of song I’ve got going, and
getting into vintage gear? over the last few years I’ve written well over 100 songs.
“The best way to buy vintage gear that will hold value and When things were shut down [during the pandemic]
appreciate is to buy the right things. People talk about the and no-one was doing anything, I found that to be a
cost of vintage gear, but if you buy the right things, there’s great time for creativity.
a better-than-average chance that it will be worth more “Little by little, I’ve recorded a new batch of songs,
than what you paid at some point. If you’re gonna lay out so those will come. I love being creative – that will
a lot of money, it’s best to try to not get hurt doing it. never change. So when the Eagles finally shut it down,
“Gear is different from buying a new car, where it I’ll go back to singing my hillbilly songs and playing my
loses all its value after you roll off the lot. If you think of white Tele. There’s some kind of magic in that; I can
it that way, you’ll go into buying and owning these great attest to that.”
instruments – the best of the best – and you won’t get
hurt. I will always contend that, for me, at least, I can Eagles will play Manchester’s Co-op Live from 31 May
write these guitars off on my taxes as a business expense. to 8 June. Vince’s latest album, Sweet Memories with
They truly are that. Most of them will appreciate; I Paul Franklin, is available now on UMG Recordings, Inc
couldn’t do anything smarter with my money.” www.vincegill.com

pioneers Johnny ‘Guitar’ Watson
NEE
O
RS
PI
Johnny
‘Guitar’ Watson
From urban blues maverick to ‘Superfly’ funkster, the life, career and enduring
influence of Johnny ‘Guitar’ Watson deserves a long-overdue reexamination.
Watson’s 40-plus-year career saw him negotiate his way through, arguably,
the most explosive period in musical history and, unlike so many, he somehow
managed to keep his ear to the ground and his music relevant to the times
Words Denny Ilett
J
ohn Watson Jr was born in Houston, both guitar and piano. He also took time Then, out of the blue, came a track that
Texas, on 3 February 1935. As a to check out the jazz clubs, too, and heard can only be described as out of this world.
child he learned piano from his giants such as Charlie Parker and Dizzy Johnny was still only 19 years old when he
father, John Sr. However, like so Gillespie. Later in life, Johnny mused that, recorded Space Guitar in 1954. Even today,
many young black kids coming at that time, jazz and blues were akin to two it sounds extraordinary with the guitar tone
of age in the mid-to-late 1940s, it was the sides of the same coin. Musicians in those changing from bone dry to reverb laden
mighty T-Bone Walker, best known for his days embraced both equally and it was, on a lick to lick basis. Watson’s playing on
iconic composition Stormy Monday, that effectively, recording studio contracts that the track is biting and aggressive yet full
grabbed his ears and made him want to be determined whether an artist would grow of humour and surprise. There’s even a
a guitarist. T-Bone Walker’s influence over to specialise in one or the other. swinging jazz chorus in there. Space Guitar
the subsequent course that blues and rock In 1952, aged just 17 and billed as ‘Young really has to be heard to be believed. If one
’n’ roll took cannot be overestimated. A slew John Watson’, Johnny made his first track could carve a path up to and beyond
of great recordings from the late 40s found recordings on piano for Federal Records. Hendrix, this is it.
their way into the hearts of everyone from Songs such as Pachuko Hop and Motor
BB King to Chuck Berry to Jimi Hendrix – Head Baby found Watson playing the typical Guitar First
and young Watson was no exception. driving R&B piano of the time. Within a few The next few years had Johnny churning
Johnny acquired his first guitar courtesy years, however, the piano would be replaced out a series of recordings built around his
of his grandfather, a preacher, who agreed by the guitar as the main instrument driving vocals and guitar. Although they’re fairly
to let Jr have one on the condition that the rhythm along – and Watson would be standard fare for the time – a lot of slow 12/8
he “never use it to play the Devil’s music” right there at the heart of it. blues and shuffles with a horn section à la
– namely, the blues. After his parents’ 1954 saw the release of the movie Johnny T-Bone Walker’s output – it’s the guitar that
separation in 1950, Johnny moved with his Guitar, a Western that starred Joan stands out, as though somehow dropped
ISTOCK / GETTY IMAGES PLUS
mother to Los Angeles and quickly became Crawford. After seeing the film, the artist into the mix from the future.
a feature of the LA blues scene, clearly formerly known as Young John Watson Playing a Telecaster by now, Watson’s
ignoring his grandfather’s request! became Johnny ‘Guitar’ Watson and, approach and attack was ferocious for
By the age of 15 Watson was working from that moment on, the guitar became this pre-Jimi era. The licks he played are
regularly in the city’s juke joints playing Watson’s main mode of expression. pure T-Bone Walker, often note-for-note,

Johnny ‘Guitar’ Watson pioneers
Johnny’s playing
had a big influence
on the likes of Jimi
Hendrix, Frank
Zappa and, later,
Stevie Ray Vaughan
From the piano-playing

‘Young John Watson’ to
an R&B guitar master
(pictured in September
1966), Johnny ‘Guitar’
PHOTO BY CBS VIA GETTY IMAGES
Watson devoted his life

to music through the ebb
and flow of his career
with Walker’s smooth tone, coaxed from see this as a cop-out, but there is a method and continue playing, too. Think of Hendrix
a Gibson archtop, now replaced by a Tele going on here. It meant he would always playing with his teeth, behind his back,
and a cranked Fender amp. be able to exploit an open-string sound, a between his legs and how he’d sometimes
Watson played without a pick, choosing sound he wanted. He wasn’t the only one play one-handed. Brilliant and theatrical as
a combination of thumb and forefinger to use this technique; both Albert Collins it was, it wasn’t original. Those tricks had
instead. Listen carefully and you can hear and Clarence ‘Gatemouth’ Brown were also been employed by most blues guitarists
the strings snapping against the neck as he advocates of the capo. since at least the invention of the amplifier
plucked by pulling the string away from Another Watson ‘quirk’ was to wear and, without doubt, Watson was a master
the fingerboard. There are no classical the guitar with the strap over the right showman, even claiming to have “started
rest strokes here. It’s said that Johnny shoulder. His hero T-Bone Walker did the that shit” when asked to comment on
would often have to change strings several same, as did Freddie King, Albert Collins Jimi’s stagecraft.
Despite his seemingly brutal Quiet Influence

Johnny’s record label clearly tried
picking approach, there is a lot of everything to get a big hit out of him
throughout the 50s yet few of his many
records scraped into the Top 40 of the
subtlety at play in Watson’s music R&B charts at the time. The label had him
record everything from pop ballads to jazz
times during a performance. Despite this and many others. Watching videos of standards, many of them focusing more on
seemingly brutal approach, however, there Johnny in concert seems to answer why his fine singing voice than his guitar. But
is a lot of subtlety at play in Watson’s music. he did it. He’d often take a solo then put his despite this, his playing was being heard
His use of microtonal string bends and guitar down for his vocal. With the guitar and he was having a big influence on the
across-the-beat phrasing are quite beautiful on the right shoulder he could put it down likes of Jimi Hendrix, Frank Zappa and,
when set against the gnarly overdrive that or pick it up much quicker than if he wore later, Stevie Ray Vaughan. Zappa cited the
he employed. it the way most players do. track Three Hours Past Midnight as the one
Johnny always used a capo for key There was also a showmanship element that inspired him to pick up the guitar and
changes. He’d simply move it up or down to this posture. Johnny would take the repaid the debt many years later by inviting
the neck depending on what key the song guitar off mid-solo and wave it around Watson to play on four albums between
was in and take it from there. Many might while still playing. He’d rest it on the stage 1975 and 1985.
PHOTO BY WOLSCHINA/ULLSTEIN BILD VIA GETTY IMAGES

PHOTO BY ECHOES/REDFERNS/GETTY IMAGES
The mid-70s was a turning With this new-found fame,

point for Watson, with the Johnny embraced the
release of Ain’t That A Bitch bling and perfected his
finally breaking through razor-sharp public image

Johnny ‘Guitar’ Watson pioneers
As times and tastes changed into the

1960s, it seemed like Johnny ‘Guitar’
Watson may have had his day. By now he
was playing a Stratocaster and his self-
titled 1963 album finds his guitar tone
somewhat neutered. The album I Cried
For You, also from 1963, finds him back on
piano as he works his way through a set of
jazz standards; the guitar was left at home
for this session. It does, however, show
that he was a well-rounded musician who
knew his jazz harmony and was much
more than the pentatonic bluesman that
he’s remembered for. Apart from a couple
of other visits to the studio, though, that
was pretty much it for Watson through the
60s. He returned to the clubs and picked up
jobs where he could.
By the early 70s the blues boom that
Watson had helped create was all but
over. The Beatles were no more. Hendrix
had tragically passed. Cream had gone
their separate ways. So many bands that
shaped the sound of the 60s on both sides
of the Atlantic didn’t survive into the 70s
yet, somehow, Johnny ‘Guitar’ Watson,
a comparative relic from the 50s, found
a way to reinvent himself, finding a new
sound and image that would serve him
well for the rest of his life.
Five Essential Tracks

Aside from the aforementioned Space
Guitar, Three Hours Past Midnight and
Gangster Of Love check out these five
examples that span Johnny’s career.
HOT LITTLE MAMA: This track is as good

as any of Watson’s mid-50s recordings,
demonstrating his driving blues licks
borrowed from T-Bone Walker and updated.
I’M GONNA HIT THAT HIGHWAY: This

great track demonstrates just what an
influence Johnny would have on the likes
of Jimi Hendrix.
MISS FRISCO (QUEEN OF THE DISCO):

A fine example of how Johnny’s blues
guitar fits seamlessly against a funk/
PHOTO BY DAVID CORIO/MICHAEL OCHS ARCHIVES/GETTY IMAGES
disco backdrop.
TELEPHONE BILL: A track that proves

Watson was more than a bluesman. His solo
here incorporates a lot of bebop/jazz
language mixed in with his patent blues licks.
Johnny started out on a
Gibson archtop, and while
I WANT TO TA-TA YOU BABY: A fabulous he’d play both Teles and
jazzy blues from Watson’s funk years Strats in the 50s and 60s,
Gibson guitars – such as this
featuring some gorgeous blues guitar full
ES-347 on stage in London
of rhythmic and dynamic subtlety. in ’87 – were back to the fore
from the mid-70s onwards

Funky Time
In 1973 and approaching the age of 40, Two 1977 albums solidified his
Watson released the album Listen. And he’d
clearly been listening to what was going position as the “original gangster”,
on. Funk and soul were evolving into what
would become disco, and Johnny had the a reference to LP Gangster Of Love
skills as a musician and producer to slot
right into the centre of it. Movies such as could write a beautiful melody or a nasty Into the 80s and 90s Watson and his band
Superfly and Shaft helped to popularise this groove at the drop of a hat”. toured extensively through the USA, Europe
new take on funk. It was smoother, jazzier Still, a big hit eluded him. He again and Japan. Many concert videos exist and
and more cerebral than the purely dance watched as others gained fame and fortune show a consummate professional at work
music it had evolved from. on the back of his inspiration. It wasn’t until with total command over his audience. You
Johnny’s guitar tone had cleaned up by 1976 with the release of Ain’t That A Bitch can see the fun that Johnny and his band
now and he’d abandoned Fender for an that he finally found success. The album have on stage yet none of it compromises
array of Gibson models. From now until went gold, selling over 500,000 copies as just how good the band is, with Watson out
his death in 1996 he can be seen and heard Johnny proceeded to deck himself out in front taking everyone to the church of funky
with an SG, an ES-335, an ES-347 and an broad-brimmed hats and sharp suits, all blues that he’d, by now, patented.
Explorer. His playing had matured, too. while sporting gold teeth. It was while on tour in Japan that Johnny
The core was still firmly rooted in the blues, collapsed and died on stage from a heart
albeit with a more measured approach. Original Gangster attack. His music didn’t die with him,
Now, Watson’s new music allowed him to In 1977 two albums, A Real Mother For Ya though. He continues to influence guitar
add some smooth octave runs and bebop and Funk Beyond The Call Of Duty, solidified players to this day – without many of them
licks into the mix along with some more Watson’s position as the “original gangster”, knowing it. Watson certainly deserves his
complex harmony. a reference to one of his most successful place alongside T-Bone Walker, BB King and
Johnny also self-produced his subsequent early records, Gangster Of Love. These Jimi Hendrix as a true electric blues guitar
recorded output and often played many albums are laden with tight funk grooves pioneer, but there is another part to the story
of the instruments himself, a feat which accentuated by brass stabs. The lyrics are as his music lives on through the likes of
would be a huge inspiration for the likes light hearted and humorous at times. The Ice Cube, Jay-Z and Mary J Blige who have
of Prince and Lenny Kravitz. He had a melodies are infectious with everything all sampled his recordings for their own
knack for coming up with a killer riff that underpinned with some beautifully creations. This proves the point that Johnny
he would subsequently build a whole song phrased and understated blues guitar, ‘Guitar’ Watson was more than just a great
around. Etta James, of At Last! fame, said proving the point that blues doesn’t have and very important part of guitar history;
that Watson was a “master musician who to be loud to be deep. he was, indeed, a master musician.
Johnny’s live music

career spanned almost
five decades, from 1950
aged 15, until his death
in 1996 at 61 years old

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GORDON SMITH GRANDE & GEIST
Golden Year
In its 50th anniversary year, British
production guitar maker Gordon Smith
is moving into a new workshop and
expanding its already broad range
with a brace of new designs
Words Dave Burrluck Photography Phil Barker

GORDON SMITH GRANDE & GEIST £1,999 EACH

CONTACT Gordon Smith Guitars PHONE 01933 391234 WEB www.gordonsmithguitars.com
F
or many years, Gordon-Smith (the Today’s hyphen-free company has, over
What You Need To Know original company used a hyphen) the past nine years, brought Gordon Smith
was almost the UK’s best-kept into the modern age, with the guitars now
50 years? That can’t be true. guitar-making secret. The brand never made in Higham Ferrers. As we discuss
1 It is. The original company was advertised its wares or drove around in with owner and MD Doug Sparkes in the
started by Gordon Whitham and posh cars, preferring a small (very dusty!) interview that follows this review, the
John Smith in 1974. Gordon left early workshop a couple of doors down from brand is also just about to move into a new
on (and created Gordy Guitars) a laundrette in Partington, just outside workshop down the road.
and John and his wife, Linda, with Manchester. It might not sound very rock You could argue that a new chapter of
the considerable help of Chris ’n’ roll, but the almost-punk DIY ethos Gordon Smith began with the Gatsby, a
Smith (no relation) made around informed the guitars and many players very stylish offset model that was launched
13,000 guitars over four decades. picked up a GS-1 or Graduate because they in 2021. The next new model (or rather
They retired and sold the business couldn’t get – or afford – a Gibson. And models) came with the Gibson Firebird-
to the Auden Musical Instrument spending time with John, Linda and Chris inspired Griffin and the reverse-style
Company in 2015. was always a hugely enjoyable experience. Griffin Flip. Our new, original-shaped
That Grande looks new, but what

2 about the Geist?
Style aside, both are new additions
for this year, bringing the number
of models currently offered by
Gordon Smith up to a whopping
18. The Grande reflects some of
the classy new designs we’ve seen
over the past few years, while the
Geist is an evolved version of GS’s
long‑running Classic S.
Can you still custom order

3 whatever you want?
Yes. Each model has an extensive
drop‑down options menu where you
can plan your build and order directly.
Or you can visit the actual factory or
one of the numerous GS Hubs (see
website) to try out stock builds and/
or discuss a custom order. Easy!

Grande model seems to take some design small tortoiseshell pickguard is another 1. The bass-to-treble 3. Although hidden by
cues from that Gatsby. It’s as if the more more-classic reference. curving of the top and the blue metallic gloss
back means the edges finish, the Grande’s neck
accented offset outline has been squashed This classic/modern theme continues are thin in depth – just is mahogany glued into
a little. For instance, its waist and base are to the glued-in mahogany neck with a very enough room to mount the obeche body
still offset but only lightly, and the bass-side traditional plastic-capped heel where the the electro-acoustic-
horn is pulled in a little, though both horns top strap-button sits. The crown-shaped style output jack
are similar in style to the Gatsby. You get a inlays look like they’ve come from an old 2. The classic Gordon
whiff of Gretsch’s downsized double-cut archtop or the like, and the ebony ’board Smith three-a-side
outline, and perhaps a nod to Reverend, but is fully bound like the headstock. This headstock nods to
overall the Grande comes out very much as traditional craft, however, is peppered Gretsch and Gibson,
of course. However, the
its own thing. with modern style such as the spoke- company has always
Unlike the Gatsby’s Fender scale, the wheel truss rod adjuster, not to mention used a brass top nut,
Grande is based around GS’s version of the stainless-steel frets, the lozenge-like as pictured here
the old Gibson scale length – measured Gotoh 510 tuners and the rather neat,
by John Smith back in the day. But the modern-looking bridge and tailpiece.
You could argue that

a new chapter of
Gordon Smith began
with stylish Gatsby
offset model in 2021
first thing you notice is the light weight of
3.02kg (6.64lb) thanks to the obeche body:
solid, not chambered. What is less obvious
from a face-on view is the body shaping.
Longitudinally, it has a flat top and back, but
both are lightly curved across the body. It’s
not a new concept, but with the clean white
binding around both top and back edges
it creates a rather unique and really very
graceful shape that’s about 45mm thick in
the body centre, slimming down to 32mm
on the edge of that lower bout, while the

UNDER THE HOOD

Do the electric circuits here match the classic craft?
U
nscrewing the Grande’s recessed, two springs. You need to pull that plate off
foil-screened backplate there’s to restring the guitar – much faster than
just enough room and depth for screws. The Geist uses a chromed metal
a pair of the modern PCB CTS pull-switch football plate for the output jack; the
pots with a nominal 500kohm value. The Grande, with its thinner-edged body, has
tone cap looks like one of those large the long barrel style that’s more typically
paper-in-oil Hosco types, and although we used for electro-acoustics.
can’t see the value, it’s .022µf, the same The Grande’s covered Partingtone
that’s used on the Geist, which is easily humbuckers, named after GS’s original
visible in a much larger cavity. The Geist location in Manchester, use 42 AWG plain
uses the same pots, but also has a 220pF enamel wire with an Alnico II magnet at
(221 code) capacitor for its treble bleed the bridge and a V at the neck, with quoted
on the volume control. DCRs of 7.8k (bridge) and 7k (neck). The
The control knobs, which Another nice touch is the spring cover Geist goes for a more modern style with
pull up to voice the slug
plate on the Geist, which is held in place the uncovered zebra coils, the bridge using
single-coil sounds, are
slightly recessed into the with six small magnets (not screws), 44 AWG, the neck 42 AWG and both use
top. A nice touch rather like Cream T’s pickup-swapping Alnico V magnets. Gordon Smith quotes
backplate. As supplied, the Geist just has DCRs of 15.5k (bridge) and 8.5k (neck).
The Grande has a

rootsy jazz/blues
voice that works
effortlessly for classic
rock and beyond
Grande Designs
Gordon Smith has long offered its Classic S
and T versions of Fender’s finest. The Geist
takes the Classic S and gives it a posher
super-S-style makeover: a pretty timeless
design that’s enjoying a healthy renaissance,
not least among our Brit builders. Does the There’s just enough
Geist bring anything new to the genre? Not room for the CTS pots
really, but it is very well executed, has a good in the Grande’s small
screened rear cavity
weight of 3.17kg (6.97lb) and, as you can see,
it’s not in the loftier price range of many
USA builders making a similar style. We
have a mainly obeche solid body (two piece,
centre-joined) capped with a finely striped
thin flame maple top that’s dropped over
the forearm contour, squashing a thin black
poplar veneer between the two. The deep
amber sunburst top is rather beautiful, too,
the edge scraped cleanly to create the PRS-
style faux binding.
That colour is perfectly matched by the
quarter-sawn roasted maple neck and
fingerboard, which uses a longer Fender-
like scale length. The neck screws to the
body on a nicely shaped, rounded nose
heel and is peppered with simple black
dots and stainless-steel frets, with that The larger
control cavity of
spoke-wheel truss rod adjuster located at
the Geist also The Geist is set up with just two springs.
the body end. There’s some pretty deep houses the CRL The Gotoh vibrato’s tapered die-cast block
flaming on its satin-smooth back, too. Like lever switch and recessed mounting give wide travel
we said, a posher makeover – and with the
headstock’s dual tone relief, it’s a class act.

There’s Gotoh hardware here, too: suggests a bigger neck somehow. It’s 4. These Partingtone 5. On the Geist model,
the rear-locking tuners and the industry actually very similar, slightly thinner in humbuckers on the both zebra-coil
Grande, like all GS uncovered humbuckers
standard two-post 510 vibrato that’s lightly depth in the higher positions (22.3mm), pickups, are wound direct-mount to the
recessed into the top, giving it a low-profile and we have a compound radius to add to in-house. The hardware, body, while the industry
feel and providing some up-bend. Like the the subtle difference. For the record, while meanwhile, is from standard two-post
Grande, the dual humbuckers – which are the nut widths are pretty close we get a Gotoh, a modern take on Gotoh vibrato is lightly
the classic tune-o-matic recessed into the
uncovered here and direct-mounted to the slightly narrower string spacing of 35.5mm and stud tailpiece maple top
body – have simple switching and control, but wider at the bridge at 54mm. These
both with pull-switches to independently seemingly microscopic details all add up,
voice the single coil-splits. particularly when you throw in the overall
Feel & Sounds

When played seated, the Grande is
extremely comfortable and balances well
on a strap. And even though the rear strap
button means the fingerboard leans a little
away from you in playing position (as usual),
it feels really good. There’s nothing to
adjust to with the Geist, of course, so Strat
players will obviously feel very comfortable,
especially with the good weight.
While we have different scale lengths,
which certainly add their own feel, the
actual necks are perhaps more similar
than they feel. The Grande has a 20.9mm
depth at the 1st fret, 23mm by the 12th,
with a 43.4mm nut width and 36mm string
spacing, growing to 52.5mm at the bridge.
The profile feels like a pretty classic C that
some makers might refer to as a ‘60s’ style.
The Geist’s satin-backed finish
immediately gives a different feel and

setup: the Grande is a very mainstream coil, or vice versa, or have both split. And
1.52mm on both treble and bass sides; the if you use the middle position a lot you’ll
Geist is fractionally lower, which might be appreciate the bounce and subtle tonal THE RIVALS
too low for anyone without the lightest of shifts. Listening to a Cream T Aurora with
touch. The fretwork on both is superb, the Whiskerbuckers, the Grande doesn’t quite While there is a dizzying number of makers
same medium jumbo stainless-steel stock capture that vintage voicing, but the hint of in the UK, few have the wide range of
with mirror-smooth finishing. semi character produces an equally valid models offered by Gordon Smith, not to
Rather like its appealing feel, the Grande’s sound. An engaging, very classic-sounding mention the huge legacy or indeed the
sounds match its comfort. There are no guitar that works for so many styles. relatively low starting prices on models
surprises, even though it does feel and, to Not surprisingly, the Geist has a such as the GS1 (from £999), which put
a certain extent, sound like a semi-solid very different voicing with a strong Gordon Smith on the map back in the day.
guitar – probably because of its light undercurrent of Fender-like snap and York-based PJD offers its Standard
weight. The plummy neck voice balances percussion that makes the neck humbucker range using solid obeche bodies with
clarity and depth with a full but not over- sound almost single-coil like. There’s proper bolt-on necks in thin satin nitro
thick midrange, and on cleaner sounds it no lack of clarity and the bridge pickup colours from £1,299. Cream T’s new range
easily sits with jazzier and earthy blues brings more heat and nose to the sound, – which is now made by the Auden Musical
styles. This is contrasted by the clean but more Duncan JB, and it splits rather well Instrument Company – is slowly expanding
well-balanced bridge voice that sounds compared with the more thin-voiced neck with new V2 versions of the Aurora (from
slightly under-powered – but in a good way, split. The mixes obviously don’t match a £2,799) and the new super-S style Polaris
producing a timeless jangly 60s-style voice Strat, but they do give a strong third voice, (from £2,799), while the offset Crossfire
that’s clear but not over-sharp. As you’d which hints at an electro-acoustic with will return this year, plus there’s a new
expect, the coil-splits drop the output, but some volume reduction and loves some venture with USA-brand Newman Guitars
they’re valid here if only for the mixes – as chorus and delay. It’s like we’ve jumped to look out for. Haynes Guitars released
the pickups independently split, you can back a few decades into the 80s, not least its first models in 2023, including smartly
mix neck humbucker with bridge single when you kick in the bridge with some gain crafted and designed models such as
for your scene-stealing whammy-bar solo. the Demeanour offset and super-S style
The Geist has a very Speaking of which, when it’s paired with
the locking tuners this well-proven vibrato
Inflection (from approx. £2,600). As well
as making superb Fender-inspired builds
different voicing with is pretty stable, and the brass nut is nicely Atkin offers cool original and customisable
fettled on both guitars. That said, there’s designs like the Mindhorn and double-cut
an undercurrent of easy down-bend almost to slack here and Boosh (from £3k), and from there we move
Fender-like snap the low E string falls out of its nut groove
– which would probably be cured with a
up into guitar-making royalty including
Seth Baccus and Patrick James Eggle.
and percussion couple of extra winds around the string post.

GORDON SMITH GORDON SMITH

GRANDE GEIST
PRICE: £1,999 (inc case) PRICE: £1,999 (inc case)
ORIGIN: UK ORIGIN: UK
TYPE: Double-cutaway solidbody TYPE: Double-cutaway solidbody
electric electric
BODY: Obeche BODY: Obeche with flame maple top
NECK: Mahogany, GS Slim profile, and black poplar accent pinstripe
glued-in NECK: 4A roasted flame maple,
SCALE LENGTH: 625.5mm Modern GS Slim profile, bolt-on
(24.625”) SCALE LENGTH: 25.5mm (25.5”)
NUT/WIDTH: Brass/43.4mm NUT/WIDTH: Brass/43.24mm
FINGERBOARD: Ebony, Grande FINGERBOARD: 4A roasted flame
Custom inlays, 305mm (12”) radius maple, black dot inlays, 305-406mm
FRETS: 22, medium jumbo (12-16”) compound radius
stainless steel FRETS: 22, medium jumbo
HARDWARE: Gotoh 510 modern stainless steel
tune-o-matic-style bridge and HARDWARE: Gotoh 510T-FE1
tailpiece, Gotoh SGL510Z-L5 tuners vibrato, Gotoh SG301-MGT tuners
Verdict 6. This dual-colour six-in-a- – chrome-plated – chrome-plated
There’s very little to fault or criticise in line headstock gives the STRING SPACING, BRIDGE: STRING SPACING, BRIDGE: 54mm
Geist a classy look. The
the Grande and Geist here, and these two Gotoh tuners here are
52.5mm ELECTRICS: 2x GS Geist
diverse instruments illustrate the breadth rear-locking and we get ELECTRICS: 2x GS Partingtone humbuckers, 3-way lever pickup
of models available from the modern that brass nut again humbuckers in chromed covers, selector switch, master volume and
Gordon Smith company. As we discover in 3-way toggle switch pickup tone controls (both with pull switches
7. The heavily shaped heel
our chat with Doug Sparkes over the page, with its inset screws selector, master volume and tone for independent coil-split)
after pulling back its output during the adds to the Geist’s controls (both with pull switches WEIGHT (kg/lb): 3.17/6.97
Covid years, the company is back with a contemporary flavour for independent coil-split) OPTIONS: Also available with
new workshop and all guns blazing – and, 8. Both guitars use this
WEIGHT (kg/lb): 3.02/6.64 shorter 610mm (24”) scale length
on paper at least, looks set to become the spoke-wheel truss rod OPTIONS: Only colour on this and 22 frets
largest producer of electric instruments in adjustment, which ‘launch edition’ RANGE OPTIONS: The Classic S
the UK. While our review models are the makes any necessary RANGE OPTIONS: The classic GS starts at £1,099 but has a large list of
tweaks very quick
‘launch edition’ specifications, like all the and easy
starts at £999; the more LP-style options. Another bolt-on is the offset
other models they will become available Graduate starts at £1,499 but with Gatsby from £1,299, now in Version II
to custom order. a large number of options spec, also available to custom order
Now, while the Geist can hardly be LEFT-HANDERS: Yes, same price LEFT-HANDERS: Yes, same price
called a new design, it’s well done and with FINISHES: Twilight (as reviewed), FINISHES: Flare (as reviewed), Lava,
that custom-order facility in mind you’d Merlot, Sovereign, Juniper – all gloss Cobalt, Carbon – gloss polyurethane
have a good choice, especially in the area polyurethane (body and headstock face), acrylic
of pickup configurations. It’s also worth satin neck back
8
mentioning that Gordon Smith’s in-house
9
pickups have improved from the old days.
As for the Grande, not only is this a smartly
made model, it’s got a lovely old-world
charm about it. Its nicely rootsy jazz/ PROS Smart build with top-quality
blues voice works effortlessly for classic PROS Neat, classy design; excellent hardware, fast playability and more
rock and beyond, although you could just craft; light weight; classic pickup contemporary voicing; stainless-
as easily imagine it ordered with a vibrato voicing; quality hardware steel frets are superbly installed
and janglier pickups to drop it into the
Gretsch-like world. CONS We’d prefer a shoulder- CONS Not exactly a ‘new’ design;
Overall, then, these guitars represent nice placed upper strap button; it’d be the circuit is a little basic for the
work, are well priced and fly the flag for the nice to hear partial as opposed to style; partial splits would help
UK’s world-class craft. Bring ’em on! full coil-splits with the single-coil sounds

Golden Age
Ahead of Gordon Smith’s 50th anniversary later this year, we catch up with owner and MD,
Doug Sparkes, to fill in the details about the latest chapter of the company’s evolving story
Words Dave Burrluck Photography Gigi Gold & Paul Mockford
P
lenty of very famous guitar brands
have had plenty of different owners
– their guitars quite possibly made
on completely different continents to
where they started. But not Gordon Smith.
This writer can’t quite remember when he
first got his hands on one of these always
affordable guitars, but it was some decades
ago. In fact, the original brand founders
made the guitars for the best part of four
decades, and when husband-and-wife
team, John and Linda Smith, deservedly
took retirement, Gordon Smith was
sold to only its second owner, the Auden
Musical Instrument Company, a change
that ushered in a new chapter under the
“The Grande is
part of developing
original guitars:
I want us to have
our own identity”
direction of Doug Sparkes. “We moved
production to Northamptonshire from
Partington in Manchester in May 2015,
so we’re coming into nine years now,”
confirms Doug as we finally get to chat after
what has been a very busy few months.
“We have all the history books going back
to the first Gordon Smith, number one,”
says Doug, “so we can map out all the key
dates over the past 50 years.” Over those
five decades, every single year guitars
have been made here in the UK under the
Gordon Smith brand. And now it’s time
to navigate a workshop move.
“We’re moving from our Higham Ferrers
factory, just over a mile down the road,”
Doug continues. “It’s a much bigger and
more modern workshop with a lot of new
equipment. That’s being kitted out at the
moment [February 2024] and in the next
few weeks paint and build will move into
the new premises and then probably a
Only the second owner of month after that all the woodwork will
this near 50-year-old guitar
move into there as well. Our existing
company, Doug Sparkes
is planning to put Gordon workshop is being converted to solely
Smith on the world stage make the Auden acoustic range, for the first
time from scratch in the UK. So we’ll have

“Now, along with

custom orders, there
will be stock models
available in retailers
around the world”
1. The new Grande, like all two factories – one electric, one acoustic –
the recent new-design which are about a mile apart.”
models, starts life as
a CAD programme
Potentially, that could mean Gordon
Smith will be producing a sizable number
2. Gordon Smith always of instruments, a lot more than at any other
made its own pickups time in its history. “The new workshop
in-house and it still does:
another unique aspect could comfortably make 5,000 guitars a
of the guitars year, but I’m not for a minute suggesting
that we’ll do that, although I’d much rather
3. There might be plenty
of modern machinery,
have headroom that’s there if we ever want
but hand-work, such as to use it. I think next year we’ll be making
fitting the neck of this around 1,700 guitars, and I think we’ve got
Griffin, remains central an order book in place now that’ll see us
sensibly through that.
“Up to now we’ve sold pretty much
through a few retailers and direct in the
UK, and anything else was direct to players
around the world – other than Japan,
which has always been quite a strong
niche for Gordon Smith. But over the past
few months I’ve been working on new
distribution deals for Scandinavia and
Germany and increasing our coverage in
Japan. I’ve just done a distribution deal in
Australia and we’ve just opened up our first
retailers in the US. Of course, we’ve now got
a hungry workshop to fill,” laughs Doug.

“We’ve gone from a

UK inward-looking
business to one that’s
now looking out
across the world”
4. Due to restrictions in 5. A member of the team

the company’s current performs a final setup
workshop, Gordon Smith check on this custom-
can’t use nitrocellulose, ordered Graduate
but in the new facility it before it’s shipped
can. Watch this space! to its new owner
“We’ve pretty much gone from a UK New Design old guys don’t want to lug around that 12lb
inward-looking business to one that’s As we illustrate in our review, all these boat anchor any more. And ‘small and light’
now looking out across the world. We’re background changes haven’t stopped because younger players are pretty much all
behaving more like a globally distributed Gordon Smith from working on new travelling around on scooters and the like;
business whereas in the past pretty much models. “It’s really important,” says Doug. they haven’t got a Transit van full of gear,
everything we’ve made has been a one-off “I mean, 50 years in and we’re still a niche they’re carrying their gear on trains and the
bespoke guitar. We’ll now be developing brand. We’ve got to get our guitars into Tube, public transport, so small and light is
our stock lines as well as keeping the the hands of more people. We sell a lot one of the drivers. Obviously, it’s got to look
custom shop open, which will actually of guitars to people who already own, attractive, it’s got to feel great, sound great
be separate areas in the new factory.” perhaps, three or four of our guitars, but and play great, and it’s got to include the
As Doug mentioned, Gordon Smith equally important to me is, how do we best components.
has primarily been a custom guitar bring the next generation of players into “We’ve spent so much time doing that,
builder. “Probably 85 to 90 per cent of Gordon Smith? asking, is there a better component, a better
what we’ve made were one-offs. I mean, “The Gatsby really has been a fantastic way of doing something to consistently and
you’ve called me and asked if I have got way of bringing new, younger players to continually improve the brand? I think if
anything I can send you for review and the brand; I think the new Grande model you compare Gordon Smith now with back
I’ve replied, ‘Sorry, no – everything we’ve that you’re looking at will also appeal to in 2015 when we took it on, the guitars are
made is sold!’ But that’s changing now. It that younger new audience. The ongoing built in a completely different way with a
was a process that really started with the challenge is to bring new players to Gordon completely different philosophy behind
Gatsby. We launched that as a range of Smith, rather than just selling guitars to the way we work, and [we’re] not letting
guitars, rather than just a custom order the same old guys – who we love because anything out that isn’t to the level that
from our configurator. So now, along with they’re great customers!” we’ve set for ourselves.
the custom-order configurator guitars So, how do you go about designing a “So the Grande is part of our aim to
there will be stock models, too, available guitar for a new audience? “I think one continue to develop original Gordon Smith
in retailers around the world.” thing is ‘small and light’ because, firstly, the guitars, rather than the more generic styles:

I want us to have our own identity. We’re

very lucky in that we have a very talented
designer working in the business, Elliot
Heggie. He designed the Gatsby and the
Griffin, he’s done the Grande now and there
will be more later this year. My job really
is to keep the reins on him! We’ve actually
just done a second version of the Gatsby;
he’s such a creative talent.
“The Grande has been a year in
development, probably longer, and I think
there were four versions before it got to
market. The previous prototypes have
been out with players, we’ve shown them
to dealers. If you saw the first prototype
you’d say it was definitely the Grande,
but it’s about a lot of the small details:
the placement of the output jack, those
slight recesses where the control knobs
go, finding a pull-push pot that fitted the
relatively thin body depth. The pickups
are bespoke-wound for the Grande,
designed specifically for that guitar.
“At its launch it’ll be offered in four
colours, then it’ll go up onto the GS
configurator so anyone can specify exactly
what they want. Except the brass nut, of
course, which will be on every one! We still
use the original GS height-adjustable brass
“The Gatsby has

been a fantastic
way of bringing new,
younger players to
the brand”
nut, too – though not on the Grande – and
we still use John Smith’s original machine
that he made, which I think breaks every
health and safety rule in the world! We have
to clear the room when we get that machine
working to cut the slots for the height-
adjustment screws in the nut.”
Conversely, the Geist is a less original
design. What’s the story there? “Yes, they
are two completely different guitars and
illustrate the breadth of what we do. I don’t
think we were asked to make a guitar like
that for the first five years that we had the
brand, but in the last year we seem to have
been asked every month about that style.
I think they’re really back in fashion – the
whole 80s thing is back in fashion!
“It’s what I’d call a ‘blank canvas’ guitar
and what we can bring is adaptability:
you’ll be able to order it with a choice of
scale lengths, 22 or 24 frets, HSS, HH… The offset Gatsby was
So it’s the opportunity for the player to get a significant new design
for Gordon Smith and has
exactly the type of guitar they want, rather
proved very successful,
than having to compromise.” A statement not least in bringing new
that perfectly sums up 50 years of Gordon players to the brand
Smith. Here’s to many more!’

review BLACKSTAR ID:CORE V4 COMBOS

Core Value
Blackstar introduces a timely update to its
award-winning programmable guitar amp
range, but how do these combos sound?
Words Nick Guppy Photography Phil Barker

BLACKSTAR ID:CORE V4 STEREO 10,

STEREO 20 & STEREO 40 COMBOS £139, £179 & £215
CONTACT Blackstar Amplification Ltd PHONE 01604 817817 WEB www.blackstaramps.com
C
haucer’s famous quote ‘time and but one amp builder who has always stayed
What You Need To Know tide wait for no man’ could easily ahead of the curve is Blackstar, with a
be expanded to include technology relentless R&D program that seems to result
What have we got here, then? in today’s fast-moving and constantly in more yearly product debuts than most
1 The ID:Core V4 combos are the latest changing world. In the relatively small but of the competition. As if to underline that
versions of Blackstar’s award-winning significant market of guitar amplification, point, the Northampton-based company
programmable digital amp range, digital signal processing has made it has just released the fourth version of its
featuring the latest connectivity possible to condense hardware analogue ID:Core programmable combo range,
and a new low-power option. effects and amplifier voices into software, with small but significant tweaks that help
which can either be used in a computer to keep the ID:Core amps current in an
Do they actually sound any good? as a standalone plug-in or loaded into a increasingly competitive market. Time,
2 They sound really good, with six convenient digital amplifier platform.
programmable amp voices combined
with improved delay, modulation
Digital signal processors continue to get
faster and more powerful, while becoming
The V4 combos are
and reverb effects, which can all be increasingly affordable, making it possible ideal first amps, and
saved in six patches. The effects are to buy an all-in-one programmable amp for
all stereo and use a clever wide-field a fraction of what it might have cost four the sound quality
signal process to make the amp
sound much bigger than it actually is.
decades ago.
At the top end of the market, this
means they’re suited
translates into vast multi-core DSPs to all levels of players
Who’s gonna play one of these? producing guitar tones that can go straight
3 While the compact dimensions onto multi-platinum album tracks, then, to take a fresh look at the new ID:Core
are ideal for home users, all three providing professional artists with night- V4 Stereo 10, 20 and 40 combos and ask
combos are a good fit for pro and after-night reliability and consistency if improvements in digital guitar tone
semi-pro players looking for a for touring, when you need to precisely make these new amps more relevant for
small programmable amp that’s reproduce specific tones and effects. experienced pro and semi-pro players.
ready to go in seconds. The stereo Meanwhile, at the equally important entry At first glance, all three combos look very
headphones/CabRig Light output level, users benefit from greatly improved similar to their V3 equivalents, with smart
can be hooked up to a console, tones and features that would have been out vinyl-covered particle board cabinets and
while the updated USB-C connector of reach just a few years ago. a check-patterned grille cloth. As the name
offers four-channel direct recording It can’t be easy for manufacturers to keep points out, each amp is stereo and uses a pair
to your computer. up with the ever-changing digital market, of special-design loudspeakers: three-inch

BLACKSTAR ID:CORE V4 COMBOS review
1. The ID:Core Stereo

amps all have the
same six voices, a
choice of two cleans,
two crunches and two
overdrives for a wide
spectrum of tones that
covers practically every
musical genre
2. All three combos

have been updated
to the current USB-C
connector for improved
data transfer and
compatibility – the
direct recording feature
in particular benefits
from this. Each combo
also now sports this low-
power option, dropping
the full output down to
just one watt for quiet
practice sessions
for the Stereo 10, five-inch for the Stereo 20,

and 6.5-inch for the Stereo 40.
The control panel has a new brushed
black aluminium finish that adds a touch of
class. The mini USB 2.0 B socket has been
updated to the current USB 3.0 C style, and
there’s a new power reduction button that
drops the amp’s full rated output to just one
watt. Otherwise, the front-panel controls
are pretty much identical. A single input
jack feeds the six-way amp voice selector,
offering a choice of Clean Warm, Clean
Bright, Crunch, Super Crunch, OD1 and
OD2, followed by rotary controls for Gain,
Volume and EQ, which uses Blackstar’s
patented ISF control to blend UK and USA
EQ circuits to taste.
Effects are handled by three button
switches for delay, modulation and reverb,
with a choice of four effects in each type
governed by a split segment rotary selector
that modifies one parameter, while a
separate level control modifies another.
A tap tempo button can be used to set delay
times on the fly. There’s an integral tuner,
accessed by holding down the reverb button
switch for a second.
Other connectivity includes sockets
for line in and streaming using a TRRS
jack and headphones/CabRig out with
four-channel direct recording using USB.
The two larger amps get a footswitch jack,

3. The ID:Core amps 4. Invented and patented in line with their increased performance with single coils and a dash of chorus and
feature 12 different by Blackstar co-founder capability. Power for all three of these amps reverb. The two crunch sounds are ideal
effects, split into three the late Bruce Keir, ISF
groups of four for stands for Infinite Shape
comes via a 16-volt DC mains adaptor, for chord riffing and blues-rock soloing
delays, modulations and Feature, which allows the which plugs into the rear of the cabinet, – we had great fun using the higher gain
reverbs. Two parameters EQ circuit to continuously also home to a useful recessed handgrip for Super Crunch voice with our Les Paul.
can be edited from the morph between classic carrying. There’s also an optional battery Meanwhile, the traditional Blackstar OD1
front panel, while there’s British and American
more scope for editing EQ networks. It was pack that gives around nine hours of and OD2 lead sounds will cover any need,
from within Blackstar’s originally designed to unplugged playtime. from 80s master volume-type overdrive to
Architect partner app help speed up testing on modern metal chug-chug detuned riffing,
a custom amp prototype
by allowing the ideal filter
In Use & Sounds although the small speakers mean bass
crossover points to be The ID:Core’s sounds have benefitted response is somewhat limited. The slightly
discovered in real-time from software and hardware upgrades, increased power of the Stereo 40 makes it
improving the sound of the amp voices and more useful as a band practice tool, as well
effects, and in the Stereo 40 increasing the as making it suitable for smaller, quieter
volume level a little as well. The six voices live performances.
cover the entire spectrum from pristine You can hook the amp up to a console
cleans to OTT metal lead, and thanks to from the headphones lead and make full
the deceptively simple ISF EQ control, use of the CabRig Lite speaker emulation,
they need minimal time to dial in. We used although this disconnects the amp’s
a couple of vintage and modern Strats internal speakers, so you’d need some kind
alongside a PAF-equipped Les Paul, and of external monitoring.
for each guitar the experience is very much Saving and storing patches is very easy:
plug in and play, with instant gratification just press and hold the Manual button
from the ID:Core’s effects. The widescreen switch for two seconds. You can save one
In a studio setting, stereo effect seems more noticeable than patch in each of the ID:Core’s six voice
the CabRig Lite before, with delays, modulations and
reverbs combining to give the illusion that
switch settings, the only limitation being
that the amp voice has to match the voice
speaker-emulated you’re playing through a much larger rig. switch location, so you can’t store a Super
The Clean Warm sound is ideal for jazz, Crunch-based patch in the Clean Warm
output provides while the Clean Bright voice has a more slot, for example. However, with Blackstar’s
instantly great contemporary vibe and can be pushed
into a mild overdrive with the gain level
Architect software hooked up via USB, you
can save and recall any number of patches,
ready-to-record tones turned right up. This one sounds great as well as control the amp in real-time.

BLACKSTAR ID:CORE V4 COMBOS review
BLACKSTAR BLACKSTAR BLACKSTAR

STEREO 10 COMBO STEREO 20 COMBO STEREO 40 COMBO
PRICE: £139 PRICE: £179 PRICE: £215
ORIGIN: China ORIGIN: China ORIGIN: China
TYPE: Programmable digital TYPE: Programmable digital TYPE: Programmable digital
guitar amp guitar amp guitar amp
OUTPUT: 2x 5W RMS stereo OUTPUT: 2x 10W RMS stereo OUTPUT: 2x 20W RMS stereo
LOUDSPEAKERS: 2x 3” LOUDSPEAKERS: 2x 5” LOUDSPEAKERS: 2x 6.5”
Blackstar special design Blackstar special design Blackstar special design
DIMENSIONS: 340(w) x 185 (d) DIMENSIONS: 375 (w) x 185 (d) DIMENSIONS: 434 (w) x 185 (d)
x 265mm (h) x 292mm (h) x 336mm (h)
WEIGHT (kg/lb): 3.7/8 WEIGHT (kg/lb): 5.2/11.5 WEIGHT (kg/lb): 6.2/13.6
CABINET: Particle board CABINET: Particle board CABINET: Particle board
CHANNELS: 6x programmable CHANNELS: 6x programmable CHANNELS: 6x programmable
voices voices voices.
CONTROLS: Voice select, gain, CONTROLS: Voice select, gain, CONTROLS: Voice select, gain,
volume, EQ. Effect select, effect volume, EQ. Effect select, effect volume, EQ. Effect select, effect
level. Button switches for manual level. Button switches for manual level. Button switches for manual
mode/patch store, 1W/full power mode/patch store, 1W/full power mode/patch store, 1W/full power
output, effects type select, output, effects type select, output, effects type select,
tap tempo tap tempo tap tempo
FOOTSWITCH: None FOOTSWITCH: Optional FS11 FOOTSWITCH: Optional FS11
Verdict ADDITIONAL FEATURES: footswitch can be used to toggle footswitch can be used to toggle
On the face of it, the new improved Switchable output power from effects and voices, or scroll up effects and voices, or scroll up
ID:Core V4 amps aren’t much different 10W to approx. 1W. CabRig and down through patches and down through patches
from the V3 versions, although the Lite speaker emulation, live ADDITIONAL FEATURES: ADDITIONAL FEATURES:
sounds are incrementally better, while the streaming, stereo headphones See Stereo 10 combo See Stereo 10 combo
important change to USB-C keeps them out, deep editing of amp and OPTIONS: FS11 footswitch (£49), OPTIONS: See Stereo 20 combo
compatible with modern mobile devices. CabRig settings via free Architect PB-1 battery bank (£69) RANGE OPTIONS: As reviewed
The one-watt output power switch is app, integral tuner, 4-channel RANGE OPTIONS: As reviewed
useful for neighbour-friendly late-night USB recording
entertainment, and the slight increase in OPTIONS: PB-1 battery bank
output from the V40 adds to its versatility. (£69)
In a studio setting, the excellent CabRig RANGE OPTIONS: Stereo 20
Lite speaker-emulated output provides combo (£179), Stereo 40 combo
instantly great ready-to-record tones into (£215) as reviewed
your computer or console, making plug-ins
unnecessary and saving your processing
power for other things, with the ability to
control all the effects and amp voices in
real-time using the free Architect app. For
pro and semi-pro players, this makes the
ID:Core a powerful writing and recording
tool, with the clever Randomiser feature
9 8 8
producing unexpected amp and effects
combinations when inspiration is needed.
The most inspiring feature of all, though,
has to be the price – the Stereo 10 combo
retails for just under £140, making it PROS New up-to-date connectivity; slightly better effects and amp voices than V3 amps; the one-watt
incredible value for money. The ID:Core low power setting is useful for quiet practice; competitive pricing is the main selling point for this trio
V4 combos are obviously ideal first amps, – they’re insanely affordable
loaded with features for hours of fun
and inspiration, while the sound quality CONS After three version updates, there’s not much for Blackstar to improve on; we’d like to see more
means they’re suited to players at all levels. onboard patches with the flexibility of using the same amp voice in more than one onboard patch
Definitely worth checking out! location; a retaining clip for the DC power cable wouldn’t be a bad addition, either

feature BLACKSTAR ID:CORE V4 COMBOS
Practice Makes Perfect

We round up six options for home, practice and live use
Words Nick Guppy
FENDER MUSTANG LT40S £205 POSITIVE GRID SPARK 40 £259 VOX ADIO AIR GT £299
The latest addition to Fender’s popular Mustang Positive Grid’s Spark arrived on the scene to Vox’s little desktop offering packs a surprising
range, the LT40S fires 40 watts into a pair universal acclaim in 2019, largely thanks to its punch with a 50-watt amplifier powering a pair of
of specially designed four-inch full-range revolutionary jam-along app experience. There three-inch speakers, 23 types of amp models and
loudspeakers. There are 20 amp types and 23 are just four programmable presets available 19 effects (11 for FX1 and eight for FX2). The amp
effects that cover everything from vintage Fender here, but you have a choice of 33 amp models models are very realistic, including possibly the
to modern high-gain tones. A cool colour display and 43 effects, so you’re unlikely to run out of best clean and overdrive ODS models in any digital
and an equally cool editing app make the Mustang inspiration in the tone department. The Spark isn’t amp. The Adio features a surround sound setting,
great fun to use. There’s no shortage of storage lacking for power, either, as it boasts a powerful battery power and wireless for streaming and app
with 30 pre-loaded patches and another 30 40-watt power stage that feeds a pair of four-inch control. Perhaps not the coolest-looking amp out
user slots to store your favourite sounds in. The speakers in a bass reflex cabinet, which sounds a there, but if you can get past that, the Adio’s tones
Mustang LT40S is value for money, too. lot bigger than it actually is. and features are great value.
www.fender.com https://uk.positivegrid.com www.voxamps.co.uk
PHOTO WWW.NUXAUDIO.COM
YAMAHA THR10II £325 NUX MIGHTY SPACE £349 BOSS KATANA-AIR EX £544
Yamaha can claim to have invented the ‘third amp’ The Mighty Space is another battery-powered Recently reviewed in these pages, the Katana-Air
desktop combo idea with the original THR. These wireless desktop modelling amp with a host of EX is a stereo combo producing 35 watts (dropping
models have been around for some time now and features tucked in behind its cool-looking control to 20 watts on batteries) into a pair of five-inch
have been updated with improved software and panel. It has a 30-watt power stage driving a pair loudspeakers. It offers five different amp voices
a wireless option, as well as built-in rechargeable of four-inch coaxial drivers. The app is everything with a plethora of effects and EQ/mixing options
batteries. The retro-modern styling still looks cool for the Mighty Space and lets you play drag and via the Boss Tone Studio app. The Air EX’s big
to us and the sounds are as good as ever, with drop amp and effects chains with over 60 models selling point is its wireless capabilities; with a built-
scope to cover any musical genre and a handy to pick from, saving your favourite sounds in in wi-fi guitar transmitter, Bluetooth for streaming
editing/librarian app. Other features include a seven memory slots. Definitely worth a look at and effects pedal connection, and optional battery
tuner and extended stereo field technology. and positioned at a very competitive price. power, it’s a truly cable-free solution.
https://uk.yamaha.com www.nuxaudio.com www.boss.info

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Compact Companions
This new pair of Boss compacts – a booster and preamp, and an
amp and cab emulator – could top and tail your pedalboard
Words Trevor Curwen Photography Phil Barker

BOSS BP-1W BOOSTER/PREAMP & IR-2 AMP & CABINET
BOSS BP-1W BOOSTER/PREAMP

& IR-2 AMP & CABINET £259 & £179
CONTACT Roland UK WEB www.boss.info
H
ere’s a pair of Boss compact pedals,
What You Need To Know which are designed for completely
different roles, that could
We haven’t seen a new Boss complement each other in a signal chain.
1 compact here for a while… The Waza Craft BP-1W boost pedal takes
And then, like buses, two come at the preamps found in some vintage Boss and
once! These were both released Roland gear – the CE-1 Chorus Ensemble
in late 2023. and RE-201 Space Echo – and puts them
together in one pedal (along with a natural
One looks more complicated straight boost) that’s designed to give your
2 than the other. amp a kick or generally enhance the sound
That’s right, the Waza Craft BP-1W of your signal chain. The other pedal on
is a pretty straightforward booster review here is the IR-2, which takes the
and preamp pedal, while the IR-2 is amp and speaker emulation facility of
an amp and cabinet emulator that, Boss’s twin-footswitch IR-200 and makes
by necessity, has plenty of knobs it available in this compact pedal format.
and eight sockets compared with
the other pedal’s two! Boss Boosts found that they favoured, at times using
The CE-1 Chorus Ensemble and the RE-201 the units with the effects bypassed just for
Would they both go on my Space Echo may be long-gone 1970s the extra that the preamp offered. Here,
3 pedalboard, though? designs, but they live on – and perhaps the new BP-1W uses analogue circuitry to
The BP-1, for sure, and the IR-2, not in their original, intended roles. While recreate the sound of those two preamps,
possibly – it has many roles, but it the CE-1 provided luxurious chorus and delivering them via Level and Gain knobs.
could be the last link on your ’board vibrato and the RE-201 offered mellifluous You choose your preamp from a three-way
if you want to go straight into a PA, tape echoes, those effects were coloured toggle switch, and the central (NAT)
rather than use an amp. and enhanced by the sound of the preamps position offers a natural transparent sound
in each unit, something that guitarists if you prefer to dial in a boost without
the added colour. You also get the choice
1. On the BP-1W you can of two buffers: Standard and the slightly
choose your tonal flavour warmer-toned Vintage.
from the toggle switch:
CE-1, Natural or RE-201 The Level knob dials up the output
volume with plenty of capacity for
2. Using the Buffer switch, substantial boost, while a Gain knob adds
you can select between
in some dirt – and between the two of them
the standard pure buffer
or a vintage-style buffer, you can set up your favoured tone, mixing
designed, says Boss, for a sufficient amount of volume with a dash
“the uniquely sweet sound of grit. When the Gain knob is maxed, it can
of a vintage preamp”
actually add in quite an amount of drive/
distortion, but that varies and is dependent
on which of the three settings you’re
using, with the CE setting getting the most
distorted. That crunch is there to be called
upon, but we preferred the sweet spots

THE RIVALS
Another pedal based on a Boss preamp is
JHS’s The Clover (£187). Taking the FA-1
preamp as inspiration, it has Volume, Bass,
Middle and Treble knobs, plus a three-way
toggle switch for cutting the EQ out
completely, no Mids, or full EQ. Elsewhere,
the Xotic EP Booster (£129) is a perennial
choice that’s based on the preamp section
of the Echoplex EP-3.
For compact amp simulation pedals try
the Strymon Iridium (£379), Walrus Audio
ACS1 Amp + Cab Simulator (£399) or the
UAFX range, with each pedal emulating a
specific amp type: Woodrow ’55 Instrument
Amplifier (£349) and Dream ’65 Reverb
Amplifier (£349) for Fenders, Ruby ’63 Top
Boost Amplifier (£349) for Vox, and Lion
’68 Super Lead Amp (£379) for Marshall.
3. Going beyond the to be found further back on the dial. The Rig In A Box 4. Presses on this
capability of your RE and CE settings both add in a little extra Plenty of players have got used to working footswitch toggle
average Boss compact between the two amp
pedal, on the IR-2 you midrange compared with the NAT sound, without amps these days, with the channels, Green and
can use the USB socket just right for adding a little girth. However, consistent quality of sound and sheer Red, with the LED
to load in new IRs or both have their own character, the RE being convenience of digital winning out in many lighting up accordingly.
connect to a DAW for softer/warmer in the top-end with more situations. If we’re talking convenience, few A long press is needed
recording. Monitor that to bypass the pedal
using the headphone subdued transients to the CE’s glassier top modellers come close to the practicality of
socket or use it with and clarity in pick attack. All three voices this new IR-2 – the amount of functionality 5. The IR-2’s mode control
just guitar and pedal work brilliantly, providing plenty to give Boss has packed into a Compact series lets you select from the
for some silent practice 11 different onboard
your amp a kick, bolster the sound of other pedal is just staggering. amp emulations and
dirt pedals or just generally providing that What you’re getting here is a pedal their associated cab
‘more’ factor. that can supply the signature sound of
11 different amp types – a mix of some 6. Dual concentric knobs
have the Ambience,
named favourites and some more generic Level and Gain as
Boss creations – each of which with an the easily grabbable
associated cab IR from Celestion Digital, parameters, with Bass,
Middle and Treble on the
although you can load alternative IRs into outer rings, which are a
the pedal using the free, dedicated IR-2 little more fiddly in use
IR Loader app for Mac OS and Windows.
Each amp can be adjusted with Level, Gain,
Middle, Treble and Bass knobs, and an
ambience knob adds in a choice of either
Room, Hall or Plate Reverb. Connection is
via a mono input with a choice of mono or
stereo output, and there’s also a mono or
stereo send and return loop so that you can
bring other pedals into the signal path after
the amp emulation.
While the default option is connection
to a line-level device, there is a range
of options for calibrating the IR-2 for

BOSS BP-1W BOSS IR-2

PRICE: £259 PRICE: £179
ORIGIN: Japan ORIGIN: Malaysia
TYPE: Boost pedal TYPE: Amp & cabinet
FEATURES: Buffered simulation pedal
bypass FEATURES: Buffered
MODES: RE-201, bypass
Natural, CE-1 MODES: Clean, Twin,
CONTROLS: Level, Tweed, Diamond,
Gain, Natural/RE/CE Crunch, Brit, Hi-Gain,
switch, Buffer switch, Soldano, Brown,
Bypass footswitch Modded, Rectifier
CONNECTIONS: CONTROLS:
Standard input, Ambience, Level,
standard output Gain, Bass, Middle,
POWER: 9V battery or Treble, Mode selector,
9V DC adaptor 60 mA Bypass footswitch
DIMENSIONS: 73 (w) x CONNECTIONS:
129 (d) x 59mm (h) Standard input,
standard outputs
optimum use with different amps. For a for live scenarios because you get instant (A/Mono, B), standard
bit of silent practice, there’s also a mini- access to two channels, each with a different CH Select input,
jack stereo headphone socket. Besides amp or the same amp with altered settings standard Send,
loading IRs, a USB input allows the pedal (perhaps more gain), which are toggled standard, Return,
to function as an audio interface so you can between with the footswitch (a press and Phones, USB
easily connect to a DAW for recording. hold is needed for bypass). There’s also a POWER: 9V battery or
The amps are tactile to play through, provision to add an external footswitch for 9V DC adaptor 160 mA
nicely dynamic and react well to the channel switching. DIMENSIONS: 73 (w) x
boost pedals placed in front, making a If you don’t want amp and cab together 129 (d) x 59mm (h)
combination of IR-2 and BP-1W a practical then you’re able to turn the other on or off.
proposition. The 11 amps have been chosen For example, you may wish to turn the cab
to cover a range of musical genres, and the off so you can use an amp’s sound as a drive
named models (Fender Twin and Bassman, pedal in front of your amp, or perhaps use
Vox AC-30, Marshall ‘Plexi’, Soldano the Celestion IRs to complement another
SLO-100 and Mesa/Boogie Rectifier) favoured amp-in-a-box pedal.
would probably be enough for many
players. However, there are also some really Verdict
good tones delivered by the proprietary The BP-1W is a quality tone conditioner to
models as Boss uses its Multi-Dimensional have in front of your amp, while the IR-2
Processing (MDP) to positive effect for might just be the most practical possible
crunch and high-gain sounds that retain addition to your gear setup. The fact that
great string clarity. These models are useful it has so many uses and is a go-anywhere
pedal that will run from battery power 9 9
The go-anywhere makes it a versatile problem solver that
could be the perfect choice to sling into PROS Compact size; battery power for
IR-2 might just be a spare gigbag pocket or have on your portability; BP-1W revives classic Boss preamp
the most practical pedalboard ready to be brought into action

when the need arises. Couple it with the
sounds; IR-2 is a full rig in a small box; headphone
socket; S/R loop; USB audio interface capability
possible addition BP-1W to add switchable gain-changing
options and you’ve got a truly portable rig CONS The IR-2’s dual-concentric knobs can
to your gear setup that’ll get you through many scenarios. be a bit fiddly to operate

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BLUEPRINT: Newman Guitars
BLUEPRINT
IT’S ONLY
ROCK ’N’ ROLL
Used decades apart by Keith Richards and Billy F Gibbons,
Newman guitars have a unique place in rock history.
And thanks to a new enterprise, they’re now being
made in the UK. Are you sitting comfortably?
Words Dave Burrluck Studio photography Phil Barker
N
ot too many small, where he wanted to learn some tips from
independent guitar-makers the guitar makers there. Keith later called
can list The Rolling Stones, Ted after the famous Nellcôte break-in to
Bob Dylan, Tom Petty ask for his help in replacing his lost pieces
and Mike Campbell, not and, after The Stones decamped to Los
to mention James Honeyman-Scott and Angeles on 29 November to finish and
Joe Ely, as owners and players of their mix the album, Ted temporarily moved in
guitars. There are plenty more, too, and that with Keith, set up a bench and helped him
includes a relatively recent convert in Billy F sort things out. Keith, meanwhile, headed
Gibbons. The brand in question is Newman off to Switzerland on 26 March 1972 to
Guitars whose roots take us back to the pursue a ‘cure’ from his drug addiction.
glory days and Ted Newman Jones III. In May, rehearsals started in Montreux
From the off, the story of Ted Newman for The Stones’ June USA tour.
Jones III, or just plain ‘Newman’, is a little At some point in early 1972, then, Ted
hard to definitively pin down. He was born got a call from Keith asking if he wanted to
in Dyersburg, Tennessee, in 1949, and caught go on the forthcoming tour. It seems there
Ted Newman circa 1980 with his modern six-string
the rock ’n’ roll bug in his teens, though he design. Its ‘Woody Woodpecker’ fingerboard inlays was no specific job in mind, but Bill Wyman
found that he was better at fixing up guitars were designed for Ronnie Wood places Ted as “guitar tuner” in a list of that
and selling them on than he was at playing tour’s entourage.
them. Some sources credit Ted with bolting During the various times Ted spent with
together ‘Blackie’ for Eric Clapton, but What definitely did happen is that Ted Keith, they discussed creating a five-string
that’s not the story EC tells. What seems decided to make his way to the south of electric guitar for open G tuning – Keith
more likely is that Newman – who had a France, ultimately to the Nellcôte mansion was, of course, taking the low string off
PHOTO COURTESY OF JEFF SMITH / NEWMAN GUITARS
bit of a thing for The Rolling Stones – met just outside Villefranche-sur-Mer in the his Teles – with an idea for the body shape
the band when he was invited to a show summer of 1971 where the tax-exile Stones that combined two ellipses. Presumably
on their 1969 US tour by author Stanley were recording Exile On Main Street. He after that tour had finished on 26 July at
Booth who was on the road researching his specifically wanted to show Keith Richards Madison Square Garden, Ted got to work.
must-read book, The True Adventures Of a Rickenbacker he’d modded that he’d The resulting guitar is very distinctive and
The Rolling Stones. Noë Goldwasser, writing tuned to open E. Apparently, Keith pulled was first used live by Keith on 18 January
for Guitar World in 1981, suggested Ted was off the low E string, tuned the guitar to 1973 in Los Angeles, for a well-publicised
at the fabled Altamont Speedway gig on open G and said, “That’s how you do it!” Nicaragua Benefit concert.
6 December 1969, “tossing perfectly tuned Not wanting to overstay his welcome, Ted On the 11-date Pacific Tour that followed
guitars to his man”. returned to the USA, possibly via Spain, in January and February 1973, Keith used

One of two UK-built

Newman prototype
five-strings that were
built in February 2024
to the CAD drawings
signed off by Ted before
he passed away in 2016
1. The blueprint of the modern

Newman design from the early 80s
BLUEPRINT IMAGE COURTESY OF JEFF SMITH / NEWMAN GUITARS
2. Keith Richards with version two

of the original Newman five-string
in Rotterdam, October 1973
3. The UK-made models will

feature this unique five-string
through-strung bridge designed
by Jeff Smith at Newman HQ
4. The prototype ‘skeleton’ sounds

superb and uses a pair of Cream T
Banger & Mash humbuckers,
1 originally designed for Keef
PHOTO BY GIJSBERT HANEKROOT/REDFERNS/GETTY IMAGES
2 3
the Newman five-string again. “Keith

Richards changed his axe after every
The distinctive five- Newman’s five-string design is dated
January 1980 and named the ‘Keith Richard
number,” noted a journalist from Music string guitar was [sic] Guitar’. It’s this style that Keith is
Maker, “but as far as I could hear, it didn’t seen playing while moonlighting from
help his playing.” By our reckoning, it first used live by The Rolling Stones with Ronnie Wood and
remains the first electric five-string electric
guitar and was put to good use until Ronnie
Keith Richards on 18 The New Barbarians’ tour of 1979.
Meanwhile, the reputation of Ted
Wood gifted Keith an electric five-string January 1973 in LA Newman was spreading. Archetypal guitar
guitar made by his luthier-of-choice, hero The Pretenders’ James Honeyman-
Tony Zemaitis. in downtown Austin. Soon after, Ted and Scott owned at least one, and when asked by
Presumably, when he was off tour Ted I hired Bob Harris and Joel Judlin to help. journalist Jas Obrecht in 1981 if he cared for
was developing his craft and the guitar We flew to Memphis the summer of 1978 to his guitars himself, he replied, “No, I have a
we know as the ‘modern’ Newman shape catch The Stones’ Some Girls tour, and one guy that looks after them for me. On the next
evolved from that first non-cutaway evening we went downtown with the band American tour I’m taking Ted Newman
five-string to a not dissimilar outline but and had BBQ spaghetti. That was when I Jones, who works for Keith Richards. He
with quite a squat, sharp-pointed cutaway recall Bill Wyman pointed out to Ted that wants to come with me. He builds beautiful
(Keith is pictured with this in an early the word ‘Newman’ could be an ambigram guitars, fantastic guitars. He made some
Mesa/Boogie catalogue). if you messed with the ‘e’ and the ‘a’.’” five-strings for Keith. He’s great.”
The Austin period proved quite Ted had a brush with the mainstream
Start Me Up successful, with the fledgling Newman when American-brand Chandler produced
Ted Newman stayed with Keith until guitar company making instruments for the offshore-made Austin Special in the
around 1977 or ’78. Writing for Vintage plenty of local players and international early 90s. The project apparently stalled over
Guitar magazine, Doug Yellow Bird states: rockstars. The ‘modern’ Newman shape a disagreement, but it served to keep Ted’s
“Danny McCulloch, a close friend of was documented as a fold-out blueprint story alive. As Joe Gore wrote in Premier
Ted, recalls the birth of Newman Guitars in The Rolling Stones: The First Twenty Guitar: “He subsequently hit hard times,
like this: ‘In 1977, Keith Richards gave us Years by David Dalton, originally published including a prison stint and poor health,
$20,000 to set up shop in Austin, Texas. Ted in 1981, which also includes a lengthy and passed away in 2016.” But that’s not the
and I set up in a big warehouse on 4th Street interview with Ted. That blueprint of end of the story; it’s the start of another…

“We achieved what

Ted Newman Jones III’s
vision really was within
his lifetime and to his
approval” Jeff Smith
4
5. The prototype’s simple controls

leave plenty of potential for coil-
splits, and even pickup swapping,
on the production models
6. The lightly back-angled

headstock features a branded
ambigram logo, created by Ted
7. Deep-set screws in washers hold

the maple neck to the obeche body
8. Of the two neck widths on the

current prototypes, this is the
narrower, more unusual option
5 6
Not Fade Away more distinct cutaway to the more refined beautifully, too, so there are many options.
The current CEO of Newman Guitars, guitar we’re familiar with today. In fact, Ted You don’t have to buy another guitar, but if
Jeff Smith, describes how he got involved. told me he couldn’t get that cutaway right you’d like to, we do make them,” he laughs.
“After much discussion with Ted about and saw a mayonnaise jar lid on the ground And in a sea of similarity, the five-string
rebuilding the company, I drove to and he literally drew around that!” marks Newman out as very different.
Dyersburg, Tennessee, in late March of Jeff sees the modern Newman as less “I was at a guitar show recently in Indiana
2015. Ted was diagnosed with lung cancer about the 70s experimentation and more and, you know, I was the only guitar maker
later that year, which changed the plan that its starting point is that published there with something unique, not my
from building guitars together to preserving blueprint of the five-string. When we version of a Fender. It was great to know
his vision. The new goal was learning reveal we’ve seen a lot of guitars over the we had the only five-string electric guitar
everything Ted knew and digitally storing it decades, but we’ve never reviewed a five- for sale in the whole place! To be uniquely
in a CAD file in order to build a guitar for his string electric guitar, Jeff laughs: “Yes, positioned in a crowded space has always
approval within his lifetime. Ted approved there are lots of references to five-strings been a desire of mine.”
the last prototype just two weeks before being made by Ted in the late 70s and into
he passed away on 1 July 2016.” the 80s, but I think by then he was really All Down The Line
Subsequently, Jeff has been recreating concentrating more on six-strings. He asked During 2023, the Newman Guitars story
versions of Ted’s guitars for the past eight me what I thought the demand for a five- took another turn when Cream T’s owner,
years, but it’s not a conventional guitar- string actually was today. I simply replied, Tim Lobley, announced that a new range
making venture. First of all, there’s the ‘Where’s the five-string to demand?’ would be made here in the UK. “Currently,
distinctive design, which itself evolved “I believe the [five-string] instrument Jeff’s output is something like 30 to 35
during the 70s. “Back when Ted was has great merit,” Jeff continues. “Instead of instruments a year,” Tim told us at the start
building guitars, they weren’t the same, just taking off the low string of a six-string, of the year, “of which a small proportion,
one after another,” Jeff tells us. “They that’s a great way to learn, but I enjoy what maybe three or four, are five-strings.
were evolving using techniques, tools and I get out of playing a five-string – it seems Jeff has been down the route of going to
machines that he developed. [From that to be refreshing and has more melodic retailers and making a few more guitars at
early Keith five-string,] there was the sharp functions. I also think as people’s hands get times, but Newman Guitars is mainly an
cutaway that he added later in the mid-70s, more stiff with age, it brings some better in-house boutique builder. That said, Jeff
for example. He evolved that with a bigger, options. The way we do the neck, it capos doesn’t make the guitars; they’re made in

This custom-made honeycomb

chambered USA Newman is one
of a few made for Billy Gibbons
and Austin Hanks (who used a
left-handed version). “They were
the only guitars they played
on the European tour,” says
Newman’s Jeff Smith proudly
PHOTO BY DAVE HAVLENA ROCK PHOTO

8
partnership with various USA boutique

makers. One [of those makers] might make
“The [five-string] “We plan to start with the five-string,”
Tim continued, “as it’s the simplest guitar,
four or five a year, someone else might make has great merit… a workhorse to launch the concept. Then
just one. we should have a version of the guitar
“So, while the shape does stay the same, [it’s] refreshing and Billy Gibbons is playing [pictured above],
the overall output – between those pre-
determined boundaries – is actually quite
has more melodic a honeycomb-chambered single-pickup
‘Junior’ that we’ve had a lot of interest in
eclectic and that is a function of people functions” Jeff Smith already. Then we’re hoping to drop the
custom-ordering them and then different six-string in the middle and that should
makers custom-making them. Jeff will December of 2015 and he was a critical part be quite straightforward to do.”
continue to do that eclectic mix. Our plan of digitally preserving the design elements Cream T will be making the pickups,
is to standardise it a little more. It’s an that were important to Ted.” including those for the five-string, and
extension of what Jeff has been doing with So when will we see the new UK there’s even talk of pickup-swapping
Newman in the USA; we’re just doing it Newman guitars? And does it mean, after versions in the not too distant future.
here in the UK on a larger scale.” all these decades, that we’ll finally get our “You know, after we’d built the first
“Yes, what we do here is totally one-off hands on a five-string? “We have full digital guitar to Ted’s specs I showed it to him, he
in most cases,” Jeff continues. “That’s the files and rough bodies created,” Tim told could have just thrown it out the window,”
way we’ve always been because we’ve us in early January. “Once we’re back from Jeff reflects. “Instead, he looked at it and
always been able to sell whatever we NAMM we’ll see a ‘skeleton’ guitar for said, ‘It’s…’, and he’s spinning it around,
build. Several gifted luthiers throughout proof of concept. One will come to me, the ‘It’s… a Newman!’ It was a great moment
the USA have built for us including Jacob other will go to Jeff at Newman HQ. We’re because it’s something we achieved – what
Harper, Robert Mondell, Saul Koll, Greg hoping we’ll be 90 per cent there as we’re his vision really was – within his lifetime
Platzer, Chris Morell, Mike Flaherty and not designing something new. Once we’ve and to his approval.”
Bill Harden. They have all contributed to evaluated that, we’ll create what will be
what they think best represents their vision a final production prototype, then [it will The UK-made Newman Guitar should
for what a collaboration with Ted may go] into production. So, although we don’t be available around April/May.
have looked like. Jacob Harper, however, have a guitar in our hands at the moment, For more information visit
started working with Ted and I in late we’ve done the hard work. www.creamtcustomshop.com

BOUGHT
TROY RE DFE RN
The one-man blues-rock maelstrom recounts the sorry tale of a
long-lost Ibanez and reveals a fondness for Gold Foil pickups
What was the first serious guitar you bought What’s the most incredible find or bargain
with your own money? you’ve ever had when buying guitars?
“I had a couple of guitars when I was a teenager, but “There are two things, actually. I bought a Vox AC30 from
my dad helped me get me a bank loan for a white 1964 and I think that was £300. It was from a friend whose
Ibanez Universe. I was 17 and I desperately wanted a partner had died. She knew it was worth a lot more than
multi‑coloured one when I was a kid. I was a huge fan of that, but she wanted me to have it as a sort of memory
[Steve Vai’s] Passion And Warfare, a complete casualty of him. Also, I would say, my Silvertone Jupiter, the ’62.
of that album. I had that guitar for 10 years and loved it I bought that about 20 years ago and I think it was about
and I completely regret selling it, but I kind of moved on £500 back then. These days, those things can be £1,500
musically and felt that it was the wrong instrument. But upwards. The prices in the last few years have gone up
it was a big mistake, getting rid of it.” massively on those old Silvertones. So that was another
bargain, back in the day.”
What was the last guitar you bought and why?
“The last guitar I bought was a Teisco SSL 4, a ’63 – one What’s the strongest case of buyer’s remorse
of the higher‑end models back in the day, it has four you’ve ever had after buying gear?
Gold Foil pickups and a big switching system with six “I mentioned buying the Ibanez Universe when I was a
switches. I’m a fan of Gold Foils for recording – to me, kid, but about 10 years later, in about 2000, I decided
they’re the best‑sounding pickup across the board. And to part‑exchange it for a Fender American Standard
The 1929 National Triolian
to have all those switching combinations was something Telecaster. And that was just the most soulless, anaemic
resonator (left) is one of
Troy’s main live guitars, I really wanted. It feels great, plays great, has a huge guitar I think I’ve ever played. I don’t know if it was
while his 1962 Silvertone baseball‑bat neck, solid mahogany body. Just a really something to do with [those] guitars around that time,
Jupiter (right) has been solid instrument. You think of those instruments from the but it had an absolute zero vibe. I don’t think [Fender’s]
with him for 20 years and
60s as being kind of weak and a bit lightweight, but this standards are like that now, but around the back end
was a steal at the time at
£500. It’s all a far cry from is the exact opposite: it’s a heavyweight instrument with of the 90s, early 2000s, I think the guitars were a little
his first Ibanez Universe! fantastic tones.” bit lacking in mojo.”
“Trying a 50s neck turned

me over to baseball-bat
necks and changed my
whole outlook on guitars”
Have you ever sold a guitar that you now

intensely regret letting go?
“I had a Harmony Stratotone that looks very similar to
the Silvertone Jupiter, body shape‑wise. It was natural
wood, two Gold Foils, and I remember I needed to make
a video for a single I had out at the time. This was a long
time ago, probably 2016, and I didn’t have any money and
I felt that the video needed a Gretsch. I don’t know why,
but I just felt that it was kind of a rockabilly type tune.
I looked around and I hadn’t used this Harmony for a
while and I thought, ‘Okay, I’ll part‑ex that.’ That was a big
mistake because the Gretsch only lasted maybe a month
and I got rid of it.
PHOTO BY ROB BLACKHAM
PHOTO BY HALUK GURER
“Those Harmony instruments from that era had a very

distinctive tone in comparison to the Silvertone. I don’t
know whether it’s the way those pickups age over time or
something, but there doesn’t seem to be a standard tone
from those guitars. I think it’s quite random. But there
was something very different about that one.”

Bought & Sold
TROY’S
GO-TO RIG
“I’m using the Magnatone Twilighter Stereo amp,
getting the in-house engineers to stereo mic it, which
sounds amazing with the tremolo mode that they have on
them. I’m still using the resonators, so there’s the 1929 National
Triolian and the 1935 Dobro M32 as main guitars, and I’m using the
Teisco SSL 4 and the Silvertone Jupiter – but there’s also a Texas Special
Strat that I use for one song. I’m still using the Hermida distortion pedal,
which is like a ramped-up version of the Zendrive; because I’m running
the amp clean, that’s my main gain sound. I like a wet signal, so there are
delays and ambiences that I like to have. I’m using a Mu-Tron Phasor II in
the front-end at the minute, which is great because it’s quite a watery
phaser, you know? Very swishy-sounding as opposed to the mid-
sounding phasers. That’s the current rig, I’ve kind of pared it down.
“When I went out with Philip [Sayce] I took a smaller ’board
so there’s less on there – there’s no wah and I took
the Octavia off just to keep it really simple, and
it’s ended up sticking like that for the
last few shows.”
What’s your best buying tip for anyone looking Murphy Lab stuff felt amazing, but, in fact, I think I veered The newest addition to
PHOTO BY JASON BRIDGES

for their ultimate guitar? more to just a straightforward Custom Shop than the Troy’s guitar collection
is this switch-laden 1963
“Personally, I would say – and it’s kind of an obvious Murphy Lab stuff, to be honest.” Teisco SSL 4, featuring
statement – that you need to try the guitar and physically four Gold Foil pickups,
play it, if possible, to get how the neck feels in your hand. If forced to make a choice, would you rather a huge neck and solid
Because, to me, the way your left hand feels on the back buy a really good guitar and a cheap amp, or mahogany body
of the neck and the fingerboard is everything, you know? a cheap guitar and a top-notch amp?
The way it feels in your hand is essential for [enabling] “I would say a great amp and a cheapish guitar because
a guitar to connect with you. Once, I went to a shop and that’s what I’ve got. And, even though the prices of these
tried a Gibson Custom Shop R7 [Les Paul] and it had a guitars are silly, they’re basically cheap guitars. I’ve also
50s neck, and from that moment on I was turned over to got the Magnatone Twilighter Stereo amp and anything
baseball‑bat necks. I absolutely love a huge neck and so through that sounds amazing, you know? I think a few
going to try that changed my whole outlook on guitars. years ago I might have said the opposite, but now I think if
So I think going somewhere and trying something is you have a great amp you can plug pretty much anything
the way forward.” into it – as long as the pickups are working, it’s gonna
sound great.”
When was the last time you stopped and looked
in a guitar shop window or browsed online If you could only use humbuckers or single coils
and what were you looking at? for the rest of your career, which would it be
“I got invited to the preview of the new Gibson Garage and why?
and while I was down there, I took an Oscar Schmidt “Personally, I love Gold Foils or lipstick pickups for
acoustic in to be overhauled by a guy who works out of recording, but if I had to I would choose humbuckers and
No.Tom [Guitars] in Denmark Street. So I spent some get a coil tap so I have the best of both worlds!” [DM]
time in Denmark Street looking around and just looking
at the huge price tags. But also, in the Gibson showroom Troy Redfern’s new album, Invocation, is set
it was just absolutely amazing. The sheer quantity of for release by RED7 records on 17 May. Troy’s
phenomenal guitars at that place was scary – and they headline UK tour runs from 17 to 27 June
were completely fine with you trying stuff out. A lot of the https://troyredfern.com

THE NUMBERS GAME
It’s over 30 years since Yamaha’s huge-selling Pacifica 112 changed the low-end guitar
world and became a near-perfect modding platform. Dave Burrluck pays homage
Y
amaha first released the Pacifica guitar… by quite a margin! Outside of the no major bashes. A quick glance down the
in 1990, designed in the company’s classics, it has to be one of the most popular darkly striped rosewood fingerboard and
then-new R&D centre (Yamaha electrics ever.” And that was 20 years ago. no alarm bells go off.
Guitar Development) in Hollywood. Aside from its place in the starter market, Now to the elephant in the room. The 112
Named after a city above San Francisco, the the 112 was a near-perfect guitar to make has a pretty narrow neck; it always did and it
Pacifica and its sibling the Weddington – your own and modify and, hopefully, learn still does. The nut width is spec’d by Yamaha
the less-successful, more Les Paul-inspired a bit about how guitars work. In fact, back at 41mm (with a 12th-fret width of 51.4mm).
model that was named after the street in 2007, Yamaha donated four 112s to myself The same width is used by Yamaha on all
address of the facility – were the fledgling and then-Guitarist staff Mick Taylor, Neville of its Pacifica models, apart from the newly
team’s attempt to show Yamaha HQ what Marten and Simon Bradley to modify. released Professional and Pacifica Standard
they could do in the USA. Originally, the 112’s calling card (apart Plus models, which up that width to 42mm
Ex-Ibanez designer Rich Lasner had from the fact it was a stylish modern (with a 52.4mm width at the 12th fret).
joined Yamaha. “He was only with us for take on the Stratocaster, of course) was Of the past 300 or so guitars, old and
about two years,” said Ken Dapron, who its solid body at a time when many (or new, that I’ve evaluated (and measured),
managed the facility, back in 2003. “He was even most) low-end bolt-ons favoured not one has had exactly a 41mm nut width,
also the original designer of the Pacifica. I plywood. However, perhaps in an effort to but plenty lie between 41mm and 42mm:
wouldn’t say [the model was] sole-designed; engage younger players, the neck width from a 1976 Guild S-90 (41.5mm), early
it was a group effort,” something that also was on the smaller side, too. Clearing out 50s Fenders, a Broadcaster (41.6mm)
included luthier Leo Knapp. Guitarist’s gear-storage bat cave a while and a Telecaster (41.5mm), and a 2006
“The Pacifica and Weddington were back we found a long-forgotten 112 needing Rickenbacker 620 (41.84mm), to the more
designed alongside each other – the two a home, an original from 2002 according modern Music Man Cutlass (41.3mm),
mainstream sides of the guitar spectrum,” to the stamped serial number on the EVH Wolfgang Special (41.5mm) and
said Ken. “Our plan was to stoke up the back of the headstock. This was before PRS’s Silver Sky (Maple) 2021 (41.63mm).
market with these high-end prototypes the 2007-introduced 112V changed the Don’t forget, half a millimetre is just the
and show them to artists, but they were scratchplate to the smaller version with equivalent of 0.0197 inches, call it 0.020
such an instant hit.” And they quickly led rear-mounted controls. inches, slightly thicker than the diameter
of your G string. But while Yamaha’s neck
“The 112’s calling A Closer Look width is dimensionally unusual today,
Okay, it’s not as if we’ve uncovered a vintage it certainly has historic precedence:
card was its solid Fender from the 50s in the wardrobe, but around 1965 Gibson’s nut width changed
even in its pared down form the 112 has a from 1 11/16-inch (42.9mm) to 1 9/16-inch
body at a time when touch of class about it. The solid alder body (39.7mm) and stayed that way until the
low-end bolt-ons is clearly visible in its light natural finish,
which is far from over-glossed. You can
end of the decade.
Depth-wise, the Yamaha spec quotes
favoured plywood” see that it’s made from four pieces, and it 20.9mm at the 1st fret and 22.9mm at the
has an overall weight of 3.18kg (7lb), far 12th; the new Pacifica models trim that
to numerous production models: “The from a guitar-shaped boat anchor. Exactly subtly to 20mm at the 1st fret and 22.4mm
Pacifica 1412 set-neck, tone chambered what history this one has had, I have no by the 12th fret. Plenty of ‘thinner’ necks
with a retail of $1,999. Then the 912 was the idea… other than the previous user has have similar 20mm to 23mm depths.
next model down at $999, then the 712 at added some stickers to the body, the What isn’t quoted is the important and
$699, then the 412 came later at $599. Then bridge humbucker has lost its treble-side overlooked string spacing at the nut, which
the 500 series – all in the early 90s with the adjustment screw, the volume control is on our mutt measures 34mm (like that
300 coming in 1994 in the US market.” sailing in the wind, the output jack has lost Rickenbacker 620) [pic 3]. The industry
If these upper-level Pacificas aimed to its retaining nut and there are no strings standard is between 34mm and 36mm, so
push guitar development further forwards, attached [pics 1 & 2]. Stickers aside, there when people bemoan a narrow neck that
the lowly 112 – which launched in 1993 – are a few dings and marks to the finish but they can’t possibly play, the actual string
attacked the low-end mass market with
considerable success. “It was really just
price point,” said Ken, “to get down to where
all the volume sales were. But while we
knocked the spec down we wanted to keep
quality as high as we could. [They were]
always made in Taiwan until the last couple
PHOTOS BY DAVE BURRLUCK
of years from Indonesia; some finishes are

still made in Kaohsiung, Taiwan. Over 10
years in the UK we’ve sold about 60,000.
Worldwide, 25,000 to 30,000 per year. By far
and away the biggest-selling Yamaha electric

After years in a cupboard,
the 20-something
Yamaha 112 is now fit
for new adventures
1. The alder-bodied
Pacifica 112…
2. …with plenty of
sticker action!
3. Measuring the actual

string spacing at the nut
4. Quite often you’ll find

the actual measurement
of the nut width is
marginally different from
the quoted specification
TheMODSQUAD
You can use those

digital callipers to
measure neck depth
when the strings are
off or something like
this violin-maker’s
depth gauge, which
is considerably older
than the guitar itself
Under the scratchplate we

find a swimming pool rout
that’s ideal for future mods
spacing might well be the same as, well, finding a whole fit-for-purpose 112 on eBay.
a guitar with a wider nut width that they There’s nothing wrong with that, of course,
can play. We’re a strange bunch. and that was pretty much what I did in that
String spacing at the bridge is spec’d at previous feature back in 2007; that modded
10.5mm, which multiplied by five gives guitar, by the way, is still in use with a guitar-
us the actual string spread of 52.5mm – playing neighbour. Another neighbour had
pretty much the modern industry standard asked if I had any recommendations for her
spacing as used by PRS, for example, early teenage daughter who’d been having
and sitting between the original Gibson acoustic guitar lessons, was doing well,
standard of 50mm and the wider Fender but fancied putting a finger or two into the
spacing of 55mm. electric realm. Bingo! I had a plan: restore
But a specification is just that. The the 112 to good playing condition and put it
actual guitar might well differ, which is back into good use.
After soaking the
why I personally measure every guitar So, maybe the first thing I should do is
paper sticker you can
that I evaluate on our review pages. For clean it up a bit, fix the volume control and slowly scrape it off with
example, the actual nut width of this 112 output jack, string up and have a feel and a flexible plastic card
is 40.9mm [pic 4]; 51.28mm wide at the listen? That said, removing the scratchplate
12th. In depth it’s 20.55mm at the 1st fret I find an open ‘swimming pool’ rout [pic 6]
and 22.39mm by the 12th [pic 5] with with space for a neck humbucker (or a the vinyl types, which pull off easily. The
what I’d call quite a full-shouldered ‘C’ soapbar P-90), although I’d need another others are the laminated paper, which
profile. The fingerboard radius is spec’d scratchplate – already I’m thinking of require more effort to remove. I pull off
at 350mm (13.78 inches), a good fit for my the modding potential. But, hang on, I’m as much of the top layer as I can then soak
StewMac 14-inch radius gauge. sticking to plan A and instead I tighten up the area with methylated spirits and, using
the loose volume pot nut and add one to a fingernail and/or an old credit card as
Restoration Time the output jack. To be fair, the simple circuit a ‘soft’ scraper, I’m able to get them off
Many of us mod guitars just for the hell of all looks okay, certainly good enough to without doing any harm [pic 7].
it, don’t we? I could certainly chuck out all check the sounds. Okay, we’re ready to string up, but before
the generic parts here and retool the 112, Removing the stickers requires a bit I do that I plug in and test the pickups –
probably at a greater cost than I’d spend of patience. A couple applied here were just by lightly tapping or scraping a small
PHOTOS BY DAVE BURRLUCK
The replacement
pickup (right) has The new humbucker
the same slightly is wired in to the
mismatched ‘cream’ slightly rewired
bobbins. How lucky! original control circuit

TheMODSQUAD
We’re going hardtail, so after

These new Gotoh adding two more springs to
steel saddles add the vibrato you can tighten the
a touch of class to spring claw to make sure the
our restoration bridge plate sits flat to the body
With some basic TLC Always check that the large

the fingerboard and tuner nuts are tight, as well as
frets now look pukka the screws that hold the tuner
buttons in place. We’re now ready
to restring and check the setup
screwdriver over the relevant pickup’s be changed, but I have a set of Gotoh block up the fret tops and give the nice-looking
polepieces. Instead of finding everything steel saddles from a previous job so I fit fingerboard a rub with fingerboard oil
ship-shape, the neck pickup isn’t working, those [pic 10]. As the guitar is going to a [pic 12]. A quick check that the tuner nuts
the bridge humbucker seems very quiet, young student I decide to set the vibrato and buttons are tight [pic 13], then I string
and the middle pickup is voiced only when as a hardtail, flat to the body, so I just add up and see what we’ve got.
the five-way pickup selector is in ‘neck’ another two springs and tighten the spring With only a little restoration work, this
position. Oh dear. claw [pic 11], then she can get her whammy 21-year-old 112 reminds me what all the
Using a multimeter set to 20kohms chops in place at a later stage. fuss was about. It might be a lowly piece,
and checking that humbucker, only one On checking the neck for straightness but it’s extremely well made – from the
coil is working. Both single coils read with a straight edge, I find that it needs a tight-tolerance machining to the neck
approximately 5.7k to 5.9k, and although slight truss rod tightening tweak. I then pocket, and the good medium jumbo
they’re the cheapo types with a rear- fretwire with plenty of height on a real
placed ceramic magnet, they’ll do for now.
Meanwhile, I have a root around the bitsbox
“With only a little quality-looking piece of rosewood. The
neck is as straight as the day it was made
and find a Sky/Kent Armstrong HRN-1 restoration work, and, unusually for the style, can be set up
humbucker. At some point I’d cut off the without a neck shim. Even the neck screws
cover, so it just pulls off revealing double this 21-year-old 112 push through the body, as they should,
cream bobbins – the first piece of luck I’ve
had! Actually, even more like the Yamaha
reminds me what all screwing only into the neck itself.
After dialling in the new saddles it plays
pickup, the bobbins are slightly different the fuss was about” really well. Not everyone will enjoy the
‘cream’ colours [pic 8 & 9]. It’s the same narrow neck, but you do get used to it
magnet polarity as the Yamaha pickup, too, do a very basic clean up, much like our pretty quickly. I think I might reposition
and after checking the colour codes online nylon-string last issue: remove a few sharp the string tree closer to the nut as the back
I wire that in and resolder the two single fret ends with a small file, 600-grit on a angle is quite shallow, and I’d be tempted
coils correctly on the moulded five-way flat wood block across the fret tops, a good to add another to the G and D string. Easily
switch. After another tap test plugged in rub with the same grade paper along the done. Hardly modding, this exercise in
hopefully we’re now good to go. edges, then a vigorous rub with 0000 wire maintenance will mean there’s no reason
The bridge has pressed steel saddles and wool across the frets and fingerboard face. this 112 can’t be used for a few more
a tapered die-cast block that could easily It looks good, so I decide just to polish decades to come.

Huw Price’s
Do we need to think about tuners, so long as they work and the guitar stays in tune?
Machineheads
F
or guitar players, bassists and This is why some still use the archaic term Gearing Up
players of pretty much any stringed ‘peg head’, rather than ‘headstock’. Steel strings present greater challenges
instrument, tuners are just a fact The operating principle couldn’t be for tuning accuracy and stability than
of life. Off the top of our heads, the only simpler. Carved from hardwoods, with gut or nylon strings, so you might think
stringed instrument without tuners a button or key at one end, each tapered that geared mechanical tuners are a
that we can think of is a tea-chest bass. peg is wedged into a hole in the headstock relatively recent development. But metal
Some players express strong tuner with a matching taper. On guitars, the tuners actually originated in the mid-
preferences based on functionality, weight button end is located at the back of the 1700s and a viol and guitar maker called
and appearance. Among vintage guitar headstock and the thin end protrudes John Frederick Hintz has been credited
collectors, a changed set of tuners can be a through the front, with a hole drilled with the first design. Others mention an
dealbreaker, Schallers on a vintage Gibson through it for attaching a string. Although English guitar and cittern maker called
being a particular bête noire for some. it must be able to turn, a friction peg has John Preston, who designed a tuning
It’s pretty clear what tuners do. On to fit snugly into the headstock so that the system based on bolts and hooks that can
instruments such as guitar and bass, the friction resists string tension. still be seen on Portuguese Fado guitars.
strings are stretched between two fixed Friction pegs have a 1:1 ratio, which These designs were the precursors
points and the tuner sets the pitch of the means that one complete turn of the key of the machineheads that we use today.
open string by applying tension. Increasing results in one string wrap around the peg. Compared with earlier versions, the
this tension raises the pitch; decreasing it This rudimentary design makes accurate modern style of tuner is compact, elegant
lowers the pitch. Friction pegs are still used tuning very difficult, so some string and efficient. But whether it’s a three-
throughout the violin family and are one of players and flamenco guitarists are now on-a-plate set fitted to an 1800s Martin
the features that differentiate traditional using Wittner Finetune Pegs, with gears or a brand-new set on a PRS, they all
flamenco guitars from ‘classical’ guitars. stealthily concealed inside the keys. operate in the same way.
Whether it’s a three-

on-a-plate set fitted
to an 1800s Martin
or a brand-new set
on a PRS, guitar
tuners all operate
in the same way
The post of the tuner is the long section
that has a string hole and it protrudes
through the front of the headstock, and
a pinion gear is attached to the bottom of
the post. This meshes with a worm gear
that is part of the shaft that the button is
attached to. The button makes it possible
to turn the mechanism by hand, and a
bushing on the headstock face keeps the
post aligned and prevents it from leaning
under string tension.
Tuners that are designed for classical
guitars and slot-headed steel-string
This 1958 Les Paul
Custom features acoustics are slightly different because the
Grover Rotomatic post holes are drilled through the sides of
tuners, which first the headstock, rather than front to back.
appeared on the
The post for a tuner of this sort is flat all
model in that same
year. The previous the way along, and since it presses into
year had Kluson units a blind hole on the inner side of the slot,
there’s no need for a bushing.

Gritty
Some express strong

preferences based on
functionality, weight
and appearance.
Among vintage
collectors, a changed
set of tuners can be
a dealbreaker
Gritty
Golden Ratio High-ratio tuners, such

As we mentioned earlier, when a 360- as this proprietary Godin
degree turn of the tuner button results in design (18:1 on the bass
a 360-degree post rotation, the tuner has side, 26:1 on the treble),
offer finer control
a 1:1 ratio. The use of two gears in modern
tuners means that designers can engineer
various ratios for finer control. For instance,
vintage Kluson tuners have a 12:1 ratio
and require 12 button revolutions for
each post revolution. Some of the Kluson
reissues now have a 14:1 ratio or even an
18:1 ratio. Ratios of 28:1 or even higher are
available from other manufacturers, and
Graph Tech’s Ratio set optimises the ratios
for individual strings. These range from
12:1 to 39:1 with higher ratios used for the
lower strings and lower ratios used for
the plain strings.
While higher ratios facilitate precision
tuning, the downside is that bringing new
strings up to concert pitch takes longer.
Investing in a button winder is advisable
to speed up string changes.
Getting Greasy
Over the decades, vast numbers of vintage
guitars have had their original tuners
removed and replaced. Often the tuners
would have been worn out and players often be refurbished. Once they’re removed With closed-back Kluson-style tuners,
were obliged to use whatever replacements from the guitar, try loosening the screw that the process is similar. After leaving them to
were available in the 70s and 80s. But this secures the post gear and dismantle the soak in naphtha, use a syringe to inject clean
usually meant widening post holes and tuner. Soak the parts in naphtha for a few naphtha through the lubrication hole and
adding screw holes. Perfectly viable tuners hours and then scrub them down with an flush out the housings. You’ll be amazed
were often blamed for tuning instability old toothbrush to remove any debris. When at the amount of dirt, old grease and metal
issues that were more likely a result of badly reassembling the tuner, apply silicone particles that comes out. Once the tuners
slotted nuts and poorly maintained vibratos. grease wherever parts move against each have drained off and dried thoroughly, squirt
Older-style open-geared tuners other. But don’t use too much because it will a smallish amount of silicone grease onto the
sometimes stiffen up to the point where create a mess and may end up soaking into gears via the lubrication hole; work it into
they’re barely usable. Without a cover to the wood if it melts. Give the tuner several the mechanism and reinstall the tuners.
protect the workings, they are particularly turns to work the grease in before fitting the Die-cast tuners, as they are known,
vulnerable to dirt and dust, but they can tuners back onto the guitar. are intended to completely seal the
The use of two gears

in modern tuners
means that designers
can engineer various
ratios for finer control
gear mechanism and protect it from
contaminants. They can be very long-lasting,
but the grease may eventually solidify and
adversely affect performance. Most can be
dismantled, cleaned and lubricated, and
tutorial videos are easy to find online. If you
discover that nylon washers have degraded
or gone missing, you will need to source
some replacements.
These Graph Tech Ratio
tuners use different gear
ratios on each string to give
Attachment Issues
a smooth, balanced feel. Everybody has their own preferred method
They’re rear locking, too of securing strings to posts. Some do one
wrap over the top of the hole and several

Gritty
beneath, while others just wrap below.

Many tuner posts taper down towards the
hole, which encourages the string wraps
to bunch tightly together when tension is
applied. The infamous ‘luthier’s knot’ is said
to guarantee stable tuning, but you may find
it offers no improvement. Instead, it merely
complicates string changes while making it
more likely you’ll poke holes in your fingers
when you’re attempting to untie the knot.
The Kluson tuners that Fender used
in the 50s and 60s had posts with a hole
through the centre that were split at the top.
This continued through the 70s with the ‘F’
stamped tuners that Schaller manufactured
for Fender. The string threads into the hole,
is bent over to exit through the slot and then
wraps around the post. This design makes
string changes quick and easy. You can also
wrap the string around the post several
times to optimise the break angle over the
nut, which helps open strings to ring clearly
when the headstock has no back angle.
The Grover Sta-Tite
The ‘locking tuner’ design that Sperzel tuners update the classic
introduced during the 70s is almost as fast open-gear design and
as Fender’s method and tightly secures feature a die-cast plate
strings. A thumbscrew located on the
back of the gear housing opens and closes
a clamp that’s built into the tuner post. denied that most of the iconic ’Burst players High-quality vintage reissue tuners are
Simply thread the string through the used Grovers or Schallers. Then again, readily available and many vintage guitar
post hole, pull it tight and lock the string vintage Les Pauls tend to have otherworldly owners are now choosing to restore their
in position. You may find the string only sustain irrespective of the tuners. guitars to original specs. Conversion
needs half a turn around the post before it PRS’s Paul Reed Smith has expressed a bushings can be used to conceal oversized
reaches pitch. preference for lighter tuners, arguing that post holes, which means there’s no need
heavy tuners dampen dynamics. This may to plug and redrill them.
Weighting For Tone explain why so many PRS guitars feature
Another rationale for replacing lightweight lightweight tuner buttons to lighten the Robot Wars
Kluson tuners on vintage guitars with die- load. The other downside of die-cast tuners Powered machineheads that automatically
cast tuners was the belief that adding mass is that there is a tendency towards neck tune your guitar may sound appealing, and
to a headstock enhances sustain. Whatever heaviness – and therefore swapping to in recent years several companies have
you might think of the practice, it cannot be wood or plastic buttons may help. developed viable systems. Jimmy Page
Without a cover to
protect the workings,
older-style open-
geared tuners are
vulnerable to dirt
endorsed the AxCent Tuning Systems
and Trevor Wilkinson designed the ATD
HT440. German company Tronical entered
into an ill-fated deal with the tech-obsessed
titans that formerly ran Gibson, but its
Min-ETune-equipped guitars failed to
convince the guitar-playing public. With
accurate electronic tuning aids that can be
clamped to headstocks, built into acoustic
PRS’s Phase III locking preamps or placed on pedalboards, surely
tuners are ‘tweaked’ with
there’s no need for robotic tuners? All you
small screws on the tuner
collars for improved string need are ears, eyes and fingers – long live
vibration and resonance the machinehead, we say.
www.huwpriceguitar.com

LOUD
TA
LK I N G
Coneheads
Over the past few years, speakers with a hemp cone have increased in
popularity. Paul Gough of Zilla Cabs discusses their distinctive sound
S
ince I started writing these articles it out, often in its most primitive and least first company that springs to mind when
I haven’t talked much about the scientific forms. It therefore will come I think of hemp cones is Tone Tubby. I first
individual parts of a speaker and as little surprise to know that a guitar heard about the brand in an early 2000s
largely skipped over most of how a speaker speaker’s cone doesn’t move uniformly. issue of this very magazine, which had an
(or driver) actually works. As we’re going Those of us who have recorded a speaker Alnico shootout featuring Tone Tubby’s
to be looking at speaker cones in this article will know how audible the difference is famous Alnico Red. Since then I’ve had
it may be smart to explain roughly how this when placing two mics at the exact same the privilege to play many (although sadly
part of the speaker functions. The cone points on a driver but 180 degrees apart – not most) of its extensive range, which
(named after its conical shape, a tube wider as in top and bottom. This is why placing is exclusively based around hemp cones.
at one end than the other) is attached to a mic over where the solder lugs are will And to vouch further for these speakers’
the speaker chassis at the larger end in a produce a quite different, often nicer sound pedigree, artists including Derek Trucks,
way that allows it to move when a force is than the exact place on the other side of Santana and Steve Morse have all played
applied at the thinner end. The idea of a the dust cap. In the 80s, Celestion famously through the company’s wares.
speaker driver is largely that the cone can used Doppler interferometry to measure So, what do they sound like? An online
move freely when a force is applied before how the Alnico Blue cone moved and search of these speakers brings up talk
returning to its initial position, but done subsequently applied this to a new model, of warm, smooth, organic tones, but in
in a single motion, so that the cone itself the Vintage 30. my experience hemp cones do tend to
doesn’t change shape. In turn, this creates Of course, the use of different materials have some striking resemblances to each
pressure waves in the surrounding air and will affect the sound, too. In the pro audio other, mostly that they are relatively dark
lets us hear an acoustic representation of and hi-fi world more uniform materials sounding. Now, dark is generally something
the electrical signal that was applied to the are preferred, often ones that are more
speaker. This is called pistonic motion, and
if truly allowed to happen, with the cone
resistant to moisture. But for guitar
speakers, paper is the material of choice.
“Hemp cones tend
not changing shape, should allow for a pure There are, however, a growing number of to be relatively dark
replication of the original signal from your speakers that utilise speaker cones made
amp and avoid any unwanted distortion. from hemp: Celestion has its Hempback, sounding, which
Now, we are all guitarists and most of
us have no problem whatsoever with
Eminence has the Cannabis Rex, there’s
Tonespeak’s New Orleans, and Weber
can help tame some
distortion. In fact, most of us actively seek has a few hemp-cone options, too. But the top‑end brightness”
I lean away from myself, but I have to admit
Hemp-cone speakers, including they can be really useful when trying to
Celestion’s Hempback (front) and tame some top-end. If you get it right, they
Tone Tubby’s range (back), pair
nicely with open-backed cabs
can be a really useful tool in open-back
cabs when trying to get some ambience,
but they also smooth out some brightness
– and this is why you’ll often see them as a
replacement in combos, in particular those
from Fender.
So, if you’ve noticed the increasing
number of hemp-cone speakers out
there and wondered what all the fuss was
about, here’s your push to give them a go.
I will end with a piece of advice, though:
although most speakers benefit from some
PHOTOS COURTESY OF ZILLA CABS
bedding in time, from my experience

hemp-cone speakers are notorious for
taking many hours to come to life. So if you
try them, make sure you give them time
to show you their true colours. It may just
be worth the wait.

“Artists such as Derek Trucks,
Santana and Steve Morse have
all played through speakers
with hemp cones”
Techniques
Blues Headlines
Richard Barrett is on a mission to make you a better blues
player – with full audio examples and backing tracks
Snowy White & Peter Green

Tutor Richard Barrett | Gear used Knaggs SSC & Vox AC15
Difficulty | 10 mins per example
TERENCE ‘SNOWY’ WHITE and his Les

Snowy White’s ’57 Paul Goldtop travelled widely in the music
Les Paul Goldtop business, from London-based sessions to
served him from its
purchase in ’68 until
stints with Pink Floyd and Thin Lizzy, plus
its auction in 2015 his own solo hit single, Bird Of Paradise,
in the early 1980s. However, the focus of
this feature is Snowy’s collaboration with
Peter Green, who had become a close
friend as well as a major influence. In the
late 1970s, Snowy played lead on several
tracks for Peter’s In The Skies album,
doing an incredible job of channeling his
minimalist phrasing on tracks such as
Slabo Day, which inspired my own backing
track and example solo.
The essence here is on delivering each
note with as much melodic intention
as possible, as opposed to being purely
pattern-based and ‘methodical’, which can
be all too easy to slip into when playing
from the minor pentatonic ‘boxes’. There
are occasions where I add in a couple of
non-pentatonic notes, but these are few
and far between. Details such as bends
and vibrato are where most of the effort
goes in soloing like this; for example, the
use of pre-bends with vibrato, which tend
towards a controlled ‘down and back’
approach, rather than the wider wobble
favoured by SRV.
Having a guitar wired for the classic
out-of-phase sound is nice if you have
the option, but it’s not essential. No
specialist amplification or pedals are
needed, either – just a hint of break-up
and some reverb to taste. Though I’ve
played the solo as a continuous take, it’s
broken up into four phrases here in print.
I’ve instinctively started low then gone
high, but over the course of a longer solo,
PHOTO BY SIMON LEES/FUTURE/GUITARIST
mixing and matching different registers

(or even taking the opposite approach)
could also work. I hope you enjoy these
ideas and see you next time!
Richard Barrett’s album, Colours

(complete with backing tracks),
is available now from iTunes
and Amazon

VIDEO & AUDIO http://bit.ly/guitaristextra Techniques
Example 1
PART OF THE LAID-BACK FEEL in this first example is created by not leaping in on beat 1, bar 1. Neither of the
two phrases that make up this example are in any hurry at all, and when they do come in, they pull back somewhat
from the tempo. As with anything, this can be overdone, but it is definitely something to bear in mind as you work
through the examples. Note the pre-bend with ‘down and back’ vibrato at the end.
©»¡ºº Am
˙ œ~.
1/4
œ
F
~
Œ ‰ ‰ œ ˙ œ. ‰
3
E
~ 1/4
5
PB
7 ~
B 8 10 5 8 8 5
G 7 (9 )
D
A
E
1
Example 2
IN THIS SECOND PHRASE, there’s still no rush to ‘front and centre’. We’re clearly using shapes from the A minor
pentatonic, but you’ll notice the bend to B in bar 2; this implies A minor 9 when played over the A minor in the backing
track. The intention here isn’t to make anything more complex, it’s just a nice place to go that isn’t too predictable.
After a shift in position (to A minor pentatonic shape 3), there’s another B, bending up to C over the F chord.
©»¡ºº Am
~ ~F . ˙ ~œ
‰
˙ œ . œ œ œ
Œ
3
~ ~ ~
PB
BU BD BU BD 12
E 8
B 8 10 8 10 10 (12 ) 10 ) (12 ) (10 ) 10 12 (13 )
G 7 9 9 7 9
D
A
E
1
Example 3
AS THE SOLO PROGRESSES, enough momentum builds that this phrase starts ahead of the bar. It’s based
around the A minor pentatonic shape 4, but the inclusion of B and F takes us outside this a little, too. After the bend
to E near the beginning, there is a distinct lack of typically blues traits, playing a straight melody in and around the
pentatonic shape. Note that although this is all ‘quantised’ for the sake of transcription and reading, so many key
moments here are played slightly behind the beat.
©»¡ºº √ Am F
~ ~
Œ ⋲ œ w . œ ˙. Œ
3 3 3
3 3
E
BU
12 13 12
~ ~
B 13 15 15 (17 ) 15 13 12 15 13 12 13 13 12 12 13
G 14 14 14 14 14
D
A
E
1

Techniques VIDEO & AUDIO http://bit.ly/guitaristextra
Example 4
THIS FINAL EXAMPLE USES the shape 1 A minor pentatonic, 12 frets/an octave up from where we began
in Example 1. We’re also revisiting some very similar ideas (although they can sound very different in this
register), such as using pre-bends and carefully controlled vibrato, plus pulling back from the beat. This
‘off-grid’ timing isn’t as easy or second nature as it might seem, though it eventually becomes part of your
repertoire unconsciously – as long as you don’t overthink it!
©»¡ºº √ .~
F
˙ œ œ~ w ~
‰. œ
3 3
PB
~ ~ ~
PB PB
19
20 19
E 17 19 ( 20 ) 17 19 20 19 20 19 17 19 17 17
B 15 17 17 20 17 20 ( 22 ) 20 17
G 19 (21 )
D
A
E
1
Hear It Here
PETER GREEN JOHN MAYALL SNOWY WHITE
IN THE SKIES A HARD ROAD WHITE FLAMES
On the album’s opener, the Taking the guitar chair after Having completed stints with
Santana-style title track, you Eric Clapton’s departure, Peter Pink Floyd and Thin Lizzy,
can hear Peter’s phrases surprised and delighted many Snowy took the opportunity
weaving in and out of the mix with his beautifully phrased to record his first solo album,
between his distinctive vocals. He takes solos and melodic lines. Have a listen to ready for release in 1983. Although it bears
more of a front seat in Funky Chunky, though The Super-Natural (later covered by Gary some of the noted production and stylistic
doesn’t stray too far from the main melodic Moore on Blues For Greeny) and, well, check hallmarks of the era, the guitar playing
figure. However, there are a few very nice out that sustain… The Stumble is a much comes straight from the blues. A good
embellishments worth noticing. On Slabo more Clapton-esque affair, demonstrating example of this can be heard on Lucky
Day, the inspiration for the example solo that Peter – unlike the majority of his Star, which features plenty of nimble blues
and backing track, Snowy White is in great contemporaries – could conjure up this feel, playing over a Latin/fusion-style backing.
form, building the dynamic throughout. too, when needed. Some Day After A While Next up is the hit single Bird Of Paradise,
An additional mention should be made (You’ll Be Sorry) features Peter playing quite with Little Wing-style doublestops and
of Snowy’s phrasing here: it’s beautifully aggressively over a Need Your Love So Bad- a more driven tone on the solo. Finally,
spacey and atmospheric in equal measure. style chord progression. check out The Journey – Part One.

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EPIPHONE FIREBIRD BOSS KATANA:GO

Going For A Song

Jamie Dickson Editor-in-chief

MAY 2024 GUITARIST 3

PRINT & PRODUCTION

INTERNATIONAL LICENSING & SYNDICATION

CUSTOMER SERVICES & SUBSCRIPTIONS

056 Mark Knopfler

126 Blues Headlines with Richard Barrett

6 GUITARIST MAY 2024

WHAT IS IT? Hugely affordable

8 GUITARIST MAY 2024

MAY 2024 GUITARIST 9

10 GUITARIST MAY 2024

UNDER THE HOOD

MAY 2024 GUITARIST 11

3. With the tone control Feel & Sounds

For any player, at any level,

12 GUITARIST MAY 2024

MAY 2024 GUITARIST 13

14 GUITARIST MAY 2024

WHAT IS IT? Boss’s latest (and

MAY 2024 GUITARIST 15

1. The jack plug is on

2. The Katana:Go has

16 GUITARIST MAY 2024

5. Headphones 6. On the other side of the

MAY 2024 GUITARIST 17

WHAT IS IT? Affordable remake

WHAT IS IT? The flagship

18 GUITARIST MAY 2024

combo it’s immediately apparent that this

20 GUITARIST MAY 2024

MAY 2024 GUITARIST 21

While the Maestro Vibrola has

22 GUITARIST MAY 2024

EPIPHONE INSPIRED EPIPHONE INSPIRED

MAY 2024 GUITARIST 23

CRAZY TUBE CIRCUITS

WHAT IS IT? Dual-drive pedal

MAY 2024 GUITARIST 25

WHAT IS IT? A fuzzbox from

MAY 2024 GUITARIST 27

Dream gear to beg, borrow and steal for...

PRS ‘Dead Spec’ Silver Sky £3,495

28 GUITARIST MAY 2024

4. One fundamental change

5. “We made this non-

Guitarist would like to thank

Mesa/Boogie Mark VII £3,849 to £4,199

FORMATS CHANNELS GRAPHIC EQ FEATURES

30 GUITARIST MAY 2024

ALSO OUT NOW...

and the new MKVII high-gain voice; and Channel 3

So, what are the model options in the range?

MAY 2024 GUITARIST 31

Artist: James Frankland

Standout track: Zenith

32 GUITARIST MAY 2024

“I wanted to push the piano