Premier Guitar 022017

BUCKET BRIGADE 101 • CHRISSIE HYNDE • WARPAINT • MESHUGGAH • LARRY CORYELL
FEBRUARY 2017
FEBRUARY 2017
ΔΔΔ
RIG
RUNDOWN
THE DAND S
Y WA
& GANG O RHOLS
F FOUR
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14
GUITAR & BASS
REVIEWS
MILKMAN / SANDBERG
FENDER / EASTWOOD
LOLLAR / & MORE!
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AKERS
e et THE M
M HAL
L 16
TH
BOO82
E
THE FOREST
AND THE CHAINSAW
zn perfect harmony.
THIRTY YEARS AGO, WHEN STEVE MCMINN STARTED SOURCING WOOD FOR
GUITARS, FINDING THE RIGHT LOGS WAS AN EASY TASK. BUT WITH A DEPLETING
FOREST, FINDING THOSE SAME LOGS TODAY IS INCREASINGLY DIFFICULT.
A GENERATION FROM NOW, WHO KNOWS? SO, TO ENSURE WE HAVE GUITARS
TOMORROW, STEVE IS STEPPING INTO THE UNKNOWN, TODAY. HE IS
PIONEERING NEW FORESTRY TECHNIQUES TO GROW AND CUT TREES
JUST FOR GUITARS, SECURING THE FUTURE OF THESE WOODS.
STEVE CONTINUES TO INVEST HIS PASSION, TIME AND MONEY
TACKLING PROBLEMS THAT WILL TAKE GENERATIONS TO
SOLVE. AND WHILE STEVE WON'T EVER MEET HIS SON'S
GRANDCHILDREN, HE KNOWS THEY'LL HAVE A GUITAR
TO PLAY. THIS STORY INSPIRES AND REMINDS US THAT
THE WORLD NEEDS MORE VISIONARIES LIKE STEVE.
For more information about Steve and others with the
courage to step forward, visit tcglorguitars.com.
Step forward. MUSIC IS WAITING.™

Raise Your Voice
A New Series I Elevated Features I Limitless Possibilities
©2017 Fender Musical Instruments Corporation. FENDER.COM

AMERICAN
PROFESSIONAL
Corona, Ca.
Publisher Jon Levy
EDITORIAL
Chief Content Officer Shawn Hammond
Managing Editor Tessa Jeffers
Senior Editor Andy Ellis
Senior Editor Ted Drozdowski
Gear Editor Charles Saufley
Art Director Meghan Molumby
Associate Editor Chris Kies
Associate Editor Rich Osweiler
Associate Editor Jason Shadrick
Nashville Correspondent John Bohlinger
Nashville Video Editor Perry Bean
Digital Designer Ben Kuriscak
Photo Editor Kristen Berry
Contributing Editor Joe Gore
PRODUCTION & OPERATIONS

Operations Manager Shannon Burmeister
Circulation Manager Lois Stodola
Production Coordinator Luke Viertel
Administrative Assistant Kerri Thompson
SALES/MARKETING
Dir. of Business & Audience Dev. Ashley Atz
Advertising Director Brett Petrusek
Advertising Director Dave Westin
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GEARHEAD COMMUNICATIONS, LLC

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from tape emulation to bucket brigade styles
with a twist of the wide range tone control and
the cavernous plate-style reverb has just a PREMIER GUITAR (USPS 025-017)
Volume 22, Issue 2
touch of modulation similar to the one found in Published monthly by:
our precious Dispatch Master only more lush Gearhead Communications, LLC
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10 PREMIER GUITAR FEBRUARY 2017
TUNING UP
The (Sort of) Zen Art of Limiting in Order to Gain

BY SHAWN HAMMOND @PG_shawnh
Q
uick show of hands: How and visual authenticity to the endeavor.
many here immediately obsess Same goes, I suppose, if you’ve got
over which piece of lust-list cover-band ambitions.
gear to buy as soon as But even if you’re quite happy
you get a little extra cash? focusing on emulating other players’
Ah—yes, just as I thought. Pretty sounds, is it possible that obsessing over
much everyone. their gear is actually holding you back?
Our logic seems pretty watertight, Does ponying up for their preferred
right? We’re creating art, and different guitar or amp or pedal undermine
kinds of gear produce different types you by attributing too much magic
of tones. Ergo, the more you have, to inanimate objects? Are you letting
the more “colors” you’ll have to paint the classic curves, bookmatched top,
with—and therefore, the more types of or legendary name on the grille cloth
music you’ll be able to play and enjoy. blind you to the playing nuances that exactly how your instrument will respond
For those of us with these perpetual really make your favorite players great? to minute finger-pressure or attack
holes in our pockets, the events may Further, does having a new instrument variations. Or how it gets an addictively
play out in a different order, but the or amp to set up, maintain, and ghastly or dreamy or funky sound you’ve
end result is largely the same: We “need” endlessly mod every time you get a never heard before when plugged into a
every iconic instrument on the planet. bonus or a birthday check from mom particular set of stompboxes, perhaps in
Six-stringers require at least one Les distract you from the hands-on playing unconventional order, and plugged into
Paul, Strat, and Tele (and before long, time required to learn those nuances an amp that hardly anyone else on earth
an SG, ES-335, Firebird, Jazzmaster, and first-hand? knows or cares about.
6120). Four-stringers gotta have a P, a J, And what about those of us who The catch, of course, is that either
a Rick, and a StingRay—followed by a aren’t just into this as a means of blowing track—hobbyist or serious-ist—is one
Hofner, an EB-O, and a Thunderbird. off steam after work or making a few where we often discover what we like
And let’s not forget amps: A plexi bucks off popular songs? What about along the way, sometimes looping back
and JCM800 are a must. Same goes for those of us who are deluded or idealistic to take a route that suddenly seems more
vintage-ish Fenders … and Voxes … and or narcissistic or ambitious enough to our style, sometimes traversing new
maybe even Hiwatts. For low end, it’s think we too could achieve some level of terrain just to ponder new vistas, and
an Ampeg SVT or B-15N, or maybe a musical uniqueness? Is it worth reining sometimes realizing that there were more
Boogie 400+. in gear cravings and stepping back to paths than we originally thought. That’s
To be fair, some of us may not be consider our heroes in a different light— what makes playing music so exhilarating,
quite that brand-specific—maybe namely to recognize that just about every and it’s also why the route that our tone
it’s more like, “I gotta have a Strat- distinctive player we can call to mind quest takes should inspire no shame.
ish guitar, a P-90 machine, a dual- relied on a pretty limited array of gear to Nevertheless, it’s worth keeping in
humbucker axe, amps in every power- achieve their hallmark sounds? And often mind that long, winding journeys are
tube flavor,” etc. And of course we really the gear was nothing special in and of the ones where it’s easiest to get lost
have a heyday with stompboxes. itself—heck, in some instances it’s gear if we’re not paying careful attention
“So what’s your point?” I hear many everyone used to laugh at. to where the twists and turns lead.
of you asking. “What’s wrong with The difference is that these players The alternate paths may be scenic and
wanting it all?” spent innumerable hours bonding with intriguing, but they may not lead where
My answer: Maybe nothing. Maybe a fairly static setup—getting to know it we’re trying to go.
it just depends on what you want to get inside and out. And I’m not talking about
out of all this. knowing pickup-magnet alloys or pot
If you just aim to have some or cap specs. I’m talking about knowing
fun learning tunes by your favorite it like a best friend rather than one of
bands and players, it might seem not many shallow acquaintances. I’m talking
just perfectly harmless but actually about knowing its quirks—even flaws Shawn Hammond
quite logical and fulfilling to amass a and imperfections—and loving them— Chief Content Officer
collection that yields some level of tonal using them. I’m talking about knowing [email protected]
premierguitar.com
Since 1833, we’ve made
2,000,000 GUITARS
and not one compromise.
Two Millionth
#MartinPride
MartinGuitar.com
FEEDBACK LOOP
Soundboard: Appreciating the from closed-minded cavemen. Socialize
Beauty of Underused Guitars,” I, for one, have recognized
January 2017]. Some are wrecked, that over the years I ’ve had to
with Us!
but I try to get each playing again. work hard to make sure I’m
I take before and after photos. choosing my words wisely. As
My playing/recording space in my a part-time guitar teacher, I’ve
garage is hung with guitars—some had the pleasure of teaching I’m gonna need this
are on stands, and some just hide guitar and bass to a lot of young Adam Sandler rig
in cases. The aim is to record ladies. It seems to me that girls rundown pronto
Cro-Mags from their different voices in various are flocking to guitar and bass @premierguitar
Down Under combinations, and do one song in greater numbers than ever. —@DeanoSupreme
Okay, I know this ain’t gonna be per guitar. Photographing them How awesome is that?! I think
popular, but the December [2016] together in various combinations it’s our responsibility to make @premierguitar
issue, excellent as ever (Thalia makes great art, and one day a sure girls and women know I hope to see an
Zedek, Buddy Miller, Joe Gore!) book with each guitars’ story. they’re welcome members of the appropriate tribute
reminded me of an itch I think we —Jeremy David Acton, guitar community and also to to the late great
all should scratch. Namely: What via premierguitar.com make sure boys are not exposed Leon Russell soon.
the !@#$ is up with the continued to the same caveman practices His talent cannot be
reverence for those Cro-Mags from Dear John you wrote about. Thank you for overlooked!
down under, AC/DC?! How has After intending to do this many using your platform in such an —@saharrismusic
this one-trick, way-past-the-due- times, I’m finally getting around important and responsible way.
date, remnant of a band escaped to telling you how much John —Brian N. Phelps,
critical scrutiny for so very long? Bohlinger has improved my M.Ed., BCBA, LBA
You want straight-up, no-irony experience with Premier Guitar.
sexism (“Givin’ the Dog a Bone”)? From his online reviews/lessons Correction
You want a live show so frozen in to his no-bullshit columns, he In our December 2016 review
amber that Angus can’t think of has shown himself to be an of the Soundshine Electronics
anything else but the schoolboy extremely talented, thinking- Magnum Swampus, our
cheese (Dude, you’re old now... person’s guitarist. He’s an excellent explanation of the pedal’s origin
it’s okay.), or a band whose most writer and he makes me think may have led some readers to
universal tune has great riffage, (as with his recent “Don’t be believe Creedence Clearwater
great soloing but then blows it all Bogged Down by Gear Dogma,” Revival cofounder John Fogerty
with that late section of unison December 2016), reflect on my was involved with or endorsed the
lead guitar and vocals, which I choices, and follow my instincts pedal design. Although Fogerty
swear sends me racing for the mute and ears rather than doing what’s did approach Soundshine’s
button every time. I mean, if you commonly “accepted.” He’s a great Jonas Davidsson about a custom
don’t get the difference between asset to PG and to your readers, tremolo pedal build in 2008,
raw and primal (Stooges, MC5, and I hope he continues doing a spokesman for Fogerty says Guitars sound best
Sonics) and stupidly simple (Kiss, this for a long, long time. Thanks. the guitarist eventually looked when they have
Nugent, Kravitz) then.... Thank —John English, elsewhere after purchasing three plastic push buttons.
you for your time. via premierguitar.com Soundshine prototypes that —Joe Gore
—Stephen Barr, weren’t quite to his satisfaction.
Canada Caveman Talk We apologize for any confusion Doesn’t matter.
Top left: Photo by Harry (Howard) Potts
Hi Shawn, our review may have caused. Hendrix will always

Guitar Salvage I really enjoyed your editorial, sound like Hendrix.
I’ve begun to gather old guitars “Let’s Acknowledge the Caveman And you will always
that I find locally online, in the Room” [December
Keep those sound like you. There
preferring obscure makes and 2016]. I’m emailing you to
comments coming! was only one Hendrix.
Please send your suggestions,
now-defunct brands, and help balance out the number of gripes, comments, and good words
There is only one you.
guitars with a story [“Acoustic emails you’re probably getting directly to [email protected]. —Frank J. Barbaric
premierguitar.com
a new collection of right-sized 20w & 50w heads,
combos and cabs, designed for the working musician
FRIEDMANAMPLIFICATION.COM
CONTENTS February 2017
41 REVIEWS
Bucket Brigade 180 Foxpedal Defector
Mark Hammer reveals
everything you need
180 Spector Timbre
to know about analog 181 TC Electronic Tailspin
effect chips.
181 Free the Tone Ambi Space
55 182 Eastwood Jeff Senn 197 Dunlop Cry Baby Mini
Model One Bass Wah
Forgotten
Heroes: 184 Sandberg Forty Eight 201 Fender ’57 Custom Pro
D. Boon
The Minutemen’s 187 Milkman Pint 205 Wren and Cuff Sonder
visionary leader
shattered the rulebook.
191 MXR EP103 Echoplex Delay 209 Lollar Staple P-90
194 Collings OM2H T 211 Ernie Ball Ambient Delay
157 70 83 97 108
Lesson: Animals The Pretenders Warpaint Stick Men
Out & About as Leaders Chrissie Hynde Undeniable chops and Tony Levin and
Four easy ways to Tosin Abasi and Javier discusses making a surprising influences Markus Reuter
break free from Reyes on producing rocking new album fuel the moody melodies continue to redefine
conventional chord- The Madneess of Many with Dan Auerbach. of Emily Kokal and touch guitar and bass.
scale relationships. as a band. Theresa Wayman.
118 127 141

“I think it’s important to not
know the standards.” Larry Coryell Meshuggah Gary Rossington
A jazz-fusion icon Mårten Hagström The Lynyrd Skynyrd
—Theresa Wayman,
invokes the spirit of dishes on why he’s such legend gets back to
Warpaint, p. 97
improvisation’s past. a harsh critic of shred. blues-rock basics.
p. 97
premierguitar.com
Comet
| 6W / 14W | 1x10 | ReVeRB & tReMOLO |
DiSCOVeR the LegenD
SUPROUSA.COM/COMet
On the Cover: BUCKET BRIGADE 101 • CHRISSIE HYNDE • WARPAINT • MESHUGGAH • LARRY CORYELL
FEBRUARY 2017
Tosin Abasi with one of
FEBRUARY 2017
his new signature Ibanez ΔΔΔ
8-string prototypes. RIG

RUNDOW NS
CONTENTS February 2017

THE DAND
Y WARHOLS
& GANG OF
FOUR
Photo by Joe Russo
premierguitar.com
14
GUITAR & BASS
REVIEWS
MILKMAN / SANDBERG
FENDER / EASTWOOD
LOLLAR / & MORE!
12 Tuning Up
26 Reader Guitar of the Month
27 Opening Notes
214 Staff Picks
238 Esoterica Electrica
240 Last Call
GEAR
22 Gear Radar
32 Rig Rundowns
36 Vintage Vault
38 Trash or Treasure
68 Tone Tips
178 Tools for the Task
HOW-TO
134 Acoustic Soundboard
136 The Recording Guitarist
138 Speaker Geeks
150 On Bass
p. 32 154 Bass Bench
168 State of the Stomp
170 Mod Garage
174 Ask Amp Man
Top left: Photo by Christophe Pauly
The only rule is: When a

groove is right, you feel it.”
—John Bohlinger,
Last Call, p. 240
premierguitar.com
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Santa Barbara Guitar Show, Crobot’s Chris Bishop notation PDFs.
The inaugural Santa Barbara Acoustic Instrument Celebration was held in the autumn of 2016,
FREE YOUR MIND
in sunny coastal California. We were on the scene and witness to hundreds of top luthiers and A New Way to Approach
players showing their wares. Even Santa Barbara resident and guitar pickup guru Seymour Duncan Open Strings
was there, checking out all the beautiful instruments on display! Head online to view our gallery of By Luke Brindley
more than 30 instruments from the best of the best in acoustic guitar craftsmanship from a show FUTURE ROCK
that pulled widely from Canada and Europe, with heavy representation from the U.S. West Coast. Shredding Enclosures
In artist news, we caught up with Crobot lead guitarist Chris Bishop in a Pennsylvania tattoo parlor, By Sam Bell
where he was working on his other artistic passion. Bishop is full of surprises, from his love of chicken BEYOND BLUES
pickin’ and Alan Jackson’s “Chattahoochee,” to his side-job as a part-time tattooist. Learn about the making Connecting the Dots
of Crobot’s new album, Welcome to Fat City, and the crazy custom “noise buttons” on all his guitars. By Levi Clay
And in case you missed it, Premier Guitar editors looked back over the tough year that was 2016
Trey Anastasio’s
and found light in the music. Read our “Best of Music 2016” feature to learn about our favorite Jazz Odyssey
albums of last year. By Rob Compa
NEW FOOTAGE!
What Bohlinger Plays Video Lesson
Ask and you shall receive! We’ve got a spanky-fresh new video
lesson from John Bohlinger, at your service. In the latest
installment, Bohlinger gives tips on how to work your way up
the neck in standard tuning, playing slide while utilizing open
strings—either hybrid style with a pick or fingerstyle. Head
online to find “What Bohlinger Plays: Bouncing Slide in
Standard Tuning” and add a new technique to your forte. In
his own humble words: “Remember, if I can play this, you can
definitely play it!”
What should Mr. Bohlinger cover next? Send your lesson ideas
and requests to [email protected].
premierguitar.com
GUITARDOM’S
TOP TWEETS
Out on the road today I saw a
Nickelback sticker on a Cadillac.
—@jaketapper
WALRUSAUDIO.COM
Rory backstage in the early 70’s

re-stringing his @Fender ‘61
Stratocaster. Rory used Fender Rock &
Roll light gauge strings on his Strat.
—@rorygallagher
My brand new practice amps

will be available soon ...
—@orianthi
Some mornings I wake up and wish

there was a @deadandcompany
show to play tonight. (There isn’t.)
Feelin’ it today.
—@johnmayer
1. I know I did nothing

2. I DON’T CARE THIS FEELS SO GOOD
I AM SO PROUD OF MY CUBBIES
YES YES YES YES YES YES
WEEEE DIIIIID IIIIIIT!!!!!!!!
—@christhile
premierguitar.com PREMIER GUITAR FEBRUARY 2017 21

GEAR RADAR
New products on the horizon.
1 2 3 4 5
IK MULTIMEDIA KHDK BAE AUDIO EMG GRETSCH
iRig Nano Amp ELECTRONICS Hot Fuzz Super 77 Retro Cliff Gallup
This micro-sized amp is Dark Blood Normally toiling in the Active Humbucker Signature Duo Jet
a battery-powered, dual- Overdrive pro-audio realm, BAE dips The tone scientists over One of the founding fathers
mode device that can Metallica lead guitarist its toe into the pedal world at EMG have created a of the rockabilly explosion
drive up to a 4x12 cab. It Kirk Hammett has kept with the release of this PAF-style sound with some of the ’50s gets his own
also serves as an audio busy this year—first dual-function stomp that added modern technology. signature Duo Jet. A
interface, sports a 3" recording Hardwired... is half classic top-boost The Super 77 features a recreation of Gallup’s 1954
speaker, and comes with to Self-Destruct and now and half classic, singing low impedance output model, it features a Bigsby
a TRRS cable for constructing a stomp that ’70s fuzz. Think the Isley with virtually no hum vibrato tailpiece, flatwound
iOS operation. offers an angry, merciless Brothers’ version of and a preamp designed strings, and classic “arrow”
$49 street amp-like distortion, with “Summer Breeze.” to evoke the sounds of control knobs.
ikmultimedia.com tube-like, mid-heavy tone $225 street ’70s-style classic rock. $3,849 MSRP
boasting extra high gain. baeaudio.com $279 street gretschguitars.com
$229 street emgpickups.com
khdkelectronics.com
premierguitar.com
6
10
7
6 7 8 9 10
BLACK CAT KILLER GUITAR SUPRO PROVIDENCE OVERLOAD
EFFECTS COMPONENTS Tremolo PEC-4V GUITARS & BASSES
Deluxe Edition Brass Vintage Thanks to this analog Professional-level Taurus
OD-Fuzz Telecaster Bridge trem’s split personality, switching options are now 4-String Bass
Based around the original This direct-fit, solid- players can use the available to the average The Italian company’s
OD-1, the deluxe version milled brass aftermarket pedal’s amplitude mode guitarist. The latest newest model is a 4-string
adds an independent bridge aims to improve to conjure up traditional update to the company’s with a swamp-ash body
Fuzz Face-style circuit intonation, tone, sustain, swampy Supro tremolo loop switcher is a 4-loop and flamed bubinga top.
to the mix. You can even feel, and overall playability sounds or go with the setup that’s entirely Each model can be tailored
select the routing order thanks to its compensated harmonic mode for the programmable, comes to the customer’s specs
of the effects and choose brass saddles. Tele freaks psychedelic tones of Leo equipped with a built-in with various wood and
between silicon and rejoice—these fit most Fender’s treasured amps. power supply, and uses the pickup options.
germanium modes. vintage and existing $229 street Vitalizer circuit to improve Coming soon: 5- and
$210 street T-styles. suprousa.com weak signals. 6-string versions.
blackcatpedals.com $149 MSRP $449 street $1,720 street
killerguitarcomponents.com providence-america.com overloadguitars.com

GEAR RADAR
Cont’d
11
14
13
12
15
11 12 13 14 15
MOJOTONE ROCK STOCK JACKSON AUDIO STRYMON HUGHES &
’52 Tele PEDALS Prism Riverside KETTNER
Quiet Coils Skyline Reverb V2 This new branch of Multistage Drive GrandMeister
Designed to sound The company’s popular Jackson Ampworks The company’s first Deluxe 40
like vintage ’50s-style handmade ’verb gets releases their first overdrive offering is Powered by four EL84s, the
pickups—without the updated with an product—a tricked-out the result of a thorough all-tube head combines
hum. These passive independent drive circuit tone-shaper that is a analysis of various old-school valve technology
pickups use vintage- that allows you to add dirt buffer, boost, preamp, EQ, vacuum tube circuits. with built-in modulation
spec wire, Gauss alnico to the trails, pushing the and overdrive wrapped Inside the pedal, an analog effects and onboard digital
magnets, and cloth- wet signal even further inside a compact stainless JFET gain stage works reverb, plus allows users
covered leads. and creating some harsh steel enclosure. alongside a DSP gain stage up to 128 unique tonal
Starts at $89 direct reflections. $259 street to ensure dynamics and presets. It also includes
mojotone.com $169 street jackson.audio feel with tonal complexity their Redbox AE speaker
rockstockpedals.com and harmonics. emulation and a gig bag.
$299 street $1,199 street
strymon.net hughes-and-kettner.com
premierguitar.com
20
17
16
18
19
16 17 18 19 20
FISHMAN CRAZY TUBE MOD DEVICES MESA/BOOGIE ZENZERO
SA Performance CIRCUITS MOD Duo Triple Crown TC-50 ELECTRONICS
Audio System Planet B Bass This open-source audio This 3-channel amp 2KP
Coffee shops will welcome Overdrive processor is a multi-effects maxes out at 50 watts, is Here’s a preamp/booster
this 330W PA that Bassists dealing in the rock, pedal that uses a variety powered by EL34s—but that’s designed to be
provides a wide dispersion doom, sludge, or stoner of plug-ins that can be 6L6s and 6V6s also work, “always on” while using
of clean, crisp audio genres should get a whiff of downloaded from their thanks to the amp’s bias your guitar’s volume to
without overwhelming this noisemaker that gives website. It’s armed with select switch—and comes adjust the amount of gain.
the front rows. Features your tone a ’70s high- a dual-core processor, with Mesa’s CabClone It can also work as an
include two mic/ wattage-guitar-tube-amp MIDI capabilities, and two speaker simulator. It also extra gain stage and move
instrument channels, high- kick in the pants. Its controls independent inputs. has a tube-buffered effects from gritty overdrive to
quality preamps, 3-band are tone, gain, volume, $649 street loop and spring reverb. saturated fuzz.
EQ on each channel, and blend, and a supersonic moddevices.com $1,799 street (head); $139 street
four digital reverb effects. switch that boosts the mids. $1,999 street (combo) zenzeroelectronics.com
$999 street (starting price) $200 street mesaboogie.com
fishman.com crazytubecircuits.com

READER GUITAR
OF THE MONTH
Name: Buz Zoller
Hometown: Bradenton, Florida
Guitar: Zoller Partscaster
When I saw the story about the

Grassfire Phoenix Firebird [October
2016], it made me think about how
much I love my No. 1 and how it’s
not-so-ordinary.
I’m a huge fan of Luxxtone Guitars;
they can do nothing wrong in my eyes.
So beautiful, yet so functional and
a perfect blend of a few of my
favorite things: vintage guitars
with unique relic’d finishes—real
or faux—blended with my love
of ’80s metal and the “super
strats” of that time period, and
specifically, the one-pickup
variety seen in the early VH
guitars. That said, Luxxtone
guitars are super expensive and
Subscribe to get exclusive content all I’ll be able to do is admire
from afar. But I’m thrifty and pretty
www.redwitc hanalogpedals.com mechanically inclined, and since I’m pretty
good with woodworking, I figured maybe
I could create my own guitar “inspired”
by Luxxtone’s aesthetic. So, I hit eBay and
started to acquire the parts needed.
I got an All-Parts “second” ash Strat
body from eBay, which was super rough
and required some serious sanding work. I
then found a great deal on a used Warmoth
reverse Strat-type neck. Turns out it’s from
the pre-’90s agreement that Warmoth
made with Fender, so it’s unlicensed and
features a straight cut at the 22nd fret. I
found gold hardware, including a bridge
from Guitar Fetish. One knob (MXR-
style of course) and a Seymour Duncan
JB rounded it out. Once all the parts were
assembled, I knew I’d struck gold because
it sounded great and played better than any
guitar I’d ever played.
The final touch was deciding what
color to paint it. It went through a few
colors and lots of trial and error before I
finally ended up with the glorious finish
it has now. I finished it off with a custom
decal on the headstock.
Don’t be afraid to take on the challenge
and create your own dream guitar.
Send your guitar story to

[email protected].
845.269.8275 / hahnguitars.com
premierguitar.com
OPENING NOTES
Myles Kennedy
November 9, 2016
Ancienne Belgique
Brussels, Belgium
Photo by Christophe Pauly
Alter Bridge’s frontman lets

loose with his fave, a 2008 PRS
SC245 he refers to as “Tobacco.”
Kennedy’s made a few mods over
the years, including adding a
TonePros AVT2 bridge, Kluson
tuners, and a Seymour Duncan
Custom Custom SH-11 bridge
humbucker. “I’ve used it as my
go-to on the last three Alter
Bridge records for a reason,”
shares Kennedy. “It’s sonically
tight and to the point.”
OPENING NOTES
Ben Little
November 5, 2016
El Rey Theatre
Los Angeles, CA
Photo by Debi Del Grande
The Wild Beasts guitarist opens

an L.A. stop with his long-time
No. 1—and first guitar—the
2000 Burns Marquee Club Series
he bought as a 14-year-old. It
still has the original Rez-o-matic
single-coils, but the trem has
been blocked to keep the guitar
from slipping out of tune. “I
think because I essentially grew
up learning to play on it, it’s the
guitar that fits best in my hands,”
says Little. “And every other guitar
I pick up gets compared to it.”
premierguitar.com
OPENING NOTES
J Mascis
November 15, 2016
Vicar Street
Dublin, Ireland
Photo by Colm Laverty
Indie hero and Dinosaur Jr. leader

J Mascis moves big air with a
wall of Marshalls and the 1963
Jazzmaster he bought years ago at
his local guitar shop that “never
has old Jazzmasters.” Mascis says
his No. 1 still has the original
pickups, but he’s replaced the
pickup covers, nut, knobs, tuners,
and jumbo frets, as well as added
a Tune-o-matic bridge and an
additional string tree.

OPENING NOTES
Greg Lake
April 16, 1973
Ernst Merck Halle
Hamburg, Germany
Photo by Heinrich Klaffs
After a lengthy battle with

cancer, prog-rock pioneer Greg
Lake passed away on December
7, 2016, at age 69. Best known
for his work with King Crimson
and Emerson, Lake & Palmer,
Lake’s musicality—be it through
his bass, guitar, or voice—
helped mold a genre and define
a generation of classic music.
Here, Lake wows a Hamburg
crowd through his (then) recently
completed, custom Zemaitis
doubleneck—a control-laden,
metal-front bass/guitar combo
that weighed in at a massive
17.4 pounds.
premierguitar.com
RIG RUNDOWNS
Peter G. Holmström, Zia McCabe, & Courtney Taylor-Taylor
THE DANDY WARHOLS FACTOID

Holmström has a
signature Malekko
stompbox, the
Charlie Foxtrot.
PG’s John Bohlinger
met with Peter
G. Holmström,
Zia McCabe, and
Courtney Taylor-
Taylor of The
Dandy Warhols
at Nashville’s
Mercy Lounge. We
quickly found out
that Holmström
runs with a rig of
such complexity
that any gear nerd
would envy it, but
bandmates Taylor
and Zia go as
minimal as they can.
GUITARS & BASSES

Top: Peter G.
Holmström’s 2013 TK
Smith T-style guitar
sports an old-school
vibe in the style of
Paul Bigsby’s guitar
creations. He splits the
strings on this guitar by
using Ernie Ball for the
top three (.010–.013–
.017) and D’Addario
Chrome Flatwounds
for the lower three
(.035–.045–.056).
Bottom left: Courtney

Taylor-Taylor tours
with not just one, but
two extremely rare and
nearly identical 1967
Olympic White Fender
Coronados.
Bottom right: Zia

McCabe recently
added this ’72 Fender
Musicmaster Bass
into her lineup. This
short-scale bass
features a Curtis Novak
Musicmaster pickup in a
lipstick case.
premierguitar.com
AMPS
Holmström recently
retired his two vintage
Vox AC30s, which now
serve as amp stands, in
favor of two Soursound
GV-15 1x12 combos.
EFFECTS
Holmström uses a lot of
effects, so you’ll have
to watch the full video
to check them all out.
However, the epicenter
of his rig resides at
the Custom Audio
Electronics CAE RST-24
MIDI Controller that
sits on his pedalboard.
Nestled around the
RST is a Boss TU-2,
Malekko Charlie Foxtrot,
AnalogMan Mini Bi-
Comp, Boss DM-3 Delay,
Boss DD-5 Digital Delay,
Boss PN-2 Tremolo/
Pan, Strymon TimeLine,
Dunlop Cry Baby Wah
(which was modded
by Tim Hochstedler),
Mission Engineering
VP Pro, and a switch
for the tremolo on his
Soursound amps.

RIG RUNDOWNS
Andy Gill
GANG OF FOUR FACTOID

Andy Gill produced
the Red Hot Chili
Pepper’s first album.
Known for hard-

hitting, jagged
guitar riffs that
helped shape post-
punk in late-’70s
England, Andy Gill
proved he’s not one
to remain locked
in the past when
he met with John
Bohlinger at Mercy
Lounge in Nashville.
While his axes and
amps may seem a
bit staid, a closer
look at his rig
shows his approach
to live and recorded
guitar has evolved
into something
decidedly modern.
GUITARS
Top: Andy Gill has been
through a lot of guitars
over his long career.
His No. 1 for the past
several decades is this
’80s Fender Strat Ultra
that has been modified
with a kill switch.
Bottom: This Reverend

Double Agent also
serves time during a
Gang of Four set. It has
an angry P-90 in the
neck with a humbucker
in the bridge. All of
Gill’s guitars are strung
up with Ernie Ball 2222
(.09–.046) Hybrid
Slinky strings.
premierguitar.com
AMPS
Gills runs two Peavey
Classic 50 4x10
combos. One is angled
to hit stage right and
the other is angled
straight to hit stage left.
EFFECTS
Middle: The “modern”
part of Gill’s rig is
centered around these
two MacBook Pro
computers running
Apple’s MainStage. For
each song in the set, Gill
has a specific patch that
covers the tones he will
need. The signal chain
is rather complicated,
but here’s a quick
overview: It starts with a
Boss TU-2 tuner before
splitting out into a pair
of Focusrite Scarlett
2i4 audio interfaces.
Those interfaces are
connected to their
own computer via USB.
The 2i4s then each
feed a Radial ProD2 DI
which gives the FOH a
MainStage-only mix.
Each of the DI boxes
also are connected
to individual Radial
ProRMPs, which feed
the Peaveys.
Bottom: Instead of a
traditional pedalboard,
Gill uses a pair of Tech
21 MIDI Moose pedals
(one on each side of the
stage) to change patches
in MainStage.

premierguitar.com
VINTAGE VAULT
1959 Gibson ES-330TD

BY DAVE ROGERS, LAUN BRAITHWAITE, AND TIM MULLALLY
T
he revolutionary double-cutaway cutaway body and thin silhouette make laminated maple back and sides, and a
thinline electric guitar series it wonderfully easy to hold and play. The nickel-plated trapeze tailpiece. The horns
begun by Gibson with the new slim neck provides fast, low action and of the body’s double cutaways have the
ES-335 in 1958 expanded to both higher- perfect response. A beautiful guitar in the classic rounded “Mickey Mouse ear”
and lower-end models by 1959. These finest curly maple and rosewood and nickel- shape (less perfectly rounded after 1962).
included the upscale gold-hardware- plated metal parts.” Gibson made 270 sunburst ES-330TDs
bearing ES-345 and ES-355, as well as This month’s featured 1959 in 1959. The list price was $275. The
the student level ES-330T, ES-330TD, ES-330TD has the usual features seen current value for one in excellent all-
ES-125TC, and ES-125TCD. (The “D” that year. These include a mahogany neck original condition is $4,500.
was used to denote a double pickup with bound-dot inlays (block inlays were Sources for this article include Gibson
model.) The ES-330 shared the same used after mid-1962), 22-fret rosewood Electrics: The Classic Years by A.R.
body dimensions as the ES-335, ES-345, fretboard joining the body at the 16th Duchossoir, Gibson Shipment Totals
and ES-355, but had a very different fret, individual Kluson Deluxe tuners 1937–1979 by Larry Meiners, and The
interior construction. Rather than having with white plastic buttons, an unbound Gibson 335: Its History and Its Players by
a semi-solidbody, the ES-330 was fully headstock with a pearl Gibson logo, a Adrian Ingram.
hollow, similar to the original 1955 nickel Tune-o-matic bridge attached to
thinlines like the ES-350T and ES-225. the body, two single-coil P-90 pickups
DAVE’S GUITAR SHOP Opposite page:
The original catalog text describing with black plastic covers (metal covers Dave Rogers’ collection is tended by Laun Braithwaite The laminated
the guitar highlights the similarities to were standard by 1963), individual and Tim Mullally and is on display at:
top on this
Dave’s Guitar Shop
the ES-335: “A wonderful instrument volume and tone controls for each 1227 Third Street South 57-year-old
with truly magical tone available in pickup, a dark tobacco sunburst finish La Crosse, WI 54601 guitar practically
davesguitar.com glows. Three
single- or double-pickup models. The double on a laminated maple top, a dark-stained Photos by Mullally and text by Braithwaite.
years later,
in 1962, the
neck dots were
replaced by
block inlays
and the “Mickey
Mouse ear”
shape became
less rounded.
Far left: A
close-up of the
ES-330TD’s
classic ’50s
angled Gibson
headstock
displays its
pearl logo
and individual
Kluson Deluxe
tuners with
white plastic
buttons.
Left: Among
fans of P-90
pickups, the
vintage dog-ears
on this guitar
and on Epiphone
models from the
same era are
highly coveted
for their rich,
balanced sound.

TRASH OR TREASURE
Vox Rio Grande V278

BY ZACHARY FJESTAD
Q: Hey Zach,
I bought this Vox acoustic guitar in the early 1990s at a guitar show
for $150. At the time, I thought it was really cool, but didn’t play
it much. Now it sits around amongst my guitar collection and I’m
considering selling it, but would like to know what it’s worth and if it’s
worth holding onto. Could you share some history on the guitar and
tell me what it’s worth?
Thanks,
Jeff in Eugene, Oregon
A:
Built in the mid- Hi Jeff, striking. As far as I can tell, no acoustics
to-late ’60s, this When it comes to Vox, were offered in England.
Vox Rio Grande
dreadnought
AC30s and the Beatles Vox’s acoustic models included the
features a likely come to mind first. But since dreadnought Country Western V238 (a
solid-spruce top, the company was founded in 1957, rebranded Eko Ranger 6), the Folk XII
mahogany back they’ve also offered a wide range of V239 (essentially a 12-string version of
and sides, a set
electric guitars, acoustic guitars, organs, the Country Western and a rebranded
mahogany neck,
and decorative and effects in addition to their famous Eko Ranger 12), the entry-level folk-
inlay along amplifiers. I suspect $150 was a pretty style Serenader V220, the 12-string
the rosewood fair price to pay for this guitar in the Shenandoah V279, and your guitar—the
fretboard and early 1990s, but the question is if the Rio Grande V278.
headstock.
guitar has increased or decreased in value. The Rio Grande is essentially a more guitars in the late 1990s and would also
Vox’s first electric guitars were ornate version of the Country Western produce the original-design Virage series
designed in 1960 and introduced and also a quasi-signature model for the that launched in 2007. Vox continues to
in 1961. Built in England, these late Nashville-based country artist Eddy produce a full line of guitar amplifiers,
first models—called the Stroller and Arnold. Your Rio Grande features a solid- but currently only has one guitar in their
Clubman—were based on Fender spruce top, mahogany back and sides, a line-up, called the Starstream. They are,
designs. Interestingly, Fender guitars set mahogany neck (as opposed to the however, currently producing ukuleles.
were unavailable in England during the bolt-on neck of the Country Western), a Today, a Vox Rio Grande is worth
early ’60s, so these first Vox models were rosewood fretboard with large pearl-block between $600 and $750 in excellent
designed to fill a void. The pentagon- inlays, a pearl vine-themed headstock condition. If you paid $150 for this in the
shaped Phantom series followed in inlay, and a three-point pickguard with early 1990s (let’s say, 25 years ago), that
1962, and became Vox’s best-known and both Eddy Arnold’s signature and the $150 guitar should be worth $266 today
most-collectible guitars. Other models model-name “Rio Grande” adorning it. just based on inflation. So if you decide
followed in 1963. Unfortunately, there aren’t any reliable to sell it now, the guitar is worth about
A few things happened to the serial-number lists for Vox guitars and the three times more than when you bought
expanding company in 1964. First, Vox numbers used by Eko seem like they were it. If you decide to hang onto it, only
outsourced production of their guitars to assigned completely at random. We do time will tell if it increases or decreases
an Italian manufacturer called Eko. Then, know that Vox acoustic guitars were built in value. I don’t have a crystal ball, but
in order to raise capital for his company, from late 1965/early 1966 until they were as far as Vox acoustics go, this model is
Vox founder and owner Tom Jennings all discontinued in 1969—when both U.S. definitely the treasure of them all!
sold a controlling interest of Vox to and European guitar manufacturers were
U.K.-based Royston Industries. A year feeling the pressure brought on by cheaper ZACHARY R. FJESTAD is a
freelance writer who specializes in
later, the Thomas Organ Company of offerings from manufacturers in Asia. guitars and amplifiers including
California began importing a line of Vox- Vox restructured their line with a the history behind them and
their current values. Fjestad has
branded acoustic guitars built by Eko series of Japanese-produced solidbody been evaluating and appraising
into the U.S. For those of you familiar guitars, but they didn’t offer acoustic guitars for over 20 years. For
more information, email Zachary
with Eko guitars, the similarities are guitars again. Vox reissued their Phantom at [email protected].
premierguitar.com
PORT CITY
AMPLIFICATION
Merino Combo in Black Tweed with Black Flame Maple
Handcrafted in Asheville, NC
www. portcitya mps.com

Behind the
Bucket Brigade
Everything You Need to Know About the
Analog Effect Chips of Yesterday and Today
BY MARK HAMMER
I
s there a 15-year-old out there who’s never dreamed of they still existed in the form of delay/echo units. The first such
having a time machine—a hi-tech contraption that’d “time machines,” at least in terms of mainstream availability and
take you back in time 10 minutes to avoid the botched affordability, came out back during the bell-bottom decade—
joke that ruined your chances with so-and-so, or maybe to and they were powered by another hyphenated double-B
think twice about that failed guitar twirl that obliterated mom’s technology: “bucket-brigade” chips.
favorite lamp? Or, even better, beam you into the future, Biff If you’ve been playing guitar for a while, you’ve no doubt
Tannen-style, so you can ferret-out bankable sports bets—or heard a lot of hoodoo and voodoo about expensive vintage
just skip the rest of high school altogether! It’s a silly fantasy, yet bucket-brigade effects pedals and processors over the years, but
one we never completely outgrow over the post-teen decades. even players with fewer axe-wielding years under their belts have
The funny thing is, in a sense, time machines have existed likely seen and heard a fair amount about devices powered by
since the early 1970s. They may not have had all the bells and modern renditions of this once-dead, now-resurrected circuitry.
whistles we dream of, they may not have come with a clever Which is why we’re offering this handy-dandy guide to help you
talking dog who explained all the new sci-fi awesomeness for understand bucket-brigade devices
us—and heck, they didn’t even take you into the future—but (BBDs) from then and now.
So What Exactly Are BBDs? Chorus Ensemble and CE-2 Chorus;

Bucket-brigade devices were the first flangers like those from Electro-
wholly electronic devices for producing Harmonix, A/DA, and MXR; and
time-delay of electronic signals. Prior delays like the Electro-Harmonix Deluxe
to their development, most effects that Memory Man and Boss DM-2—not
time-staggered an audio signal relied to mention desktop and rackmount
on magnetic tape and manipulation delays and multi-effectors like the Ibanez Before BBD chips,
of tape speed. (Examples include the AD-230 and MXR Flanger/Doubler. time-staggered
effects like flanging,
various iterations of the Echoplex and BBDs would also find their way into chorus, echo, and
Roland’s Space Echo.) BBDs permitted synthesizers, mixers, and even karaoke double-tracking
Echoplex and Space Echo photos courtesy of Tom Hughes
easier production of echo and effects like machines. Eventually, many of these were only possible
flanging, chorus, and double-tracking effects—particularly the delays—would with magnetic-tape-
driven units such as
from a much smaller device. Further, become replaced by digital units, largely
the Echoplex EP-3
BBD effectors enabled flanging to be because of the latter’s greater delay and Roland Space
produced onstage without the prior need capacity. But the demise of original BBD Echo RE-201.
for two tape decks, and rotary-speaker- effects was also due to the fact that the
like effects were possible without lugging principal manufacturers—Matsushita
around a massive Leslie setup. (now known as Panasonic), Reticon,
Between the late 1970s and mid and Philips Research Laboratories—
1980s, many classic BBD-based effects eventually ceased production. Even so,
were issued, including the Boss CE-1 musicians’ affection for analog BBDs

never really went away. Despite
the fact that both entry-level and
high-end digital multi-effect units
became all the rage during the
’80s (with players like U2’s the
Edge, Steve Vai, and Eddie Van
Halen becoming notorious for their
“refrigerator stacks” full of rackmounted
Above: digital gear), a small segment of devoted
Manufacturers players never gave up on the “warm,”
such as classic sound of analog gear. As the
Coolaudio
(whose new
1990s wore on, new boutique pedals
1024-stage powered by new-old-stock (NOS)
V3207 BBD is BBD components (for example,
shown here), Moogerfooger’s MF-104M Analog
Xvive, and
Delay) started to build the buzz anew—
Belling are now
manufacturing although at a premium price, and often
accurate replicas in very limited runs. Beginning slowly in
of classic analog the early 2000s, and picking up the pace
chips of yore. considerably in 2015, a new generation
Right: The
of much more affordable BBD-driven
original Boss pedals has been made possible thanks to device to spit them out slower than
CE-1 Chorus companies like Coolaudio, Belling, and they came in, or by simply holding
Ensemble Xvive Audio producing accurate replicas onto them for a wee bit. Because the
was a classic
of original BBD chips. innards of these IC chips acquire and
early BBD-
driven chorus Much like classic 3-tube amplifiers of pass along the samples continuously, analog sampling of a BBD circuit made
stompbox, while yore—amps like the Fender Champ, with from input to output, in a manner for higher audio fidelity. With 24-bit
MXR’s Flanger/ its basic preamp-tube, power-tube, and similar to a line of firefighters passing digital encoding being common these
Doubler was an rectifier-tube circuit—there are common along buckets of water from one to the days, the difference in audio quality
BBD processor
found in studios design aspects and considerations for other, they are referred to as “bucket between an encoded digital snapshot,
during the nearly all effects that use BBDs. So let’s brigade” devices. And just as with motion and a literal analog snapshot, is largely
early ’80s. take a closer look at the nuts and bolts of pictures, the more samples (or frames, unnoticeable to most players.
how these magical chips work and how in the case of a film) taken in within A second way in which analog samples
they’re used. a set period of time, the smoother the are different from digital samples is that,
apparent transition between samples. unlike digital code’s ability to be retained
Would You Care to Try a Sample? When most people hear the word in memory for as long as one wishes,
Boss photo courtesy of Spaghetti Vintage; MXR photo courtesy of Vintage and Rare/Soundgas
BBDs—or analog shift registers, as they “sample” in a context such as this, they analog samples have a limited lifespan.
are properly called (or sometimes charge- immediately think of digital samples. The capacitors storing them leak, so
coupled devices)—were first developed How are analog BBD samples different each sample has to get moved along to
in 1969 as integrated-circuit (IC) chips from digital samples? In a number of the output quickly enough. Otherwise
containing a large number of storage ways. First, they aren’t transformed or there won’t be much left in the “bucket”
cells (tiny capacitors, actually) and encoded, as digital signals must be. to pass along. At the exact moment a
switching transistors. The “register” part They are a literal snapshot of whatever sample is taken, it may have been 250
of a BBD chip is capable of holding the signal voltage is at the moment the millivolts (mV), but eventually declines
a sampled voltage (i.e., the “analog” snapshot is taken. One could argue to 247 mV, then 243 mV, etc., if it’s not
part) and passing (or “shifting”) those that analog BBD devices have infinite passed along right away. This signal loss
sampled voltages along in a first-in, resolution, because unlike with the is less of a problem when the delays are
first-out fashion. Like a film that creates analog-to-digital (and then digital-to- very short and the samples get passed
the illusion of continuous motion using analog) conversion required in digital along quickly, as in flanging. But when
24 frames per second, BBDs create processors, there’s no rounding off of samples get passed along very slowly (for
the illusion of continuous sound by signal information to the nearest coded example, to achieve a long echo), they
capturing and spitting out samples. The value. In fact, back in the early digital pass through all those leaky stages again
sampled voltages (or sounds) can seem days when the best signal resolution one and again for additional repeats. If you
to occur more slowly by setting the could hope for was 12-bit resolution, the set an analog delay to its maximum delay
premierguitar.com
Top right: The setting, you can often hear a substantial
more Legos you loss in fidelity. Given this reality, it goes
use, the more without saying that no matter how much
realistic-looking
your sculpture. you may like analog delays, the very idea
Same goes for of an analog looper pedal is a nonstarter.
audio sampling. Another thing to remember is that
the sample that gets passed along is
Fig. 1: In this
pin diagram for
a snapshot of something that already
a Matsushita happened. It may not have happened
MN3005 BBD very long ago, but it still already
chip, pin 7 is happened. So, while BBDs can almost
where the signal
catch up to real time in some instances,
enters the chip,
pins 3 and 4 are in general they will always lag behind by
the output, and some small amount of time. The various
6 and 2 are musical applications of BBD chips vary
the tick and how much they lag, and how closely they
tock pins.
nearly catch up to a nondelayed version representing a 5 kHz signal, and a better Fig. 1
of the signal. job at representing lower frequencies. At
a 20 kHz sampling rate, a single cycle of
Audio Legos a 1 kHz signal would be portrayed with
Year after year, a group of local 20 samples—better than four, but still
enthusiasts shows off fantastic dioramas somewhat block-y and definitely not hi-fi.
made entirely out of Lego bricks at the Think Commodore 64 graphics rather
annual Maker Faire in my area. One of than 1080p.
the things I’m always struck by is that Considering this, the amount of delay
the realism of the construction depends time one can expect to get out of a BBD
on how many bricks are used to make depends on how wide a bandwidth you
it—the more bricks there are, the more want to reproduce with it. If you want
nuance there is in the final image. more frequency content to be included
The same is true of audio sampling. in the time-shifted signal, you’ll need to stages take turns. When the clock ticks,
Basic depiction of a sound at any given sample more of the signal and do it faster. one set of stages is passing off a sample
frequency can be accomplished with two But the trade-off is that, even though to the next stage in line, and the other
samples: one representing the positive sampling faster yields better sound set of stages is receiving a sample. When
half-cycle of the sound wave, and one quality, it also yields less time from the the clock goes tock, the reverse happens.
representing the negative half-cycle. BBD. Which brings us to…. The two paths work in complementary
But that turns the signal into a series of manner so that there is always one sample
square waves, and does that really convey Time to Move available in interleaved fashion, each
the complexities of the original, or are Just as a movie projector and tape arriving at a separate output pin. Fig.
we building something with two bricks recorder require a motor to pour out their 1 is a pin-out diagram of a Matsushita
that really needs many more to look and content, a BBD requires something to MN3005, the chip used in many analog
sound like the real thing? A sound wave move the samples along. That something delays from the late ’70s to the early ’80s.
might have a gradual ascent and descent, is a clock that puts out a complementary As you can see, there is only one input
so describing it as one step up and tick and tock to pins on the BBD chip pin (7) but two output pins (3 and 4).
another step down just doesn’t cut it. at varying speeds, which in turn help The tick and tock pins are 6 and 2.
The general principle with digital dictate the fidelity and bandwidth of the When these alternating interleaved
audio sampling is that the sample rate signal. Internally, the chips themselves are samples reach the output of their
should be three to four times the highest essentially divided up into two parallel respective path, they are combined to
frequency to be reproduced, if not more. sets of stages—two lines of little people provide a continuous, seamless stream
So, if a signal processor is intended passing buckets, if you will. And just of samples (see Fig. 2 on p. 45). Some
Photo by Shawn Hammond
to process and output a signal whose as with a real bucket brigade made up pedals (such as the Boss BF-2 Flanger)
content goes as high as 5 kHz, it should of people passing pails of water, each simply link the two output pins together
not sample the audio signal fewer than pin in the BBD can hand off or take a directly, while others (like Electro-
20,000 times per second (20 kHz). That bucket—but it can’t do both at once. Harmonix’s Deluxe Electric Mistress)
will do a bare-bones job of accurately Consequently, the two parallel sets of use a pair of equal-value resistors to
premierguitar.com
Transmisser ™
Resonant Reverberations
The Transmisser is a modulated reverb with extra-long decay
fed to a highly resonant filter. It is the sonic recreation of
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beaming it back down on a cloud of cosmic dust. It is a Blazar for
musical instruments.
If you can’t already tell, the Transmisser is not your everyday
reverberation device. It does not do subtle. It does not do spring.
It does not do a wood paneled rumpus room with 1" thick carpet.
It will not recreate the classic sounds of the 60’s, 70’s and 80’s.
The Transmisser will create an ultimate soundscape-y backdrop to
your all-night guitar freak-out. It’ll quickly turn you into a one note
per minute knob twiddler. It’ll make you want to break out that dusty
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you out of that stupid ergonomic chair, close that flaptop computer
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Fig. 2: The if clocked twice as fast in order to give
input signal Fig. 2 the signal a little more bandwidth and
is sampled,
fidelity. It works the same in reverse:
with a tick and
tock from the An effect designer could squeeze a full
BBD’s clock second out of a 4,096-stage BBD chip
assigning each (which is normally not used for more
sample to its than maybe 350–400 milliseconds),
respective path.
The alternating
but doing so would require a very slow
samples are clock rate—which would seriously
interpolated limit bandwidth and fidelity. (It would
and “stitched” sound like something happening in
together at
the apartment next door, and lose
the output.
considerable fidelity after two or three
Table 1: Delay electronically mix the two paths together. exceptions, however. Sometimes reduced repeats through the chip.) The old Boss
times available Still others (like the old A/DA Flanger) BBD availability and cost resulted in DM-1 used a now out-of-production
from 512-, use a trimpot to perfectly balance the two products such as Ibanez’s AD-230— Reticon chip with 2,000 stages and
1,024-, 2,048-,
and 4,096-stage outputs. In the latter example, not only which used 16 512-stage BBDs for longer claimed a maximum delay time of 500
Panasonic does the more precise balancing yield a delay (plus two more for flanging)—or ms, but at that delay setting there was a
BBD chips at more faithful representation of the input the more recent Maxon AD-999 analog steep roll-off of the signal above 1 kHz.
various clock signal, but it also serves to better cancel delay, which uses eight 1,024-stage chips. The next Boss analog delay, the DM-2,
frequencies and
out artifactual noise from the clock— The maximum time delay available used a 4,096-stage chip to generate
sampling rates.
kind of like a humbucker in a chip! from any single BBD is a joint function a maximum delay time of 300 ms at
of the number of stages, the clock greater bandwidth.
How Much Time You Got? (i.e., sampling rate), and the desired Cascading multiple BBDs yields
Many tube-amp fans can calculate bandwidth. So, a 1,024-stage chip can the sum of their individual delays—
roughly how much power an amp will provide twice as much delay time as although each handoff between BBDs
deliver based on the number and types a 512-stage chip if it runs at the same does pose small possible risks to audio
of output tubes it uses. For example, we clock rate, and the same amount of delay quality. But careful circuit design can
don’t expect more than 5 to 10 watts
from a single-ended amp using one Table 1
power tube, 12 to 25 watts from a pair
500
Delay produced at clock frequency (in milliseconds)
of 6V6GT tubes, and so on. Similarly,

we wouldn’t expect a builder to design a
100-watt amp based on a dozen EL84s, 200
because a quartet of EL34 will yield N= 4096 stages (MN3005)
that kind of power in a smaller, more 100
N= 2048 stages (MN3008)
affordable, easier-to-maintain package. 50
Similarly, BBDs come in different
capacities, as indicated by the number (MN3001)
20 N= 512 + 512 stages
(MN3010)
of stages they have. Just as with power
N= 1024 stages (MN3007)
tubes, stages can be coaxed to yield a 10
MN3002
little more or a little less, depending on N= 512 stages MN3004
the rest of the circuit. For audio purposes, 5 ½MN3001
BBDs begin at 256 stages, with each unit ½MN3010
higher in the series generally doubling in 2 N= 256 stages
capacity: 512, 1,024, 2,048, and 4,096 (MN3009)
1
stages. The latter is the largest capacity
available on a single chip. With some 0.5
exceptions, BBDs with 1,024 or fewer
stages are generally used for short-delay 0.2
applications like chorus, flanging, vibrato,
and occasionally slapback, while those 0.1
10 20 50 100 200 500 1000
with 2,048 or 4,096 stages get used for
delays and double-tracking. There are Clock frequency (sampling rate) in khz
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mitigate these risks. There have been there are two chips in these designs, both The trimpot for adjusting a chip’s DC
some interesting products over the years chips are driven by a single clock.) bias voltage is usually located somewhere
that used this cascading BBD approach. near the delay chip’s input pin. If that
Before 4,096-stage units became All the Trimmings bias voltage is too high or too low, you
available, the earliest EHX Deluxe All BBD chips require what is referred won’t hear any signal from the BBD. If
Memory Man pedals, as well as the to as a bias voltage. If the audio signal it is just a little high or low, you’ll hear
MXR Analog Delay and the Southwest does not come riding into the chip output, but it will be distorted. So if you
Technology Products Corporation sitting on top of a particular DC voltage, have an old BBD device that doesn’t seem
(SWTPC) Ambience Synthesizer, used it won’t make it to the other side. As a to be working (or sounding quite right),
a trio of 1,024-stage chips in series. consequence, nearly all pedals that use it’s worth opening it up and fiddling with
More recently (but still before 4,096- BBDs, regardless of effect type, will have this trimpot to see if that fixes things.
stage chips were back in production), a small bias trimpot (separate from the There’s no risk of damaging the BBD
Electro-Harmonix used four 2,048-stage one used for balancing output signals). or overall circuit if you simply let your
Panasonic MN3008 chips for its Deluxe Some pedals with cascaded BBDs may ear guide you as you adjust it to restore
Memory Man reissue. have a single trimpot providing the same audio quality. But when there’s more than
Table 1 shows how much delay correct bias for all BBDs used, but the one BBD in series and you can’t hear the
time can be expected from the various effectiveness of such a setup would be impact of each separate adjustment, it’s
Panasonic/Matsushita chips at different due more to a lucky guess than anything. handy to have an oscilloscope so you can
sampling frequencies. A pair of 4,096- Optimal audio quality occurs when every measure each chip’s output for minimum
stage chips in series can produce around BBD in the circuit has its own trimpot distortion as you adjust its bias trimmer.
500 ms with respectable bandwidth. A for custom-tailoring its bias. It’s more Typical BBD-based effects have
number of commercial delays have gone work and increases production costs, but anywhere from one to four trimpots on
this route, often with a switch to select it makes for a better transfer between the circuit board. As previously noted,
between the outputs of the first or second chips and is worth the additional labor, some designs also have a trimpot for
BBD. (It should be noted that, though parts, and space. balancing output between two BBD

which means there’s a trimpot for each would have an input capacitance of 2800
gain stage, too. Needless to say, when pF. In contrast, Reticon chips only had
it comes to repairing or recalibrating a 110 pF for the same pins. Why does this
BBD-based effect, it pays to know where matter? For long delay, it doesn’t. For
all the specific trimmers are and what flanging, where the most dramatic effects
they do! To aid in the process, track down are produced by shortening the time
a schematic and—if possible—a service delay to something almost negligible,
manual for your pedal’s circuit. you want a chip that is tolerant of very
high clock frequencies (remember, faster
Whoa, Slow Down! clocking results in shorter delay time).
As mentioned earlier (and as revealed in The Matsushita chips weren’t comfortable
Table 1), shorter and longer delays can being clocked much faster than 100 kHz,
be produced by clocking a chip faster while the Reticons were good up to 1.5
or slower. But there are limits. You can’t MHz. If you ever wondered why that A/
transfer the samples inside the chip too DA Flanger or Boss BF-1 sounded so
slowly (which is why Table 1 doesn’t go much better than your Boss BF-2, it’s
below 10 kHz), but you also can’t clock because your Matsushita MN3207-based
them too fast either—otherwise the BF-2 couldn’t delay any shorter than 1
sample-transfer process gets corrupted. ms, while Reticon-based pedals could zip
A BBD chip’s clock input pins have well below 1 ms with ease.
what is referred to as input capacitance. But don’t blame the Matsushita BBDs
For our purposes, we’ll simply say that too much. They were limited by their
Even simple outputs—and this is also found very this capacitance can “dull” the clock companion clock generators: the MN3101
effects with BBD close to the chip. Further, BBD effects pulse and turn it from square-ish to more (for MN30xx chips) and MN3102 (for
chips typically
in which feedback is used (like flangers triangular. When the clock frequency is low-voltage chips). These provided an
have one to
four internal and echoes), often have another trimpot low enough, the capacitance has no effect inexpensive, simple, compact solution for
trimpots for for adjusting maximum feedback and the clock pulses are able to instantly directly driving Matsushita’s BBDs, but
adjusting things before howling or oscillation set in. switch the transistors in the chip that feed they couldn’t adequately overcome that
like bias voltage, This is usually found close to where the samples to the next. But as the clock clock-pin capacitance. They were great for
output balance,
maximum the feedback is returned. Finally, there frequency increases, that input capacitance chorus or medium-delay echo, but you
delay time, and may also be a trimpot for adjusting the begins to add some lag and to turn what couldn’t get them to clock fast enough for
feedback. As maximum delay time. This is useful for started out as a pretty square (i.e., either great flanging, and they couldn’t handle
you can see when, between like-valued BBD chips, on or off ) clock pulse into something the total capacitance of more than 8,192
from the guts
there’s variation in where the clock-noise more triangular. The near-instant stages (i.e., from a pair of 4,096-stage
of this Maxon
AD-999 analog filtering begins to roll off top end and, switching action that normally yields chips) needed for longer delay times.
delay, each consequently, the clock speed has gone seamless taking and passing of samples However, when properly buffered to
BBD chip can low enough to be audible. now begins to have a gap, as it takes overcome that capacitance, Matsushita
exponentially As you’ve probably gathered by now, longer for the transistors to be switched BBDs can be pushed much higher—just
increase the
number of when there’s more than one BBD chip on. The gap itself is not directly audible like a buffered guitar signal can travel long
trimpots. in an effect housing, these trimpots can since it is on the order of microseconds. cable distances and still retain treble. I’ve
appear in duplicate or triplicate. For But imagine a movie with a blank frame witnessed MN3207s pushed to 1.5 MHz
example, as noted earlier, the much- inserted between each successive image. clock rates without difficulty.
coveted Maxon AD-999 delay eschews It simply won’t look the same—the Can it work the opposite way? That
high-capacity chips in favor of eight seamlessness of the flow of samples is, can you buffer a clock chip to drive,
1,024-stage chips, resulting in 25 total matters. Consequently, data sheets for say, four MN3005s (for a total of
trimpots! Meanwhile, Electro-Harmonix’s many BBDs indicate a maximum clock 16,384 stages, and 11,200 pF of clock
most recent reissue of the Deluxe frequency, beyond which performance will capacitance)? It’s a bit like our earlier
Memory Man has a bias trimmer for suffer. Table 1 shows that many common example of a 100-watt, EL84-powered
each of its two 4,096-stage BBDs, and Matsushita chips can’t normally be amp: In theory, it could be done—but
an output balance on the second one, clocked faster than 100 kHz. why not simply go digital?
Photo by Mark Hammer
but it also includes a small gain stage for Second-generation Matsushita chips
each BBD to compensate for potential had about 700 pF of capacitance for each Cut out That Racket!
signal loss (all BBDs lose a tiny bit of 1,024 stages on the chip. For example, BBD-based designs are susceptible to
signal in comparison to the dry path), a 4,096-stage MN3005 or MN3205 noise. The chips themselves differ in their
premierguitar.com
Xvive Audio individual noisiness, but the necessary inclusion of a clock only
manufactures
makes matters worse. There are two basic sources of noise to
replicas of the
Matsushita contend with in normal use. One is the sometimes-audible whine
MN3005 of the high-frequency clock that’s always running. If a 10 kHz
chip found in clock pulse is required to achieve the desired delay time, there’s a
original Electro- chance you might hear that clock leaking through to other parts
Harmonix
Deluxe Memory
of the circuit, and eventually coming out your speakers.
Man pedals—as Now let’s talk about the second kind of noise. We may think
well as in its of BBDs as providing a seamless, continuous representation
own W3 Memory of the input signal, but in actuality there are teensy-weensy
Analog Delay.
steps between each successive sample, and those can create the
illusion of high-frequency content riding on top of the actual
signal. This is referred to as aliasing noise.
Historically, these two noise sources have been addressed
using some combination of the following five strategies:
• Low-pass filtering. A low-pass filter is placed before and

after the BBD in an effort to eliminate everything above
the highest frequency that’s intended to be audible. This
approach is used in virtually all BBD-based effect devices.
• Gating. A noise gate is applied at the BBD output, so that
any remaining BBD noise is killed when you stop playing.
This approach is used in the Boss CE-1 Chorus Ensemble
and A/DA Flanger. and MN3207 with the designation BL3208 and BL3207,
• Treble manipulation. Treble is emphasized at the input and more recently Coolaudio started producing clones of
and then de-emphasized in complementary fashion at the the MN3207, MN3208, and MN3205. Even more recently,
output. This restores normal tone to the dry signal, but cuts China-based Xvive Audio (which, not so coincidentally, has its
any hiss or clock whine added by the BBD to the delayed own line of very affordable stompboxes) began making replicas
signal. This approach is used in the Boss CE-2 Chorus and of Matsushita’s venerable MN3005. The chip is available for
BF-2 Flanger. sale separately, but is also used in the company’s higher-end
• Companding. Companding—compressing and W3 Memory pedal—which was designed by Howard Davis,
expanding—keeps the audio input to the BBD at an optimal manager of analog circuit design at Electro-Harmonix from
level, well above the noise floor, and restores dynamics after 1976–1981. The chip itself isn’t cheap, but it’s not prohibitively
the delay is created. This approach is used in the Electro- priced, either. Sadly, new Reticon chip clones don’t seem to be
Harmonix Deluxe Memory Man and Boss DM-2 on the horizon.
• Output balancing. As noted earlier, a trimpot is used to As with seemingly everything else in guitar gear, there are
balance BBD levels in an effort to cancel out clock noise. many legends attached to different BBD chips. One is that
there’s a difference between generations of Matsushita chips—
Ironically, a great deal of the “warmth” that players are particularly between the MN30xx series and the lower-voltage
referring to when discussing analog delays is actually a result of MN32xx series. Certainly the earliest Matsushita chips (like
the low-pass-filtering strategy for eliminating clock noise. The the MN3001 and MN3002 used in the Boss CE-1, and the
thing is, if you use the same sort of filtering in a digital delay MN3010 used in the A/DA Flanger) were quieter and could be
circuit, it can sound remarkably similar to analog! clocked faster (because they had a lower clock-pin capacitance).
But the quality of the signal in any of the various issues is still
Grading BBD Chips very much a matter for debate. I’m not so sure specs and data
For the longest time, there were effectively three manufacturers sheets capture the differences people think they hear.
of BBDs: Reticon, Panasonic/Matsushita, and Philips. I’m not With regard to the difference between the MN30xx and
sure about Philips, but Reticon stopped making BBDs in the 32xx generations, recall that BBDs can’t pass an audio signal
early ’80s, so anyone trying to repair or clone a Reticon-based unless it’s sitting atop a DC bias voltage (derived from the power
pedal has to pay astronomical prices for NOS replacements. supply). In the 1980s, the power supply for the bias voltage
Panasonic (formerly Matsushita) stopped production in the late would’ve usually been a battery. As the battery aged and the
’90s, but since there was demand for them, several companies voltage dropped, dividing down that voltage could result in the
resurrected clones of the old Matsushita chips. In the late “wrong” bias voltage, and sound quality would suffer. It seems a
1990s, Belling began reissuing copies of Matsushita’s MN3208 silly consideration now, in an era of plentiful power supplies, but
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back then there were no pedalboard power equal of a NOS version from 1981. these days. Which prompts the question,
bricks, and you couldn’t expect musicians Further, many of today’s effect designers is there anything about using BBDs that’s
to keep changing the battery or opening have mined the rich vein of tricks and somehow inherently better than state-
up a pedal to twiddle the bias trimmer. strategies for extracting the best out of of-the-art digital circuitry? Probably not.
So Matsushita designed the MN32xx this technology. That said, there were a And certainly, back in the day when all
series to operate off of 5 volts, and the lot more BBD types and configurations effects were analog, there were both stellar
bias would be derived from that 5 volts. available 30 years ago, and I do wish and ho-hum products. But the reason
The pedal’s 9-volt battery would then be someone would reissue certain models— many BBDs have been reissued in recent
down-regulated to provide a stable 5 volts like the Reticon SAD-1024 used in great years is not simply due to romanticized
for the BBD and its bias until the battery old flangers from Boss, A/DA, EHX, notions about the good ol’ days. When
dropped below around 7 volts—at which and MXR (as well as in the ADR S24 all is said and done, it’s because both the
point it wouldn’t have enough juice to Scamp), and the multitap Matsushita established old-school BBD know-how
power the pedal anyway. The redesign MN3011, which powered the legendary and newly discovered circuit-engineering
allowed the MN32xx series to work A/DA STD-1 Stereo Tapped Delay tricks—and yes, even the things that have
flawlessly without any drift in the bias as exploited to such great effect by Allan to be done to keep noise down—simply
the battery aged. But with contemporary Holdsworth. But that hasn’t stopped sound great when done well.
powered pedalboards, concerns about current designers from coming up with
supply-voltage drift are history. feature-rich pedals yielding remarkable Special thanks to Joel Korte at Chase
sounds and options that nobody dreamed Bliss Audio, Steve Daniels at Small Bear
Tying It All Together of in 1979—including things like tap Electronics, and Mike Irwin.
Happily, in comparison to modern tempo and digital control.
production of vacuum tubes, the quality Although many stompbox companies
MARK HAMMER is a psychologist who has been building
of BBDs currently in production is are migrating to the digital domain, I find and modding pedals, amps, and guitars since the late
generally no different from those made it both interesting and heartening that ’60s, and worships at the altar of Craig Anderton, Robert
Penfold, and John Simonton. He gets up in the morning
in bygone days. A new MN3205 is the new BBD pedals are unveiled quite often and thinks guitar.
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FORGOTTEN HEROES
Unsung Players Who Shaped Guitar as We Know It
D. BOON
The Minutemen’s visionary guitarist shattered everything—from his tone
to melodies to the rock ’n’ roll rulebook, and created a punk-fueled legacy
of scalding, eccentric, and influential music along the way.
BY TZVI GLUCKIN

D
Usually Boon IY may be commonplace for
wore his punk most bands today, but it was
ethos on his
a downright revolutionary
sleeve, but
this time it’s concept back in the late ’70s. That’s when
a bit higher. punk bands who couldn’t land a record
The guitar he’s deal, get press, tour, book local gigs, or
wearing is the get on the radio pretty much wrote the
ES-125 he used
for overdubs
DIY playbook. Their approach went
on the band’s on to develop into a massive movement
magnum opus, and spawn multiple scenes—including
Double Nickels the indie-, alternative-, and college-rock
on the Dime.
scenes—and its bands inspired everyone
Inset: from the most intense thrash artists to
With 33 songs, sensitive singer-songwriters.
the band’s two- One of the earliest DIY punk bands,
LP classic Double an influential trio that was do-it-
Nickels on the
Dime strove to yourself in every sense of the term,
recreate the was the Minutemen from San Pedro,
variety of songs California. If anything, they personified
and rapid- the movement in how they embodied
fire urgency
its proletarian ethos and values. They
typical of the
Minutemen’s were determined, idealistic, and a prime
concerts. example of great music that the industry
missed or ignored.
But the Minutemen—Dennes Dale
Boon on guitar (known as D. Boon, in
homage to his hero, E. Bloom—Eric
Bloom from Blue Öyster Cult), Mike
Watt on bass, and George Hurley on
drums—sounded nothing like their
contemporaries. They didn’t play
hardcore. They flirted with genres
anathema to most punks, including classic
rock, Motown, and post-bebop jazz. They
knew how to play their instruments, too, catalog of albums, EPs, videos, and anyway, albeit posthumously, although
and boasted formidable chops, impeccable live footage. They were just beginning like everything associated with the
time, and wide-open ears. to get noticed, too—their final tour Minutemen, it’s probably more accurate
Although the Minutemen were very was opening for R.E.M.—when Boon to call him something else—and to
much a group effort, it was Boon’s guitar was killed in an auto accident in late acknowledge that he did it, as the band
playing that stood out as the band’s most 1985. He was only 27. It was a tragic would say, “econo.”
idiosyncratic element. Boon almost never and untimely end to a story that was Boon’s story has been told many times
played power chords or used distortion. just getting started. His bandmates and in many forums, but, surprisingly,
His tone was abrasive, his comping—a almost called it quits, but eventually very little has been written about his
hyperactive synthesis of ’ ’70s funk and regrouped and went on to much greater playing, tone, gear, and experiences in
British post-punk—was complex yet acceptance, and even a major label deal, the studio. We reached out to Boon’s
rhythmically tight, and his soloing, as Firehose, among many other projects former bandmates, Watt and Hurley, as Photo by Bev Davies/Courtesy of Mike Watt
although influenced by his classic-rock and collaborations. well as Spot (Glen Lockett), who was
heroes, veered far from the blues scale But Boon had made his mark. His the house engineer and producer at
and often incorporated unusual note playing, energy, outlook, and idealism SST Records and the engineer on many
choices and dissonance. have inspired a generation of musicians. Minutemen sessions, in addition to
The Minutemen toured hard and Other guitarists often cite him as a his contemporaries Nels Cline (Wilco)
their profitable low-budget road trips primary influence. He was an outlier, and J Mascis (Dinosaur Jr.), to compile
are legendary. They were also prodigious an individual, and not interested in a musical snapshot of an idealistic,
in the studio and left behind a large becoming a rock star. He became one influential, and sorely missed talent.
premierguitar.com
For Southern Corn Dogs from Pedro
California punk
D. Boon was born on April 1, 1958,
bands, a ritual
of acceptance and raised in San Pedro, California, a
was performing neighborhood about 20 miles south
on the L.A.- of Hollywood. Blue collar and middle
based New Wave class, San Pedro was the opposite of its
Theatre TV show
with host Peter
northern neighbor. Mike Watt was Boon’s
Ivers, from 1981 childhood friend and the pair became
to 1983. When musicians at the insistence of Boon’s
the Minutemen mother. She thought it was a way to keep
appeared, Boone
them out of trouble. “Our first guitars
played the parts
S-style guitar were pawnshop,” Watt says. “I think D.
that he used to Boon had a Melody Plus. His cost $15
record the 1980 and mine was $13. Mine was a Teisco.”
Paranoid Time EP. Boon played guitar and Watt played bass,
not that they knew what that meant.
“I only had four strings on my guitar
because that’s what I thought a bass was,”
Watt says. “I took the B and the E string made a big impression him. “He would from those in San Pedro. They didn’t
off and now it was a bass. I didn’t know it teach him songs off records,” Watt says. immediately become punks, but they
was tuned lower. I had no idea.” “But then he would sneak in other soon formed their first band, the
Boon grew up listening to the music stuff—some Vivaldi, some Bach, and he Reactionaries (with Hurley on drums),
his father listened to: country star Buck showed D. Boon some flamenco.” You which after a few fits and starts morphed
Owens and Creedence Clearwater Revival. can hear the Spanish influence in Boon’s into the Minutemen.
“When I first met him, the only rock later playing—particularly in his use of Their big break came when they met
band he knew was Creedence,” Watt fingerpicked arpeggios and on his solo Black Flag in a parking lot outside a
says. “John Fogerty was a huge influence feature, “Cohesion,” off the 1984 release Clash show. “We opened for Black Flag
on him.” Watt turned Boon on to Blue Double Nickels on the Dime. But perhaps in February of 1978,” Watt says. “I think
Öyster Cult and their guitarist, Buck Lopez’s biggest influence was on Boon’s it was their second or third gig. It was our
Dharma, as well as the Who. “He was a work ethic. “He did impress upon us one first gig.” Some members of Black Flag
strange mix of John Fogerty and Buck thing: practice, practice, practice,” Watt were handing out fliers for an upcoming
Dharma. And then I turned him on to the says. “And that was one thing about me show in San Pedro. “We couldn’t believe
Who and he got into Pete Townshend.” and D. Boon … and still today, with my they were trying to play a gig in Pedro,”
Boon and Watt spent time together bands, I practice every day.” he continues. “We said, ‘We’re from
after school, learning songs off records—a Boon and Watt started to play in bands Pedro and we’re the only punk rockers in
tedious process in the days of low-budget together. They played covers—mainly that town.’ They said, ‘There are punk
turntables and 8-track tapes—and rock staples by the Stones, Alice Cooper, rockers in Pedro? Do you want to open?’
rehearsing the songs they knew. Sometimes Black Sabbath, and others. They finished It was fucking like that; we didn’t even
it was with Boon’s brother Joe on drums, high school, started college, and that know them and they asked us to open.”
but more often playing along to the record. probably would’ve been the end of their In 1980, Greg Ginn, the guitarist in
It was painstaking and slow, but Boon built music careers. Writing songs and making Black Flag and the head of then-nascent
up impressive chops, which made him records was not something they thought SST Records, invited the Minutemen
stand out in the early days of punk. people like them did. to record their first EP. “I met them at a
“I remember the first song was But then they discovered punk. show,” Spot says. “At that time, D. Boon
‘Suzie Q,’ and him running that down The ethos of punk—playing in had a mohawk and was wearing coveralls.
after school every day,” Watt says. “D. small clubs, writing songs, and doing They were playing these super-short songs
Boon never used record covers and so it yourself, the scene’s emphasis on and I thought, ‘Whoa, this is geeky.’ But
his records would be on the deck and community and its acceptance of misfits then I thought, ‘This is really good geeky.’
covered in grape juice, and you’d have to and outsiders, and even its left-leaning They didn’t have anything recorded as far
put six quarters on the stylus to keep it politics—spoke to them. It validated as I knew; maybe some practice tapes or
from skipping. It was terrible.” their ambitions. It gave them permission something, but that wasn’t even an issue
Boon also took a handful of lessons on to break rules. It taught them that art then. It was just, ‘Let’s get these guys in
Photo by Spot
nylon-string acoustic from Roy Mendez was within their grasp. It also exposed the studio and do something because it
Lopez, a colorful local character who them to people who were very different will definitely be good.’”
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Those first sessions, which resulted in the
EP Paranoid Time, featured a band with a
large repertoire, a distinctive sound, and low-
Punk Tone’s Mr. Clean
budget gear. They upgraded their instruments
as the years went on, but simple, utilitarian D. Boon liked his tone one
gear was an ideal Boon stayed true to. way: clean and bright as a
“D. Boon had a guitar that by any freshly shampooed polar bear
standards people would consider a piece of in a blizzard. His ingredients
junk,” Spot says. “It was a Frankenstein Strat. were essentially Fender or
It had a typical ’70s neck—probably a 3-bolt Fender-inspired, starting
heel—with maple fretboard, big headstock, with a Melody Plus electric
and bullet truss rod. The bridge pickup was solidbody guitar that was
a normal-looking single-coil. The body may made in Japan and acquired
or may not have been Fender. That was the for a mere $15. By the time
era of third-party DiMarzio, Mighty Mite, the Minutemen recorded their
Schecter—or whatever was cheapest—stuff. debut EP, 1980’s Paranoid
It was a guitar he put together that had been Time, he’d thrown together
just parts. It had paint splattered over it. It an S-style instrument from
was not a prime-looking instrument any way parts of now-forgotten origin.
you looked at it, but it was his instrument Than came the Telecasters—
and he knew how to make it sound.” the model he played until
Watt adds, “He also had a single-cutaway his tragic death just four
Melody Maker and put a Strat pickup in that. years later. He had at least
He got that from Dezo—Dez Cadena—of three—each acquired as an
Black Flag. He had a buddy make him a improvement on the previous
pickguard out of sheet aluminum so it wouldn’t one, including the natural
break. It just had a volume knob and that one rosewood guitar he played on
Stratocaster bridge pickup. He played that for his final tour. The exception
a few years until I got him his first Telecaster, was a severely beaten
because he always wanted a Telecaster.” single-pickup Gibson Melody
Maker that he played in the
The toll D. Boon’s sweat took on
Low-Budget Gearhead band’s early years, which he his instruments makes this Telecaster
Boon’s cheapo guitars were similar to what nonetheless made sound like look like a battle-scarred warhorse.
many other punks were using. High-end gear, a Tele—thanks in no small part Note the sealed EMG pickup in
as you’d expect, was expensive and beyond to sporting just one single-coil the bridge position.
the means of most early punk rockers. But pickup, in the neck slot.
they were making an aesthetic statement as Boon used zero effects, other than his imagination, to conjure
well. “Late ’70s and early ’80s punk/trash/ the jolting, prickly riffs that branded his individuality as a stylist.
noise bands were notorious for gutted pickup And his amps, once he had the spending money, were a succession
wiring, intentional or not,” Spot says. “There of Fenders—a Bandmaster, perched atop a rough-hewn mutt of a
was a pride in making the most basic, cheapest cabinet with two mismatched speakers, followed by a Super Twin,
system work. By the mid-’80s, attitudes got a and then Twin Reverbs, which he revered for their cleanliness and
bit more urbane or ‘professional.’” loudness. He turned the bass and mids off, and jammed the treble
D. Boon’s penchant for low-cost, ad-hoc up to 10, often making his notes sharp as a pirate’s dirk.
gear applied to his amps as well. “He His clean live tone marked him as different from most of the guitar
had an old blackface Fender Bandmaster players of the punk and post-punk years, and it was all the more
head,” Spot says. “At that time, it was astonishing for the precision of his lines—despite that fact that he
considered the low version of a Fender almost constantly capered onstage while he riffed and soloed.
piggyback.” He also had a 2x12 cabinet Éminence grise rock critic Robert Christgau summoned up the loss
Photo courtesy of Mike Watt
with mismatched speakers, which were of this singular virtuoso in his review of the Minutemen’s final album,
wired out of phase. “I recorded it in stereo. 3-Way Tie (For Last), which was released the month that Boon died: “I
I had each speaker miked separately. When tried to cut myself a little critical distance in the wake of a rock death
I was mixing the stuff down, I tried to see that for wasted potential has Lennon and Hendrix for company …
how everything sounded in mono and the After seven amazing years, he was just getting started. Shit, shit, shit.”
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guitar disappeared. That’s when I learned,
‘Whoops, this ain’t going to work.’” D. Boon Essential Listening
Regardless of the gear he used, Boon “D. had a powerful rhythm guitar thrust, putting his whole body
always sounded like Boon. His tone was into it,” Nels Cline says. You can see that in action in this 1985 clip
unique—even unusual—and not something shot live at the Stone in San Francisco, as he wails on “I Felt Like a
Gringo” from Buzz or Howl Under the Influence of Heat.
most guitarists aspire to. “D. Boon would
YouTube search term: Minutemen – I Felt Like a Gringo
play all treble,” Watt says. “He would turn
down all the tone knobs except for the To view more essential videos showcasing D. Boon’s singular style,
treble, which would go all the way to the head online to premierguitar.com.
top. It was a total cheese-slicer sound.”

“Thank God I was behind that amp,”
drummer Hurley recalls. “He used a learned from bands like the Pop Group solo that starts with an extended quote from
Fender Twin Reverb with the treble turned and Wire. “The Pop Group were basically the Champs’ 1958 hit, “Tequila.” It eschews
mercilessly high. I remember seeing a few putting Captain Beefheart together with the standard verse/chorus formula and
unsuspecting people jump up and run.” Parliament-Funkadelic,” Watt says. “We clocks in at under two minutes.
J Mascis, no wallflower when it comes liked that idea, too—the idea that you That minimalist approach applied to the
to volume, adds, “It was definitely the can do whatever you want. We never saw studio, too. Their first full-length album,
most ear-damaging show I ever went to. the movement as a style of music. It was 1981’s The Punch Line, was recorded at
I stood in front. He had the treble all the more like permission to try anything. Put Media Art Studio in Hermosa Beach,
way up with bass rolled all the way down. Funkadelic with Beefheart? Do it. We California. “We had an old Tangent 3216
It shredded my ears more than any other thought that was really interesting.” console, which, frankly, I thought was a
gig I ever went to.” That same spirit inspired another great-sounding board,” Spot says. “It wasn’t
But Boon’s tone, as distinctive as it Minutemen trademark: short songs. Most considered the most state-of-the-art board,
was, wasn’t just a preference. It was in sync of their songs were less than two minutes— but for what I call ‘gut-bucket music,’
with the band’s political outlook as well. many were less than one—but their songs you could really get a good sound going
“Watt and D. had very deliberately created weren’t supposed to be stand-alone. They to tape.” The recording was quick, as was
sovereign states,” Nels Cline says. “One were mini-movements and part of a greater the mixing, and it required very little EQ.
state was identified as ‘treble’ and the other symphony. “A Minutemen gig was to try “At one point I realized, ‘Wait a minute,
as ‘bass.’ They stayed out of the way of and make one song out of 30 or 40 parts,” these tracks don’t need any EQ on them.’
each other’s frequencies in a way that was Watt says. “We got the idea from Wire, but The rough mixes of the basic tracks on a
‘political,’ which means—I think—that they we also thought it would purge some of cassette sounded incredibly good, and they
had cooperation and respect for each other’s that rock ’n’ roll we learned off the records.” were coming off the machine straight—no
‘territory.’” Purging those influences explains their EQ, no nothing. I think there were one
“The political part of the Minutemen cavalier attitude toward establishing a or two tracks that I needed to put a little
wasn’t the words,” Watt says. “D. Boon musical style as well. “We didn’t think motifs compression on, and maybe something
called those, ‘thinking out loud.’ The or style,” Watt says. “Those were all devices through an outboard EQ, but other than
political part for D. Boon was how the to help us spell the word ‘Minutemen.’ We that, everything else was just a raw signal
band was structured. Obviously, we were didn’t want to be a ska band or a reggae with no reverb or any kind of effects on it.”
just a power trio, but he wanted to make band. We could play anything—that was “The first records were kind of like
room for the drums and the bass. He the idea—and still you could tell it was the gigs,” Watt adds. “We even played them
liked the way the R&B guys restrained Minutemen. During the gigs, there would in order so we didn’t have to spend
themselves—this idea of restraining be three or four times during the set when money on sequencing.”
yourself so you made room for the other we’d play free jams for a minute or two. We But as simple as their approach was,
guys in the band, instead of this hierarchy.” did a lot of that. But the songwriting—we they refined that even more. “Paranoid
Punk promoted independence and wanted it short and the songs were concise.” Time and The Punch Line were done on
rule breaking, and paid lip service to a 16-track machine,” Spot says. “What
anarchy. But like most movements, it Spartan Punks Makes a Man Start Fires? was 24-track. But
became established and rigid. Hardcore, “I Felt Like a Gringo,” off their album somewhere in that whole thing, Mike was
in particular, had set rules, and bands Buzz or Howl Under the Influence of Heat, grousing about the multitrack stuff. He
were expected to sound a certain way. is quintessential Minutemen. It also was a guy who, kind of like me, was very
But that didn’t apply to the encapsulates many of the qualities in Boon’s much influenced by the jazz approach,
Minutemen. playing. The song’s primary theme is a where you go into the studio, do it live,
In addition to their classic-rock roots, unison odd-metered line, with hyper-fast and don’t worry about any of that other
they borrowed from British post-punk and funk comping under the vocals, and a guitar stuff. I found a studio up in Hollywood.
premierguitar.com
It was an 8-track studio, and the guy who the keyboardist in a late-’60s incarnation of he got his rosewood Telecaster. After that
owned the place said, ‘If you really want Blue Cheer.) Boon used a Gibson ES-125 we found his purple one. The purple one
to go for what you’re describing, why don’t for those overdubs. The guitar had a soap is the one he really liked.”
you just do it live to 2-track?’ And that bar pickup in the neck position and he ran “D. experimented with a few different
was one of the best things I ever heard.” it through an Ibanez Tube Screamer. But guitars,” Hurley says. “His Fenders were
other than on those overdubs, he almost his favorite. If his sound was rude with
Playing for Change never used distortion or effects. plenty of attack, he was proud of it.”
Spot recorded the tracks for Buzz or By that point, Boon was using much “D. Boon favored Telecasters, he used
Howl Under the Influence of Heat live to better gear. “He had a Super Twin,” a lot of treble, and he sweated like crazy,”
2-track. They didn’t use that approach for Mascis says about Boon’s amp. “It was a Cline recalls. And that sweating caused
their next album, their magnum opus, 180-watt Twin with six tubes, from the electrical problems with Boon’s guitars.
Double Nickels on the Dime, but it was late ’70s or early ’80s.” “We had a problem with sweating at
definitely done “econo”—a term the band “After his Bandmaster amp, D. Boon gigs,” Watt agrees. “It would soak the
coined and lived by. pretty much fell in love with Twin pickups and shut out all the high end,
“That record cost $1,100,” Watt says. Reverbs,” Spot says. “The Twin Reverb which, for D. Boon, was like, ‘What? No
“Almost all that stuff is one take. D. Boon was what they would call a ‘proper amp.’ high end?!’” The solution, eventually, was
went back though and overdubbed some It was a silverface. It had a master volume to use EMG pickups, which were sealed
lead guitar. And it’s 8-track. It’s kick, snare, control on it. His was a good one.” in epoxy. We took out the pickup—for a
toms in stereo, bass, guitar, vocal, and then Boon’s guitar of choice at that time little while there was a Seymour Duncan
maybe guitar overdub. That’s all the tracks.” was a Telecaster. He had at least three. blade pickup in there—and put in the
The overdubbed solos on Double “You can see him playing the first one EMG, so we wouldn’t have to deal with
Nickels, as well as on subsequent sessions, when you open up Double Nickels on the the sweat. That fat one—the humbucker
were done at the behest of Ethan James, the Dime,” Watt says. “It’s black with a white in the neck position—he hardly used
engineer and owner of Radio Tokyo, where pickguard. Then on that tour, ‘Campaign that. He used that sometimes for
the album was recorded. (James was also Trail ’84,’ we played Canton, Ohio, and sustaining when he wanted to play like
premierguitar.com
Curt Kirkwood from the Meat Puppets, The album also includes songs like “That’s a band that could only have been
but he always used the bridge pickup.” “Corona,” which plays off a Latin- those three people,” Spot says. “How
Boon favored heavy gauge strings— influenced chord progression; “Jesus and each of those guys played and when they
usually D’Addario .012’s—and gray .88 Tequila,” which is a great example of played had everything to do with how
mm Dunlop picks. “He liked heavier Boon’s oddball phrasing; and a few covers great they were.”
strings,” Watt says. “They stayed in tune including “Dr. Wu” (Steely Dan) and “At heart they were punks,” Cline
better. More tone, more piercing. He got CCR’s “Don’t Look Now.” The album’s adds. “Including, discarding, and
that from Randy Bachman.” hit—if you could call it that—was “This challenging the notions of music-making,
Double Nickels showcases the full range Ain’t No Picnic,” which is one of the few and expressing themselves as self-
of Boon’s style. His hyper-fast, funk- Minutemen songs to use a standard verse/ determined artists—not emulating the
style comping is in full force on songs chorus formula. rock establishment and pining for general
like “West Germany” and “The Roar The band continued to tour and acceptance. They were mavericks and
of the Masses Could Be Farts,” and is returned to the studio twice more to visionaries: passion and no pretension.”
often juxtaposed with drastically different record the EP Project: Mersh and the “People ask me, ‘What kind of bass
sounds, like mellow jazzy chords, twangy album 3-Way Tie (For Last). They had player are you?’” Watt says. “I say, ‘I am D.
solos, or unusual riffs. a successful run supporting R.E.M., Boon’s bass player.’ Almost everything I do
“I think he was drawn to certain sounds performing their last concert of the comes from playing with that guy. D. Boon
and notes he thought were interesting or tour in Charlotte, North Carolina, had a sincerity in the way he sang, the
even jazzy,” Cline says. “Hence his playing on December 13, 1985. But then, on way he played, and the way he presented
was rarely just pentatonic. He started on December 22, 1985, Boon was thrown himself at a gig that really blew people
classical or Spanish guitar and as such, from the back of a van after the driver away. I thought that was such a human
early on, he may have learned something dozed off and lost control. He broke his quality—a fabric to bring us together
about scales without actually knowing neck on impact and died instantly. without somebody having to have his boot
theory. He was hearing more than just a And with that, the Minutemen called on your throat. I was glad to be part of the
so-called ‘blues scale.’” it quits. There was only one D. Boon. human team with D. Boon.”
The bigger the wave,
premierguitar.com
TONE TIPS
Thicken It Up!
BY PETER THORN
N
By employing o matter what style we play or trios, such as Andy Summers and Alex
a good, basic whether we use a clean, crunchy, Lifeson, have used stereo chorus units to
ABY box with
fuzzy or heavily distorted tone, great effect for thickening and widening
a buffer to
properly drive most of us guitarists crave a sound that’s their tones to fill up sonic space. delay on
two outputs— balanced and full. But what about those Harmonizers came on the scene in each channel
like the Lehle scenarios when your standard “full tone” the late ’70s, and some guitarists used (30 ms on the left and
Dual SGoS isn’t big enough? Perhaps there are songs them to create dense harmony lines with 40 ms on the right, for example). By
shown here—
you can put a
where you just need to get truly massive multiple intervals. (Trevor Rabin’s solo setting the feedback to zero and blending
simple mono in the choruses to set them apart from the on the Yes classic “Owner of a Lonely in the delay using the mix control, you’ll
digital delay on verses. Perhaps you play in a guitar/bass/ Heart” is a good example.) Other players hear the stereo image get fatter and wider
one amp as an drums trio and you need to fill up quite a discovered that a harmonizer could be the more delay you blend in. If your delay
effective tone
bit of space sonically. It might be that you used to create a sort of “still” chorus has modulation controls, increasing these
fattener.
wish your acoustic or electric guitar didn’t effect—accomplished by slightly detuning can create a cool chorusing effect.
sound so small, mono, and pinpointed the core guitar tone by generally +/- 9 In-ears and the dreaded mono
in your in-ear monitors when playing cents or less. This technique can sound guitar. Many artists are using in-ear
live. Whatever the case may be, I’d like fat and like a subtle chorus in mono, but monitors these days, but it can be
to share some strategic ways to fatten, in stereo, it can sound positively huge, a difficult adjustment for guitarists,
thicken, and widen your guitar signal. which is why it became a staple sound especially if you use a mono amp or
acoustic setup. We just aren’t used
to hearing our instrument in such a
Delays can be used in simple, creative ways pinpointed, mono way! Using a stereo
to build a larger than life tone, but without the rig can really help, but not every guitarist
obvious modulation of a chorus effect. can do this, or wants to do this.
Try this trick: Have the engineer pan
your main guitar signal left 40 percent
I’ve previously touched on both the throughout the ’80s and into the ’90s. and use an auxiliary send to route your
virtues of buffering your signal when (Eddie Van Halen relied heavily on this guitar signal to a delay set for 8 to 11 ms
appropriate and the benefits of a clean, sound for over a decade.) of delay, zero feedback, and 100 percent
properly wired rig. It should go without More subtle thickeners. Delays can wet. Send the return of the delay to
saying, but clean wiring will help ensure be used in simple, creative ways to create another channel and pan that channel 40
that you are starting with a robust, core a larger-than-life tone, but without the percent right. Then pull up that channel,
tone that’s free of loss due to capacitance obvious modulation of a chorus effect. If blend it at the same level of your main
and free of ground loops or extraneous you have a simple mono delay pedal and guitar channel, and voilà—your sound
noise. So, with that out of the way, we two guitar amps, try placing the amps a is now far more spacious and stereo-ized
can get to the fun stuff. few feet apart and running your guitar in your in-ears. This sounds great on
Choruses and harmonizers. When into an ABY box. Send “A” to your first electric-acoustic guitars as well as miked
chorus units came on the market in amp and send “B” to the delay pedal on guitar amp signals. Singers who play
the ’70s, they found favor by providing its way to the second amp. Dial in a very guitar really dig this trick because it splits
guitarists with a quick and easy way short delay time, the mix to 100 percent, the guitar wide and makes space for their
to make rigs sound thicker, while also and the feedback all the way off. When voice up the middle.
helping to create a stereo setup (when you play through both amps at once and I hope you get a chance to experiment
desired) by running the output of the switch the delay unit in and out, you with some of these tricks. Until next
chorus to two amplifiers. The initial should hear the image go from pinpointed month, all the best to you, guitar nerds!
aim of choruses was to create an illusion and cutting to wide and huge. By varying
of more than one guitar playing— the delay time (but always keeping it quite PETER THORN
is an L.A.-based guitarist who has
hence the “chorus” moniker—and that short), you can fine-tune the width and toured with Chris Cornell, Melissa
was accomplished by delaying and the diffuse quality of the sound. Etheridge, Tsuyoshi Nagabuchi, and
many others. He released a solo
modulating the core guitar signal and If you have two amps running in stereo album, Guitar Nerd, in 2011. Read
then blending in that modulated signal via a stereo delay unit, try setting up a more at peterthorn.com.
with the core tone. Notable guitarists in stereo delay patch with a different short
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16 Strings
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The World
Eight-string guitarists Tosin Abasi and Javier Reyes
of Animals as Leaders reveal how, for the first time,
they bypassed outside producers and collaborators to write,
track, and mix their new album as a band.
BY PAUL KOBYLENSKY
ΔΔΔ
A
nimals as Leaders has had a massive D.C. area, and the 8-string guitar-playing core on post-editing their performances allowed
impact on modern electric guitar. The of Animals as Leaders was set. Garstka to push and pull the songs’ grooves
8-string instruments the band use for Since then the band has achieved critical and lent a human element to the band’s
their mind-bending fretboard acrobatics are now and commercial success, touring the world super-human sound. “I think I’ve gotten out
commonly found in stores around the world, with a wide variety of artists and releasing a lot of the super-aggressive technique-based
their use of Fractal Audio’s Axe-Fx units helped three more acclaimed albums, including their lead playing on the previous releases,” says
propel the company’s products to international latest, The Madness of Many. Each album Abasi, explaining the bands’ current song-
recognition, and their heavy electronic-music showcased a new side of the band and drew first approach.
influence made it okay for bands to add on the influences of outside producers and Animals as Leaders and their new album
considerable non-guitar elements to their guitar- musicians, such as Periphery’s Mansoor and continue to defy categorization. When they
based live performances. For proof of the band’s Adam “Nolly” Getgood, drummer Navene released their self-titled debut, the world
influence, start an Animals as Leaders Pandora Koperweis, and Volumes’ Diego Farias. was treated to an aggressive blending of
channel and listen to a steady stream of like- The Madness of Many represents a rebirth genres and guitar-playing techniques that
minded artists that would have never achieved of sorts for the band. For the first time in their had seldom been heard before. Many rushed
recognition without this trio from Washington career, Animals as Leaders kept all performance, to call them djent. But one listen to The
D.C. come pouring from your speakers. songwriting, and production duties in-house. Madness of Many disproves that notion, and
Animals as Leaders had their genesis in What you hear on The Madness of Many is the any comparisons to other genres or bands are
what was supposed to be lead guitarist Tosin sound of three mind-blowing artists with free simply due to a lack of obvious descriptions.
Abasi’s solo album. Initially the outing was rein to create the music they want. As a massive fan of the band, it was this
intended to have more electronic-based Their newfound approach allowed Reyes journalist’s honor to get the opportunity
production, but with the help of Abasi’s and drummer Matt Garstka to interject to chat with Abasi and Reyes about the
friend, producer, and Periphery guitarist their song ideas and compositions on an new album, their gear, and their ever-
Misha Mansoor, the album Animals as Leaders even playing field. This brought influences expanding playing styles and knowledge.
took on the heavier and more guitar-based as diverse as Squarepusher, classical guitarist And maybe most importantly, why they feel
character we know today. When it came time Yamandu Costa, and even Björk. like the challenging, intellectual, and often
to put his band together, Abasi reached out to The trio also stuck to a less-is-more ethos mystifying sound of Animals as Leaders
Javier Reyes, his former bandmate from the in all aspects of this project. Pulling way back continues to thrive across the world.
Opposite page: Drummer Matt Garstka and guitarists Tobin Abasi and Javier Reyes, from left to right, combined all their diverse influences for The
Madness of Many, crafting a sound that extends from classical music to Björk.
Photo by Joe Russo

At a December The Madness of Many introduces a new Are there any drawbacks to keeping just because
concert in New way of working for Animals as Leaders. everything in-house? the string is that
York City’s
Webster Hall,
What was it like self-producing the Abasi: Some of the drawbacks would be, much thicker. We really like the sound of
Javier Reyes album and why did you choose to go depending on who you work with, you’re the lower strings, so we go for as little gain
plays his ESP that route? going to get different levels of editing, as possible.
LTD Signature Tosin Abasi: We initially intended to just quantization, and stuff like that. We Reyes: Also by referencing a lot of
JR-608 8-string, do pre-production on our own. Then the wanted as little editing or quantizing as recordings that I felt were really good.
while Tobin
Abasi digs in songs started to really come together in possible, but there are some producers And listening to Matt and Tosin’s
on his Ibanez a way that, ultimately we were like, “I whose sound is reliant on replacing feedback. It was a matter of a lot of
TAM100 don’t really know what a producer would drums and samples and editing things to negotiating with each other and a lot of
signature model do.” And it started to dawn on us that fit perfectly on the grid. referencing other really good material.
8-string.
we could release this thing as the work of Reyes: The drums are way less edited
just three of us. than they were on The Joy of Motion You guys are well known for using
Javier Reyes: The original idea was to or any of the previous albums. We just Fractal Audio Axe-Fx guitar processors
work again with Misha Mansoor of wanted to have a more organic feel. The and playing 8-string guitars. Is that
Periphery. Even with the mixing, we band wants to grow in that direction. what you used for this album?
actually sent it out to three different Abasi: It’s funny you say that, because
people. But the mixes that I had on it were Listening to the mix, I noticed the for the album, yes. But right now I’m
closer to what we wanted. So we decided guitars in particular are very clear on running a completely analog rig. No
again, “Well, let’s just handle it ourselves.” this album. You can really hear the Axe-Fx. I just fell back in love with the
strings moving on the instruments. immediacy of that response. I’m using
You seem to have benefitted musically How did you achieve that? a Morgan SW50R. It’s a single-channel,
from the process. Going forward, is this Abasi: By using as little gain as possible. handwired tube head. It’s just very
the way you see yourselves working? And by choosing [Axe-Fx modeled] amps basic. Pure, clean, lots of headroom,
Abasi: It’s a good question. We’re really that are mid-forward and articulate. The and nothing fancy. I use it as a pedal
feeling empowered by self-producing cool thing about extended-range guitars platform. I actually realized rehearsing
Photo by Joe Russo
this album, so I think there’s going to be is that the lower the pitch, the more The Madness of Many songs that I
more of the same. And you’re just going amplitude the actual string seems to have. didn’t need a bunch of different amp
to hear more exploration from us. It’s almost like driving the preamp harder models and a bunch of different effects.
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TOSIN ABASI’S GEAR
GUITARS
• Ibanez Tosin Abasi prototype
signature 8-string
• Ibanez TAM100 signature model 8-string
• Ibanez RG90 Prestige 9-string
• Strandberg custom 8-string
• Rick Toone Blur 8-string
Extended Range Guitar
AMPS
• Morgan SW50R 50-watt head
• Morgan 2x12 cabinet with
Celestion G12H speakers
• Paul Reed Smith 4x12 cabinet with
Celestion G12M-65 Creamback speakers
EFFECTS
• Pro Tone Tosin Abasi
Signature Overdrive
• two Friedman BE-OD Overdrives
• Leqtique overdrive
• Empress ParaEQ
• Strymon BigSky Reverb
• MXR Carbon Copy Delay
• TC Electronic Ditto X4 Looper
• Wampler Ego Compressor
• ISP Decimator noise gate
• Carl Martin Octa-Switch
One of Animals I’m actually using the equivalent of a sending two signals out of the Axe-Fx. STRINGS & PICKS
as Leaders’ 3-channel head and some core effects. One has a cab sim that goes to front of • D’Addario NYXL custom 8-string sets
signature Reyes: I’m still running the Axe-Fx. I house and my in-ear monitors. The other (.0095–.074)
approaches
is the bass- like the simplicity of it. And with travel, doesn’t have a cab sim, and it goes into • Dunlop .73 mm signature
technique-like I don’t want to have to remake tones the front of the [Port City] Pearl, which (similar to a Jazz III, but slightly larger)
“thumping” wherever I go. It sounds great, I know it, is a very clean single-channel amp with a
employed by and it’s extremely economical. I love my non-colored tone. I have two 2x12 Port
both guitarists.
Here, Abasi
Axe-Fx. If I could sleep in bed with it, I City cabs. One of them has Celestion
puts his thumb would! [Laughs.] I’m using the XL+ right Creambacks and the other one has G12s.
to work on now. I’m also using a Sub Machine fuzz I use that for my stage sound.
his prototype octaver pedal from MXR on “The Brain
signature
Dance.” That’s the only third-party pedal What guitars did you play on the album?
Ibanez.
I’m using outside of my Axe-Fx. Abasi: For about 90 percent of the
album, minus the acoustic songs, I played
It started to dawn
Is the band still using Port City cabinets? my signature prototype Ibanez—though on us that we could
release this thing
Abasi: Javier is. But I’m using Morgan “Private Visions of the World” is on a
and a 4x12 that Paul Reed Smith gave 9-string.
me. It has alnico 65-watt speakers in
it. I mike up my Morgan 2x12. It’s got
Reyes: I think I used an 8-string PRS on a
couple of songs. We used an Aristides guitar
as the work of just
Photo by Joe Russo
Celestion G12H speakers. with Bare Knuckle pickups in it. And on three of us.”
Reyes: The Port City cabs are great. They “Private Visions of the World,” I used a
haven’t done me wrong. I’m actually Vintage Plus from ESP. I love that guitar. — Tosin Abasi
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We used my signature Ortega 8-string Abasi: Yes. The Rick Toone is on low-tuned riffing. Are those trademarks
classical on “The Brain Dance,” as well. “Backpfeifengesicht.” Those instruments something you’re conscious about
have a unique sound. And they both keeping in your sound?
Tosin, your prototype guitar has been have extended fretboards beyond the Abasi: Animals as Leaders is a space to
seen all over the web and on tour. I’m nut, on the seventh and eighth strings. bring all that together without many
assuming it is something that will be So there are certain songs, like “Physical rules, and so you hear it all come out.
coming out soon? Education,” that were written specifically Reyes: The technical stuff comes pretty
Abasi: Yeah, we’re just trying to nail the on the Rick Toone or the Strandberg. naturally. But I always want to come
design, but I’ve been playing it for over up with something that’s listenable and
a year. And, I should add, I’m using Javier, are you still playing your isn’t complicated for the sake of being
Fishman Fluence pickups now. signature ESP 8-strings on tour? complicated. But I think we’re aware that
Reyes: Yeah, I have two of them out right the “thumping” is definitely a unique
Why the change from your signature set? now. In Europe I even took my lower- quality that the band has. For the time
Abasi: It was kind of an accident. I A/B’d tier model. It’s a really great guitar. For being, it’s definitely our signature sound.
them against my Duncan prototypes and the price, it’s one of the better 8-string
they smoked my Duncans. I just couldn’t guitars. I use my signature Eclipse 8 Tosin, in the last interview you did
believe it. So in that moment I literally DiMarzio pickups. I voiced them to have with Premier Guitar for The Joy of
couldn’t move forward with what I was a single-coil sound but still have that Motion, you mentioned wanting to
playing. Those A/B comparisons are humbucker thing to them. I love them. increase the lyrical qualities of your
definitely the best way to really expose They’re very clear. playing. Do you think you achieved
differences between pieces of gear. that on this album?
Animals as Leaders is known for Abasi: Yeah, I think so. This album
You’ve also been famously seen with incorporating Latin influences and is the least shreddy, as far as my lead
Rick Toone and Strandberg guitars. electronic elements, and using such work is concerned, and I feel like it’s a
Did those guitars make it to the album? guitar techniques as slapping and heavy result of a few things. One is not trying
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JAVIER REYES’ GEAR
GUITARS
• ESP LTD Javier Reyes
Signature JR-608 8-string
• Ortega Guitars Javier Reyes Signature
JRSM-RWC 8-string classical
• ESP Vintage Plus 6-string
• Paul Reed Smith 8-string
• Aristides 080
AMPS
• Fractal Audio Axe-Fx II XL+
Besides his to express the same things repeatedly. chord melody. I think you can really hear • Port City Pearl Head
signature And my taste in guitar music has really him offer a wider range of expression • Port City 2x12 Wave cabinet with
electric 8-string evolved a bit. I’m really responsive than just rhythm, like on the first album. Celestion G12H speakers
model and its
to vocal-centered minds, like Derek Reyes: On “Private Visions of the • Port City 2x12 Wave cabinet with
accomplices, the
rest of Javier Trucks. And by doing the Generation World,” Tosin has really dense chord Celestion G12M-65 Creamback speakers
Reyes tonal Axe tour and being around guys like melodies happening. So I wanted to write
recipe lies in Zakk Wylde, Nuno Bettencourt, something that was very complimentary, EFFECTS
his blend of
Fractal Audio’s
Yngwie, and Vai—all quintessential but still very melodic. Sometimes it’s • Fractal Audio MFC-101 Foot Controller
Axe-Fx and Port electric guitar players—it starts to really hard because we’ve been playing together • Fractal Audio EV-1 Expression
City’s Pearl head sink into my playing. a long time. We definitely go back and Volume Pedal
and cabinets forth with influencing each other. • MXR Custom Shop Sub Machine
with Celestion
Javier, how has your playing expanded Octave Fuzz
speakers.
on the new album, and who has You have electronic elements and
influenced you? harmony guitar lines running STRINGS & PICKS
Reyes: I’m thumping a lot more. A lot throughout your albums. How do you • D’Addario NYXL custom 8-string sets
of these songs I can get through without pull those off live? (.009-.074)
using a pick. The line between guitar and Abasi: If it’s not something Javier and • Dunlop .73 mm signature
bass technique is getting more blurred. I can play, then it has to be a layer, (similar to a Jazz III, but slightly larger)
Sometimes I look down and think, “I’m the same way the synth stuff is on the
literally playing what looks like bass background track.
stuff.” But it’s still guitar. I like that it’s a
totally unique style. So you have to be right on your click Basically the self-titled was the end result
There’s a Brazilian classical player track! That’s impressive. You have to be of my collaboration with Misha Mansoor.
named Yamandu Costa who is just tighter than humans, basically. And then with Weightless, we worked
phenomenal. He has an album with Abasi: We are just really tight humans. with Navene Koperweis, who was our
a Brazilian mandolin player named [Laughs.] We play to a click for drummer at the time. And that kind of
Hamilton de Holanda that will everything, so we know that if we get off, led things in a slightly different creative
blow away any guitar player with an it’s a potential disaster. There’s no margin direction.
appreciation for beautiful music. for error. On The Joy of Motion, we went back
to Misha, as well as working with Diego
Are there moments on the album that How would you describe the evolution Farias of Volumes. And the focus was
display each of your styles and influences? of Animals as Leaders from the self- on making tracks that were shorter, a bit
Abasi: I think all of Javier’s parts on “The titled debut to where you are now? more focused, and song oriented.
Photo by Joe Russo
Brain Dance” and “Apeirophobia.” And Abasi: With the self-titled, it was not Then with The Madness of Many, we
even “Private Visions of the World” … really a band. It was a bunch of guitar just wanted to reference everything we had
he’s doing the lead line there based on my ideas I had and some demos I made. done previously. But we also worked where
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we didn’t have outside influence at all. I
think The Madness of Many is the album YOUTUBE IT
This live version of The Madness of Many’s opening track is a stellar
we all wanted to make collectively. So the example of how the band uses a wide array of guitar techniques.
biggest difference in the process is that it Check out the atmospheric breakdown at 1:10.
was purely an internal collaboration. YouTube search term: Animals As Leaders - Arithmaphobia
@ Glasshouse 11/11/16
Reyes: It has definitely been an evolution,
as far as third-party contributors and
ourselves. We always try to write as who And we’re lucky that there are bands today do you feel about so many players now
we are in that current time, using the that are making it a scene for us now. chasing the Animals as Leaders sound?
influences we have at the time. But this Abasi: I think it’s because the sound is Reyes: It’s a dream come true. To get
time we really wrote everything together. of musical value at the end of the day. to the point where you’ve seen a piano,
It was way more collaborative within the We’re concerned with compelling rhythm, flute, sitar, or harp cover of your songs,
band than it ever has been. melody, and harmony, and I think that is or people writing to tell you they’re using
what people are responsive to. We are trying your song for their Berklee [College of
What do you think it is about your sound to bring metal, progressive metal, electronic Music] audition ... I don’t know if there’s
that makes it so accessible worldwide? music, jazz, and classical all into one space. really words that can describe it.
Reyes: I think we were at that cusp of So I guess we’re merging the things we love. Abasi: I think it’s awesome—the word
the internet that allowed us to blow up, And by doing that, providing music for “renaissance” comes to mind. There’s an
as well as timing it with Misha. We were people who love the same things. elevation of artistry on the instrument and
super-impressed with what he was doing. an attraction to learning about harmony
I remember hearing demos of Animals as Today such artists as Intervals, Plini, and technique. It’s inspiring to see someone
Leaders before Misha, and they do not Sarah Longfield, and Chimp Spanner are do something on this level, and I think
sound like anything from the first album. doing their own take on a similar sound. these young players have their eyes on a
I don’t know if the band would have had But it was Animals as Leaders that helped very awesome prize. We’re in store for a lot
the same amount of success without him. bring that sound to prominence. How of great guitar playing.
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If It Gets Polite—
GAME OVER
Chrissie Hynde talks
about making a rocking
new Pretenders album
with Dan Auerbach, her
guitar history, and why she
absolutely loves to play.
× BY TED DROZDOWSKI ×
“T
here’s not a day that goes by when I don’t think, and skilled musician who
‘This is fucking great,’” Chrissie Hynde replies sometimes talks about the
when asked about her 36-year run with the guitars she’s owned over the
Pretenders. She’s right, of course. Growing up in years as if they were pets.
Akron, Ohio—the Rubber City, where she attended Firestone “I didn’t learn to play
High School—Hynde wanted nothing more than to be in a rhythm guitar by default
rock band. And for more than half her life she’s led one of the because I couldn’t play
best through a dozen incarnations—all of them dependent on lead,” Hynde explains. “I
her poetic writing, her smoky and commanding voice, and her never tried to play lead. I
partnerships with a variety of fellow guitarists that have created was a rhythm guitar fan
a perfect union of artful rhythm playing and terse, conflagrant right from being inspired
solos, leads, and licks. to play by listening to
Those fretboard collaborations have bristled and purred James Brown, where the
through truly extraordinary songs. They range from the rhythm was the anchor of the whole song and
punk-inflamed and bellicose early classics “The Wait” and everything was based around it—sometimes on only one
“Tattooed Love Boys” to meat-and-potatoes rockers like chord. That really turned me on. I like things that never
the title track of the band’s new album Alone to elegant and change. I’ve discovered that with the least amount of chord
reflective ballads like “Hymn to Her” from 1986’s Get Close changes you can come up with the most melodies and stuff,
and “Almost Perfect” from 2008’s Break Up the Concrete. and I’ve stayed on that.”
“I’m not really very guitar savvy,” Hynde says. “I just do the
Photo by Photo by Jill Furmanovsky
Premier Guitar caught up to the great Pretender in Nashville

job. But I won’t talk to fashion magazines or Esquire or Rolling the morning after Hynde and her band opened for Stevie Nicks
Stone—all the ones I think have gone the wrong way. So I’m in an early November concert at the Bridgestone Arena. Hyde
delighted to talk to a guitar magazine.” talked about some of her favorite instruments, recording Alone
She’s also clearly delighted to play guitar, and while Hynde in Music City with Dan Auerbach at his Easy Eye Studio, her
isn’t likely to engage in a deep conversation about orange drop band’s current lead guitarist James Walbourne, and what she
capacitors or tuning machine gear ratios, she is an impassioned looks for in a 6-string sparring partner.

CHRISSIE HYNDE’S GEAR
GUITARS
• 1965 Fender Telecaster
• Fender Custom Shop Telecaster
• 1998 Fender Squier Telecaster
• 1964 Fender Telecaster
AMPS
• two Ampeg Super Jet SJ-12T reissues
EFFECTS
• Fulltone Fat Boost
• Boss CE-2 Chorus
• Boss TR-2 Tremolo
• Boss TU-2 Tuner
• Shure wireless
STRINGS AND PICKS

• D’Addario EXL120s (.009–.042)
• Scotty’s medium nylon
and wrote it on my arm and showed it

to them, and they said, “Yeah, it’s yours.
Some kid brought it in last week and
we’ll have him arrested.” I said, “don’t
bother,” because I was real punked-out
and anti-police.
Then I had an SG—that was a nice,
light nifty little thing. James Walbourne
is the other guitar player in my outfit
“I never tried I first saw you in 1980 at Toad’s a journey with the rest of the band. My and he’s doing amazing things on an SG.
to play lead,” Place in New Haven, Connecticut, on excuse is that I was a girl and I never And then I don’t know how I got the
says Hynde. “I
was a rhythm
your debut U.S. tour, and you were really felt like, you know, wanting to. I Tele. Maybe I thought it looked cool or
guitar fan right playing a Telecaster. You’re still playing would maybe go for it now, but it never something. But when I first picked one
from being Telecasters. What interested you in comes up. Jams aren’t me. up I thought, “I’ll never be able to carry
inspired to play that model and what’s sustained your So I had that Kay electric, and then this for an hour.”
by listening to
interest over the decades? I had a fantastic little Gibson Melody I have a few. I’ve had a couple made
James Brown.”
I like the feel and look of it, the necks Maker. I loved that guitar. It was in the … a Zemaitis … but the one I’m using
and everything. But the first electric boot of a car and got stolen, so a guy I now, I don’t know what year it is. I got
guitar I had was a Kay—a semi- was working with leant me his Melody it a long time ago and it was already old.
hollowbody. I was a teenager trying to Maker, and I went into a guitar shop to They had two in this shop in New York.
play [the Butterfield Blues Band’s] “Born have the machine heads fixed or changed, Maybe in Manny’s. There was one with
Photo by Larry Marano/Atlas Icons
in Chicago” and stuff on my own. I and I saw my Melody Maker that had the original finish and one with spray
didn’t want to jam with anyone, because been stolen the past week. They said, paint. They said the one with the original
they were all guys. I missed out on that. I “How can you prove it?” I got it for my finish was worth more. I said, “Give
just like to get straight into it—although 21st birthday. I saw it in the paper and me the other one.” Only because I hate
I really regret that, because that’s where my parents got it for me for $100. I collectors’ things. I’m anti-collector. I
all the fun is and where you can go on checked the serial number on the receipt thought, “Give me the shitty one.”
premierguitar.com
“Run Everything
Loud and Rock Out”
—James Walbourne
T
Laying into a he Pretenders have a lineage whose sound nods toward Fairport
Telecaster that’s of distinguished lead guitarists, Convention, the groundbreaking
now departed
his touring
beginning with the incendiary English folk-rock band cofounded by
arsenal, James but self-destructive James his father-in-law, Richard Thompson. JAMES WALBOURNE’S GEAR
Walbourne Honeyman-Scott and continuing “I’ve played with him quite a
slams it down with Billy Bremner (Rockpile, Nick bit, so it’s definitely rubbed off,”
with Chrissie
Lowe, Dave Edmunds), Robbie Walbourne relates. “Now, being in GUITARS
Hynde at • 1963 Gibson SG Junior
Chicago’s Riviera McIntosh (Paul McCartney, Roger the Pretenders lets me play rock
Daltrey), Johnny Marr (the Smiths), guitar, and the Rails gives me the with Maestro Vibrola
Theatre during
the Break Up the and Adam Seymour (Katydids). That opportunity to do everything else I • 1968 Gibson Firebird
Concrete tour. gives the band’s current string- enjoy, so I get to have a lot of scope. with Maestro Vibrola
slasher, James Walbourne, 10 pairs “Chrissie is a great rhythm • 1958 Fender parts Strat
• 1950 Fender Tele Relic
of shoes to fill—but the biggest player,” Walbourne continues,
• Gibson Les Paul Classic
belong to Honeyman-Scott, who “but it’s kind of funny, because
helped define the Pretenders’ sometimes she gets so lost in
savage-to-soothing sound on 1980’s performing that she forgets which AMPS
• two Fender ’68 silverface
Pretenders and ’81’s Pretenders II. fret she’s on. But she’s always
Deluxe Reverb reissues
“When I first joined the band, it inspiring. She writes aggressive
was great to discover all of Jimmy’s lyrics that really bring out an
parts,” Walbourne says. “He was aggressive edge in my guitar EFFECTS
a great stylist, really, and to try to playing, and I love that she can • TC Electronic Flashback X4 Delay
make those parts my own a bit, go from extreme rock to doing a • ZVEX Box of Rock overdrive
without changing up the character ballad seamlessly. She’s a natural, • Crowther Audio Hotcake distortion
of the songs, was a challenge. But and she can also write some really • MXR Custom Audio Electronics
Boost/Overdrive
Chrissie made it clear that she complicated rhythms, like in ‘The
• Dunlop Cry Baby wah
wanted me to bring my own thing Phone Call.’ To get your head
• Tone Bender fuzz
to the table.” around a song like that takes some
• Boss CE-2 Chorus
Walbourne’s own thing is, well, time. The bottom line is, her guitar
• Boss TR-2 Tremolo
nearly a bit of everything. Before drives the band—even Martin.
joining the Pretenders he played Besides that, she’s just amazing to
with Americana roots outfit Son Volt be around. When we’re not onstage STRINGS AND PICKS
• D’Addario EXL120s (.009–.042)
and was a member of the Kinks’ we always talk about music and
• Scotty’s medium nylon
frontman Ray Davies’ solo band, have quite a good time, really.”
navigating the singer-songwriter’s It also took Walbourne some
new works and classic-rock catalog. time to wrap his head around
He met his wife, Kami Thompson, chorus pedals, which Honeyman- instead of that horrible singer-
while playing on the sessions for Scott made a staple of the songwriter chorus approach. So
her mother Linda’s 2007 album, Pretenders’ foundational sound now I can’t be without one.”
Versatile Heart. And Walbourne was with his ringing chord stabs and Another essential element for
recruited from Irish gutter-punk arpeggios in numbers like “Mystery Walbourne’s tone is volume. “I run Photo by Tim Bugbee / Tinnitus Photography
group the Pogues by Pretenders Achievement” and the band’s first everything loud and just rock out
drummer Martin Chambers just in single, “Brass in Pocket.” on it,” he says. “I turn everything
time to cut 2008’s retro-leaning “To me, they were the Devil’s up on my amps and guitar, and I
Break Up the Concrete, where pedal,” Walbourne says. “I couldn’t don’t touch my volume and tone
Walbourne showcased his slapback- stand them, really, but Jimmy pots except for some swells on
dappled rockabilly licksmanship. made it work. He was fantastic ‘Hymn to Her.’ I don’t like to fiddle
Since 2011 he and Kami have also with the chorus and used it to around. I just like to concentrate
performed and recorded as the Rails, really create his own sound, on playing.”
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“Dan Auerbach sees an album as a two-sided
vinyl LP. That sets a kind of boundary so it
doesn’t get lost up its own ass.”
I just do the job with my guitar and I had a bronchitis kind of thing. From I want excellence. But it’s not about
I’m not as diligent with it as I wish I was. being an ex-smoker, smoking all my life, I who’s the best; it’s about who does the
I also found a $200 Stratocaster not long couldn’t even talk. And Dan said, “Don’t right thing. I like a guitar player who can
ago. My office had them to sign to give worry about it. We’ll do all the vocals in hold down the fort with a nice rhythm
to some charity, and I picked it up and the last few days.” I was literally crying part, a nice arpeggio, and then let it rip.
said, “I love this guitar.” So they gave me when I got back to the hotel after the James is a wild card, so that’s great. I see
one and I played it a while at home, but first day, because I was so sick. my position as a singer as being there
I’m aware of the fact that no one wants [Bassist] Dave Roe would pick me to set up the guitar player. I orchestrate
to see me playing a Stratocaster. Not up and take me back to my hotel every the band and keep them on their toes,
that I’m that image conscious, but when day. We’d play the demos, which I sent because if it gets polite or you’re going
I said I was going to bring in a Strat, I to Dan before the sessions, and Dave through the motions—game over. It’s not
could see a look in my guys’ faces, so I would write out a chart, pass it out to rock ’n’ roll and it’s not fun anymore. If
thought, ‘Oh, oh. Maybe that’s not such everyone, we’d do three takes, and move you’re playing for an extended period you
a good idea.’ ” on to the next song. And I might croak have to be very mindful of that. So I’ll
out a guide vocal. come in at a different place or end songs
What did you play on Alone? I played on “Gotta Wait.” That really in different spots, or tell James to keep
I don’t really play on the album. I play is a rhythm-driven song. I might have going or cut a solo. He always has to be
on one song. We recorded the album in played on “Chord Lord,” too. But I’m ready to switch the plan.
two weeks. Dan Auerbach plays on all playing all the songs now, because we’re I like bands. I’m not, for the most
of it, and Kenny Vaughan. I just kind doing them live. part, interested in individuals. It’s the
of brought in some demos. I wasn’t very band dynamic that turns me on. And
well for those two weeks and wasn’t sure You’ve worked with a series of there you go. The line-ups have changed,
I’d get through the sessions. I was on distinguished guitar players. What are but the spirit of the thing has remained
cortisone. It was changing seasons and you looking for in a guitar foil? the same.
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Kenny Vaughan and Dave Roe:
Inside the
Alone Sessions
I
Dave Roe plays f you check the credits on Dan that foolish, ‘Oh, we can’t do that Chrissie totally handed the reins
his Lemur Music
Auerbach-produced albums by the because we did that on the last to Dan, trusted him and us, and it
Jupiter upright
at Easy Eye Arcs, Nikki Lane, Ray LaMontagne, song’ mentality, which is something went great. To hear that voice in the
Studio. He ran and Lana Del Ray, you’ll notice the that drives me nuts. He looks for the phones was sublime and inspiring.
the bass through names of guitarist Kenny Vaughan essence of each song, and that takes “I also loved hearing her stories
a custom DI, and bassist Dave Roe. They’re work. Sometimes you have to admit about the Pretenders starting out
a console
zsidecar, and
regularly drafted for sessions at that you’ve gone down the wrong in England,” Roe continues. “Most
a compressor. Auerbach’s Easy Eye Studio because road and you need to break it down everyone associates them with
they’re among Nashville’s sharpest and start over. the British punk and post-punk
and most versatile players, and they “Recording with Chrissie was explosion of the late ’70s, so one of
likely appeal to Auerbach because of great,” Vaughan adds. “She’s easy to the striking things for all of us was
their ability—although it’s practically work with and very open to trying the realization that the Pretenders
an insistence—to think outside of the things out. She’d stand there and never related to that at all. They
box. Plus, they have tone for eons. sing live with the band, and we’d all had that punk energy for sure, but
During their regular Monday get shivers when that voice came it surprised them to find that they
night gigs together at Nashville’s 12 through the speakers.” were lumped into that. I think that
South Taproom, Roe and Vaughan’s For each song, Vaughan was the playing level in that band was
sets rip from surf music to jazz “assigned a position: electric guitar, far beyond any of that.”
to swamp blues to R&B to classic acoustic guitar, sound effect guitar, Roe used Auerbach’s vintage
country to originals to, really, just baritone guitar, etc.—and then we’d Fender Mustang with La Bella
about anything that crosses their look for the right instrument and flatwound strings that he almost
minds. Today Vaughan’s most high- amplifier to make it happen. I don’t always uses for Easy Eye recordings.
profile gig is with Marty Stuart’s use a pedalboard, but there are “The way that the bass sits in the
Fabulous Superlatives, where hundreds of pedals around if you mix on those old records is what he
he and Stuart regularly engage might need to try one. I don’t recall goes for. He loves to say that you can
in virtuoso crossfires. Early on, using one.” A highlight: “I played my ‘see the bass,’ and I get that,” Roe
Vaughan was a student of Bill Frisell Dan Dunham Junior Watson model relates. “Modern music, especially
and he left an indelible mark on the through a cranked tweed Gibson the stuff that comes out of Nashville,
music of Lucinda Williams during GA-5 on the rock tune with all the is overloaded with a sort of false
his tenure in her band. Roe held the chords [“Chord Lord”] and the solo low end that really doesn’t allow for
bass chair in Johnny Cash’s group went down live in one take. It was a much movement. I like that as well,
for 12 years and has played the roller coaster ride.” but it’s not right for everything.”
same role for Dwight Yoakam and, “If anything was out of the Roe also played his Lemur Music
more recently, John Mellencamp. ordinary about the sessions,” Jupiter upright, a 3/4-size bass with
They’re also in demand throughout says Roe, “it was just that it was a 7/8 body strung with “the classic
the broad spectrum of Nashville’s Chrissie fucking Hynde! Working Nashville upright setup—flats on the
recording scene. with Chrissie was unbelievable, bottom, and gut G and D.” He also
Vaughan praises Auerbach’s on so many levels. From day one, employed a Collin Dupuis custom DI
approach: “Dan takes each song as I’ve always been a Pretenders fan, through a channel of an Altec 9300
a separate entity, and maintains and she’s one of the best singer- console sidecar through a Universal
a focus on the song until he sees songwriters ever. Once I was able Audio LA-3A compressor. The Jupiter
it through. He doesn’t fall prey to to step back from that, it turned was miked with a Funkwerk Leipzig
letting other tunes on the project into a really enjoyable place to RFT 7151 through an Old World
affect the one he’s sculpting at be. She was delightful, extremely Audio U33 compressor for color, not
the moment. There’s none of intelligent, and a really fun hang. to compress.
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Think of an Effect Here.
How did you and Dan come to work
together on this album? Make it Happen Here.
We’ve met over the years in passing. I
don’t think we ever had a conversation. I’d
admired him from afar and seen the Black
Keys a couple of times. I didn’t listen to the
stuff he was producing. I’d seen him play
guitar and that was all I needed to know.
You don’t know what’s going to happen until
you get into the studio anyway, and I didn’t
have a real idea about what I wanted. I never
do. You just take the songs in. And Dan is
absolutely the producer of the moment.
He’s super organic and really
traditional, and if you’re traditional
in a rock thing, you’re going to be
experimental. He sees an album as a
two-sided vinyl LP. That sets a kind of
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Your Sound, Our Technology
Dan brought in his Nashville team,
including guitarist Kenny Vaughan and gtcsound.com
bassist Dave Roe, to play on Alone. How
different was that from using your
own band?
It had a good vibe, just like with my
band. The first thing I noticed about all
these guys is that they really just want
to play rock ’n’ roll. When I walk into
the room, they know they’re safe—they
know it’s gonna be a rock thing. That’s the
impression I get. Everyone wants to be in a
rock band, like they did when they were 16.
How has your guitar playing evolved?

I don’t think it’s evolved at all. I’m in
exactly the same spot I was at when I was
22. I’ve played more because I’ve gone on
tours. I absolutely fucking love guitar, but I
don’t dig it that way.
I mean, I started painting a lot this year.
Once I start that, I can do it for four hours
and not look at or listen to anything else,
and not lose focus. Shit, if I did that with
a guitar, I’d be a hotshot player by now.
But it’s not my medium. For me, it’s more
writing songs and singing.
How do you compose?

It’s the rhythm, a few chords, and
the melody.

“Everyone wants to be in a rock band,
like they did when they were 16.”
Digging into one What amps are you using these days? things. So I thought, “I’ll call it a solo
of her favorite Two Ampeg Super Jets. I like small amps. album.” This album also has a different
Telecasters,
I like the sound of the rehearsal room. If line-up, but when my manager played
Hynde displays
her joy onstage. you can recreate the sound of the rehearsal it for someone, he said, “Oh, it’s great
“It’s always felt room and keep it relatively contained to hear the Pretenders again.” So my
great to be in a onstage, then the house guy can crank it manager, Ian [Grenfell], said, “What do
rock band. It’s and control the sound, and that gives him you think about calling it a Pretenders
what I wanted
when I was 16,”
a lot more to play with. If it’s too loud, album?” So I wrote Dan to ask him what
she says. it’s a mess onstage. We consistently get he thought about it, and he said, “Call it
compliments on our volume. whatever sells the most records.”
Do you use effects? Your voice has continued to become

I use a chorus pedal and stuff, but my richer, warmer, and more controlled.
guitar tech switches that on the side, so I How has your singing grown?
don’t need to think about that so much. I don’t know what to say about that,
really. I just do what I do. I don’t know
How did you decide to make another technically how to talk about singing.
Pretenders album instead of a solo I don’t train or warm up or rest my
album, like 2014’s Stockholm? voice. I think singing is psychological.
None of them have been solo albums. The things that are unique about singers
They’ve all been Pretenders albums, are probably the things they don’t like
but with different line-ups. For the last about their voices. I don’t think there
album, I went to Sweden and the guys were any comps on this album. I just
I work with usually were all doing other sang the songs a couple times and Dan
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Original took the best take. You can tell on one
Pretenders’
song that I’m hoarse—“Blue Eyed Sky.” I
guitarist James
Honeyman- sound like I’m on death’s door, but I got
Scott, onstage used to it and said, “Oh fuck it.” And I
with Hynde quit smoking a few years ago, and that’s
during the obviously a huge benefit.
Pretenders’
first U.S. tour in
1980, played You’re having a great career. What do
a major role in you think when you look back at what
defining the you’ve done?
band’s guitar-
I’m just glad I got away with it, to be
driven sound.
honest. I’m on the road and I’m in a
nice hotel and I can order room service.
Fuck it. When I’m on tour, I’ve got a
tour manager who will carry my bags,
and when it’s over, I go home and I live
above a shop on my own and I can do
some painting. I live a very, very ordinary,
almost kind of reclusive life at home.
And nobody knows who I am. I’m pretty
YOUTUBE IT
In this guitar-laden performance of “Holy Commotion,” the first much the same as when I moved to
single from Alone, the Pretenders are joined by the album’s producer, London in 1973. I just do my thing. It
Dan Auerbach, on the BBC’s Later … with Jools Holland. That’s Eric feels great! It’s always felt great to be in a
Heywood laying down extra texture on pedal steel.
YouTube search term: The Pretenders feat Dan Auerbach -
rock band. It’s what I wanted when I was
Holy Commotion 16. I didn’t think it would happen.
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Childhood pals Emily Kokal and Theresa Wayman
of Warpaint grew up making music together.
With undeniable chops and a common affection for
dissonant, moody melodies and trance-like qualities,
they carve an authentic, guitar-centric sound within
an all-female rock group bearing surprising,
uncharacteristic influences.
STORY BY TZVI GLUCKIN

“M
y mom was always listening alluring. “I started going back in time 2016, and although still very much a
to her old records,” with music and discovering all these guitar Warpaint album, marks a significant
Warpaint’s Emily Kokal players that had that kind of dark, moody, departure in how the band created their
says about the music she heard growing melody stuff,” Kokal says. “Their parts material. “A lot of the album was written
up. “She was really into Bonnie Raitt, are like melodic leads.” That describes in the studio,” Kokal says, distinguishing
Joni Mitchell, Neil Young, Crosby, Stills, Warpaint’s music, too: linear ostinatos, the sessions from the endless hours of
Nash & Young, Leon Russell, and all unorthodox chord voicings, gentle warbles, jamming that preceded their previous
those people—Jackson Browne—so I was and pulsating modulations. In many ways, efforts. “It was really fun, actually, and it
around a lot of acoustic guitar music.” their music is a re-imagining of their was really different.”
Guitar-based classic rock and early new sample-heavy, studio-bound influences, Kokal and Wayman are particular
wave were in the air when Kokal and but as a live, guitar-centric band. about their gear. They both play vintage
Warpaint co-guitarist, Theresa Wayman, “I was about 13 when I started guitar,” Fenders and rely on a floor full of pedals,
were coming of age as budding musicians Wayman says. “But I wasn’t really into it including choruses, delays, and various
in Eugene, Oregon. “Bob Dylan, Talking for a while. I went to drumming, synths, oscillators. But where Kokal keeps it
Heads, Al Green, Cyndi Lauper—those electronic sounds, samplers, and things simple and only recently added overdrive,
were all things I was listening to when like that. When I was about 19, my friend Wayman has multiple gain stages,
I was growing up,” Wayman adds. “My had an SG and a bunch of cool pedals in frequency modulators, and loopers.
friends recently made a playlist from his garage. I started playing with it and I She also uses multiple reverbs that she
The Harder They Come soundtrack, and realized what could happen with guitar.” pairs with the one in her amp. “I adjust
I thought, ‘I listened to that album so Warpaint formed in 2004 and released it every night for the room,” she says.
much when I was younger.’” But it was their first EP (mixed by John Frusciante), “Some rooms you can turn your reverb
Emily Kokal
electronic music, and specifically ’90s-era Exquisite Corpse, in 2008, before settling way down and it’s fine. Some rooms you
(right) shares
a happy vibe trip hop—a genre reliant on samples and into their current lineup—Kokal and can’t get enough.”
with Warpaint drum machines—that inspired them to Wayman on guitars and vocals, Jenny We spoke with Kokal and Wayman
bassist Jenny become musicians. Lee Lindberg on bass and vocals, and about their non-guitar influences, unusual
Lee Lindberg Trip hop’s dark moods, textures, noir Stella Mozgawa on drums and vocals—in chord voicings, and their basic tonal-
at the Roxy in
West Hollywood vibe, and heavy rhythmic element—and time for their first full-length album, building blocks—and, although Kokal
during a gig on its repetitive figures and almost trance- The Fool, in 2010. Their third album, didn’t say, Wayman revealed her interest
February 8, 2015. like quality—were what they found so Heads Up, was released in September in joining a Steely Dan cover band.
I want to be in a
Steely Dan cover
band. Stella wants
to as well—it’s her
dream—so it
might happen.”
—Theresa Wayman
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YOUTUBE IT EMILY KOKAL’S GEAR
Warpaint performs
songs off their new
album, Heads Up,
at Seattle’s KEXP in GUITARS
October 2016, kicking • 1962 Fender Strat
off the mini-concert
with the release’s • 1966 Fender Jaguar modified
opener, “Whiteout.” with a Mastery Bridge
YouTube search term: • A second 1966 Fender Jaguar
Warpaint – Full Perfor-
mance (Live on KEXP) she shares with Wayman
• Blonde pre-war Martin acoustic D-28
• Fender Villager 12-string acoustic
• Gibson Les Paul Goldtop reissue
AMPS
• Roland JC-120
EFFECTS
• Electro-Harmonix Polychorus
• Boss VB-2 Vibrato
Kokal plays a Who inspired you to make music? started playing more repetitive parts and • Electro-Harmonix Small Clone chorus
1966 Fender Theresa Wayman: The music that made not traditional song structures. I started • Ibanez Tube Screamer
Jaguar modified
me want to start making music was not getting into mantra-ing-out on a riff and • Strymon El Capistan dTape Echo
with a Mastery
Bridge. That guitar music—it was Björk, OutKast, and darker, more melancholic sounds. • Hardwire DL-8 Delay/Looper
seems to be a things like that. I remember sitting in • Boss RV-5 Digital Reverb
choice year for my bedroom and thinking, “I want to do Dark textures and repetitive patterns • Boss tuner
both Kokal and this. I want to make beats and something are such a big part of your music.
Wayman when it
comes to guitars. that falls into a pattern like this.” It was Kokal: Totally. Theresa and I grew up STRINGS & PICKS
Both play Fender really repetitive and satisfying. It was together, we started playing guitars around • D’Addario (.011–.049)
models dated down to the most basic elements and all the same time, and we would play songs • Orange Dunlop Picks .60 mm
to 1966, and the best little morsels were tied together together, but we were also discovering all
they often swap
to create something so satisfying. I like to this music at the same time. She bought a
instruments
onstage incorporate guitar into that kind of music DJ Shadow album called Preemptive Strike
depending on nowadays, but that’s what inspired me to and it had a song on it called “What Does is for me. I like finding the perfect hook
the song. make music. I fell into playing guitar, and Your Soul Look Like (Part 2).” There is a or accent to another hook, piecing it all
in my band playing guitar is what worked. guitar riff in that song—the entire song together, interweaving it, and creating a
Emily Kokal: When I was in high is one guitar riff—and I swear that guitar whole that stays within a pattern, but also
school, I was listening to a lot of rap, riff and that song influenced me so much. morphs and changes with what you take
R&B, and a lot of stuff that wasn’t really I still feel like my guitar sound sounds out and put in.
reflected in my guitar playing, but it like that one song [laughs]. It’s a sample
was definitely reflected in the mood. and I just found out that it’s actually a You both use interesting chord voicings
But what really changed my life was trip Foreigner sample [“Girl on the Moon”] and stay away from bar chords, power
hop. Portishead, Björk, Tricky, Massive slowed down. It’s really slowed down and chords, and even open chords. Where
Attack—when I first heard all that music, super sexy. I started going back in time does that come from?
even Radiohead, it graduated me into with music and discovering all these guitar Kokal: When I got my first guitar when
finding that kind of music I identified players that played dark, moody, melodic I was little, the chords sounded like shit.
with the way my mom identified with the stuff. Their guitar parts are like melodic I would fingerpick and I got really into
albums [she grew up with]. That became leads. I love that stuff. that. I wasn’t good at playing power
my music. It had a melancholy to it, but Wayman: I would say it’s what gets us off. chords because my fingers were so small
it was dark and rhythmic, and I think It’s like you make music that appeals to and I wasn’t strengthening them by
that also came into my guitar playing. I you or to your sensibilities. That’s what it barring. I didn’t bar for a really long time.
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John—I used to date John Frusciante— how I learned how to play, I would have through a bit of schooling—learning
he used to tell me how I played, because this method of playing along and finding songs and collecting knowledge like,
I didn’t know. He is more theory-based the notes that work along the neck and “This song is in this key. This is the
and he said, “You are really into double then putting them together into different progression they’re using and it’s these
stops.” I would usually play two notes at chords. I was finding clumps of notes that chords.” I am starting to familiarize
a time to make harmonies. I had an open work and I was probably stumbling upon myself in that way, where I intellectually
string and I’d play an open string with voicings that were unique, different, or know what’s going on. I don’t necessarily
another note. Then I’d play a note on that not used often. I never learned it from the think it is important for knowing how
open string, close it, and play another outside in, as in, “We’re going to play in to write a good song, but I am curious
harmony. I would create shapes. The last D minor now. These are the chords that and I want to know. I want to be able to
song on our new album, “Today Dear,” is work. Here are the basic formations of speak that language better. It’s fascinating
an acoustic song. It’s a song I wrote when those chords. You can play it as a power to me. But I don’t want to be limited by
I was 19, actually, but we put it on the chord here or you can play…” I didn’t my knowledge either. At this point, I’ve
record. If you listen to it, it is all double learn it that way. I knew theory. I could been doing what I’ve been doing for a
stops and harmonies. tell you what chords are in a D minor long time—so it can only make me better.
Wayman: When I was younger, I detested scale if I thought about it, but I didn’t There are a lot of people who learn that
the idea of playing anything like anyone know it translated to the guitar like that. way originally and it kind of limits them,
else around me. I didn’t want to write The piano is a little bit easier because it’s thinking, “I have to do this. I have to do
songs that used A minor, G, D minor, all right in front of you, but with guitar I that.” It trains the ear to be within a box
E—the chords that many songs are never tried to learn it that way. and a standard. I think it’s important to
written with. There is no problem with not know the standards. Even if I see a
that, but I wanted to find something else. Do you still do that? Is that how you come band I think is incredible, if I hear them
I wasn’t drawn to that and I never wrote up with your parts in the band now? writing songs that sound derivative of
songs with those chords. Also, when I was Wayman: Yeah, though I’m starting something it puts me off immediately. I
jamming with people, which is basically to learn more. I’m trying to put myself don’t understand that. I can’t understand
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going, “I love this type of music. I want Wayman: My latest one is Steely Dan. I emo [laughs]. I like uplifting, too, but I
to play that type of music. What is that want to be in a Steely Dan cover band. find a lot of that stuff uplifting.
person that I love that invented that type Stella wants to as well—it’s her dream—
of music doing? I’m going to do that and so it might happen [laughs]. You juxtapose rhythms against each
make a song like that.” That doesn’t make other as well. For example, you will set
sense to me. That’s not inventive enough. You flirt a lot with dissonance. You up threes against fours and have them
use a lot of minor seconds in your line up, go off, and then come back,
You don’t want to learn a particular vocal lines, too. Would trip hop be the and do similar things to that.
style or how to play within that style? influence for that as well? Wayman: Definitely. I find that really
Wayman: Not really. Of course, taking Kokal: Probably. I think trip hop was exciting. It’s nice to take people in and
bits and pieces is important. It’s a fine the reason I identified with it. Some out of alignment, creating tension and
line. I don’t want to say that it doesn’t people find that music to be dark, but I then bringing them back into something
have any value, but I think it’s easy to take found it to be beautiful, especially when that feels satisfying. I like doing that with
it too far, where all of a sudden you sound I was a teenager. I was going from being rhythmic changes and dissonance, too. I
like something that’s already happened. a teenager who liked dorky music or like any way possible really.
To me, that’s slightly missing the point. whatever was on the radio to finding the
But that being said, I would love to be music that seemed dangerous, moody, It creates a nice tension and then a
in a cover band and play exactly like my kind of sexy—but mostly just English. release. Do you sometimes not resolve it
heroes [laughs]. But that’s because I want Discovering English music. Rainy. Dark and just leave it hanging?
to play their music, not because I want to music and violence. I think that was it. I Wayman: I usually try to resolve it,
write my own music that is exactly like don’t think I was always attracted to that but sometimes I don’t even know if I’m
that type of music. necessarily, but once I found it—I love doing that. Maybe the other girls know
Erik Satie, the classical composer, too—I more, but I’ve realized my ear lends me
What kind of cover band do you want guess it is sad music. But that kind of to thinking that something works when
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FACTOID
Bassist Jenny Lee Lindberg’s older sister, actress Shannyn Sossamon (A Knight’s
Tale), was Warpaint’s original drummer from 2004 to 2008. Current drummer Stella
Mozgawa joined in 2009 and played drums on all three of the band’s studio albums.
THERESA WAYMAN’S GEAR
GUITARS
• 1966 Fender Mustang
• 1966 Fender Jaguar
(shared with Kokal)
AMPS
• Vox AC30 CC2
EFFECTS
• JHS Prestige buffer/booster
• JHS Sweet Tea dual overdrive
• Catalinbread Adineko delay
• TC Helicon VoiceTone reverb
• Electro-Harmonix Pitch Fork
• Robert Keeley Monterey
Rotary Fuzz Vibe
• DigiTech Whammy
• Line 6 DL4
The lighting always so intentional, but more and more, a lot of years—we would practice all the • Boss RC-3 Loop Station
matches Theresa as I’ve grown, I’ve started realizing what time or we would just jam—and jamming • Boss DD-7 Digital Delay
Wayman’s 1966 I’m doing more as opposed to just acting was how we found a lot of these parts that
Dakota Red • EarthQuaker Devices
Fender Mustang on instinct. I’ve been trying to harness the would interweave. We would jam parts Dispatch Master delay/reverb
during Warpaint’s power of that ability, like finding perfect for so long that they became perfect little
set opening for dissonances. But I’m generally bringing it puzzles with each other. We stopped writing STRINGS & PICKS
Band of Horses at back; I don’t like to leave it uncomfortable. like that because we’re so busy. When we
the Fox Theater • D’Addario (.011–.049)
in Pomona,
were younger, we would just practice five • Fender white medium picks
California, on Talk about not playing. What is the days a week and now that’s not realistic.
December 9, 2016. musical aspect of sitting out, leaving Also, for the last album, I wanted to focus
space— and how much of not playing more on singing. We’d done so much of this
is playing? micro-playing with each other that it felt Kokal: For a long time I would just use
Kokal: Somebody I respect taught me nice to take a little break and discover what the Roland JC-120. And for most of the
something I really love: You have to it felt like to not sing and play at the same albums, except for the last two, I used a
respect the space between the notes as time as much. Part of our evolution was ’62 Strat. I didn’t use that on the road,
much as the notes themselves. That was getting the vocals and harmonies to a strong but it was a big part of my recorded
good advice for me. For a lot of people place—to the same place where the guitars sound. I also had a Vox AC30. I would
who are flashy, your muscles get so strong were. I also had moments when I was just use the Electro-Harmonix Polychorus
that you almost compulsively play, because less interested and wasn’t writing things on and the Boss VB-2 vibrato pedal. Those
you can. And as technically impressive the guitar in the first place. I would write two pedals created a tension I really liked.
as that might be, it’s not musically or things on keyboard or on my computer and I like a clean tone. I don’t like to sound
aesthetically pleasing. I would sometimes I would add guitars, but I wasn’t writing on distorted because I feel that in the band
do that myself, where I would overplay— guitar and we weren’t jamming them out I serve almost as a pathway between the
or we would all overplay—and we weren’t together. If you make a demo at home, sing bass and the guitar. Sometimes I feel I’m
totally listening to each other. on it, and you’re not playing guitar, you almost doubling the bass. What I find
don’t necessarily add it later. interesting to do is repetitive melodic
How did you learn to respect the space? lines more than chords or rhythms. That
Kokal: After a lot of years of doing that, What are the basic building blocks of is kind of changing, but usually I write
and also the way that we wrote songs for your tone? a top line and that fits in with the bass
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line, and Theresa would usually go off translating my guitar parts live, they as opposed to having the tone up on the
on top of that. I like to have a really weren’t coming across loud enough. I also guitar. It brightens it through the reverb,
clean tone so you can hear the line, but it play pretty delicate, so that was my way of which is cool.
doesn’t take up too much air. That’s why lifting the sound for live. I have an Ibanez
I’ve always gravitated toward choruses: Tube Screamer. I basically have it on at 5 When recording, how much is live and
I always felt that chorus didn’t interfere. all the time and I keep it on to just give it how much is layered later?
It was something that could smoothly a little bit of grit. Kokal: The new album was a lot more
fit in the relationship between the Wayman: I play a ’66 Mustang and the overdubs than we usually have done. A lot
three guitars without creating a chaos. sound of those are pretty bright—it’s of the album was writing in the studio.
I wanted a really slick clean sound and pretty poke-y, it’s not very round, which is It was fun, actually, and it was really
there’s something about chorus that can actually not what I’m going for. So, I have different. Our first EP was songs that we’d
transform a traditional guitar sound into to do a lot to try to thicken and widen been working on in one form or another
almost something in between a synth and the sound. I’ve been going pretty far with on-and-off for four years. So, to have
a guitar. And nowadays, I play through a chorus and that’s changing every single an album which was like, “What’s your
Jazz Chorus. night, I think I’ve developed it quite a bit instinct to play?” And to trust that instinct,
since [last summer]. I have a gain booster for all of us that was liberating. We learned
Do you use the chorus on the amp? that helps to intensify the sound and I how to be a band writing a few songs at a
Kokal: I don’t use that chorus. I also have a JHS Distortion pedal, the Sweet time—we were just starting from scratch,
always have a reverb. For a lot of years, Tea. I have a reverb and I try not to make trying to find out what our sound was, and
I would just have a combination of the the tail end of that too long, but I like how we interacted together. Nowadays,
reverb, the vibe, and the Polychorus. I to have a lot of reverb. I keep the tone because we all have our chops a little bit
didn’t mess with delays and I didn’t have pretty bright on that. I realized a trick on more, it was fun to get in the studio and
overdrive. But as we’ve grown, now I have that—I turn the tone knob down pretty riff a little guitar, improvise things, come
two delays and I actually always have an far on my guitar and I turn it up on the up with things, have happy accidents,
overdrive on. I started to feel that, when reverb. It actually creates a nice sound, record, and move on.
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The
INDETERMINACY
OF STICKS
KING CRIMSON PARAGON
TONY LEVIN AND
COMPOSER/LUTHIER
MARKUS REUTER
CONTINUE TO REDEFINE
TOUCH GUITAR—AND
BASS—ON STICK MEN’S
LATEST,
PROG NOIR.
BY ADAM PERLMUTTER
premierguitar.com
T
he Chapman Stick is a strange and often misunderstood
instrument. It’s not a guitar, bass, or keyboard, but,
in a sense, it’s all three. This 10- or 12-stringed beast,
invented in the early 1970s by the jazz musician
Emmett Chapman, is played using a two-handed
tapping technique, and despite how long it’s been around now,
it’s still seldom seen onstage or in the studio—or anywhere else.
Relatively few players have fully realized the exciting
possibilities inherent to the Stick. That’s what makes Stick
Men—a band that includes two of the instrument’s most
accomplished practitioners, Tony Levin and Markus Reuter,
rounded out with the drummer Pat Mastelotto—such a force to
be reckoned with.
Levin, who’s now 70, was an early adopter of the Stick,
having taken up the instrument in the mid 1970s. An
in-demand bassist, he’s played on some 500 albums by everyone
from David Bowie to Judy Collins and Pink Floyd. But his
virtuosity has long been most evident when he picks up a Stick,
as he’s done extensively in his work with progressive rock artists
like Peter Gabriel and King Crimson, as a solo artist, and in
Stick Men.
At 44, Reuter might be Levin’s junior by three decades,
but he’s no less a touch-guitar master. In the 1990s, Reuter
emerged as one of the leading Stick/touch-guitar virtuosos, and
since then, in addition to his work as a contemporary classical
composer and record producer, he’s expanded his concept of
the touch guitar to include extreme signal processing. He’s even
designed his own instruments under the brand—you guessed
it—Touch Guitars.
When Levin and Reuter get together with Mastelotto, as
on Stick Men’s most recent album, Prog Noir, an uncanny
music that draws from prog-rock, 20th-century composition,
and modern jazz emerges. The touch guitars combine to
form dizzying flurries of sound that leave even expert players
wondering how they were created.
We chatted with the touch-guitar tandem about how they
Photo by Anya Roz
developed their voices on this unusual instrument and how

they worked remotely—on two different continents, no less—
to create a coherent album that sounds as if they recorded it
together in the studio.
TONY LEVIN’S GEAR
Tony Levin was
an early adopter
of Emmett
Chapman’s INSTRUMENT
invention, • 12-string Chapman Stick
using the Stick
on influential
albums by Peter AMP
Gabriel and King • Kemper Profiler
Crimson. He
also invented
“Funk Fingers”— EFFECT
modified drum • Analog Man Bi-CompROSSor
sticks used for
tapping the
bass strings.
You’re both experts on a very compositions that really teach you how album had room for another guitar voice,
nonstandard instrument. What drew to play the instrument. The research and as Adrian [Belew] and Robert [Fripp]
you to the touch guitar—and how did development of this took over 20 years. were doing their interweaving thing.
you master it? I started in ’93 and am finally to a point
Markus Reuter: The instrument’s where I can teach somebody to play Stick What’s the range of your instrument
directness is what drew me to it. In a or touch guitar in a few days. compared to a standard guitar, and
way, it’s easier than playing regular guitar Tony Levin: I heard about the Chapman how many notes can you play at once?
because it’s much more immediate—you Stick and touch playing in about 1976. It Reuter: My instrument goes from a low
don’t have to coordinate the left and sounded like an interesting way to get my B%—below a 5-string bass—up to a high
right hands to make notes. It’s really a bass playing into a new area, so I got one D, which would be the 22nd fret of the
wonderful thing, because you’re putting right away. I played only the bass side of highest string on an electric guitar. It’s
the finger down onto the string, the it for years—with Peter Gabriel and King tuned in fifths. You can theoretically play
string hits the fret, and you get the note Crimson—and gradually grew to include up to eight notes with eight strings, but in
immediately. It’s like a piano without the the guitar side and writing material of my actuality you usually play no more than six
keys. Somehow the musical intention— own with it, especially on my album Stick notes at a time. There’s an arpeggio-study
or you could even say the emotional Man and the handful of albums with piece of mine that you can find on YouTube
expression—flows directly from the finger Stick Men. called “Prelude” [Editor’s note: The full video
into the string. On a regular guitar it title is “Alexander Dowerk & Markus Reuter:
never really has that feeling. Tony, how did you go about migrating Prelude”], and you can see three notes per
When I started on the Stick, I saw to the guitar side? hand. That’s really what I would consider to
that nobody really knew how to play Levin: The other strings were there be the maximum of what makes sense.
Photo by Robert Juckett
it. So I created this body of exercises, all along—I just started playing them.
which I called “The Family” because the Probably the first time I ventured to the Now seems like as good a time as
etudes have names like “The Son,” “The guitar side was in King Crimson. Some any to talk about your instrument
Daughter,” etc. Basically, it’s a group of of the pieces from the [1981] Discipline company, Markus.
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Reuter: I started a brand called Touch chemistry—we have shared classical So, Michael Bernier, an excellent player
Guitars around 2007. My initial idea backgrounds and really got along very who lives nearby [in upstate New York],
was to come up with an instrument well on that level. Quite a few of the seemed ideal—and, of course, so did
that was affordable, but it turns out that pieces we play in our live set we actually Pat, my King Crimson bandmate who
the quality of a touch guitar needs to wrote that very first day we met. had played on the album. But after a few
be very high in order for the [hammer- At first I wasn’t really sure if I was years of touring, Michael needed to be
on] technique to work properly, so it going to be strong enough onstage— home more than the band could handle,
wasn’t really possible to come up with robust enough to counterbalance the and we made the change to Markus on
a budget instrument. We have several power of Pat and Tony, who are such his self-designed touch guitar. Since then,
different models at the moment: There’s iconic musicians. But after our first we’ve had many tours and albums, and
a 10-string version, a couple of 8-string show together, in Argentina, I felt, “Oh, we’re very gratified to be playing our
versions, and also a semi-acoustic this is going to work.” The first couple music around the world.
8-string, which I use onstage with Stick years I tried to be a very solid player for
Men, because it’s just so incredibly them so that they could actually be the How does the arranging process work
responsive. great musicians they are—I tried not to with two touch guitars?
interfere with their greatness, let’s say. Levin: Most start with Markus or me
Speaking of Stick Men, what was it like Over the years things have developed writing a piece, laying down some parts,
when you met each other for the first in such a way that I’ve become an even and then passing it on to Pat. Sometimes
time—and how did the group come member of the group and it is just the original parts stay the same, but
together? wonderful now … the dynamic of us often there are changes—melodies
Reuter: I played with [drummer] Pat onstage. It’s a dream come true, really. added, sections added. There are some
[Mastelotto] for a number of years before Levin: Having recorded the album Stick pieces where Markus wrote a melody on
he introduced me to Tony at his place in Man [2007] with multiple Stick parts, I top of what I had done that I liked so
Texas. I think it was in September 2010. was wanting to take it live and perform much I wrote lyrics to it and it became a
Tony and I immediately had the greatest the music, but needed another player. vocal piece.
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Inspired by the Do you have to really work to stay out I wrote most of the previous album,
playability and of each other’s way or do things just Deep, and didn’t want to repeat the same
response of the
happen organically? process. We decided that Tony should
Chapman Stick,
Markus Reuter Reuter: It’s kind of happening organically, write the majority of the starting points
developed his because even though we both play on this record. Tony would send an
Touch Guitars instruments that cover the full range, we idea, or sometimes almost a complete
instrument line, still compose pieces with certain roles in song. Then I would play parts of it—
including his
current favorite,
mind for the part that each of us is playing. sometimes just improvising, and then
the AU8. When Tony has a chordal idea with a taking the improvisation as the seeds for
bass part, then obviously I’m going to the composition of my parts.
write the melody. In the process it’s always We never tell Pat what to play, and
pretty obvious what is missing, and then sometimes he would surprise us by
the other player fills in that gap. When changing the whole rhythmic feel of
we then take stuff on the stage, obviously a song—putting a shuffle on top of
sometimes we change things around. For something we thought of as straight, for
example, when Tony has to sing a part, I example. It’s really highly interactive and
might take the chords—even if he played we’re very much connected as people,
them on the recording—then, when I even though we might not even see
play a lead part, he takes the chords. The each other when we’re working on these
roles basically go back and forth all the pieces. We’re mostly working at a distance
time, which is sometimes confusing for the when we’re not on the road.
audience, but I think it’s fascinating. Levin: Quite a few compositions were
The band things I’d been working at for years—
members didn’t
convene in the What have you learned from all of this especially the lyrics—so I had some of
studio for their back and forth with each other? them pretty worked out on my own. But
new album, Reuter: The mere fact that we have still there was time and mindset to change
but Markus the opportunity to perform so much them in some instances. And, as usual,
Reuter’s creative
has made us evolve together with these there were a few good pieces that didn’t
post-production
helped cohere instruments. I think both Tony and I make it to the album for various reasons.
its live, have come to a point where the touch MARKUS REUTER’S GEAR
unconventional instrument has become a real musical As its name suggests, the album turned
sound. instrument and not just a gimmick. out kind of dark.
Really that’s what makes it so special Reuter: Yes. It’s like when you’re on the INSTRUMENT
for me—that we’re actually playing real road, you’re in the van, and it’s raining and • Touch Guitars AU8
music with these new instruments. black outside. All you see are headlights,
Levin: I’ve always been impressed with and there’s a certain kind of feeling being on AMP
Markus’ innovative way of playing and the road, playing for people and sacrificing
• Tech 21 SansAmp Para Driver DI
writing. He also has terrific technique parts of your life for your music. We wanted
and is very reliable, in concert, to do to represent this kind of melancholy on
things right—much more so than I am! the album, and I think we succeeded with EFFECTS
• Dedalo Tres Tremolo
that. It’s on one hand dark, but on the other
Can you talk about how Prog Noir hand somewhat hopeful and playful. • Dr. Scientist The Elements
came together, and about some of the • Electro-Harmonix Pitch Fork
ideas that bind the record? You mentioned recording remotely. • Red Panda Context
Reuter: When we started talking about How does that work—do you email • Red Panda Particle
the new record and didn’t have material each other scores or audio files? • ZVEX Mastotron
yet, we decided that we wanted some sort Reuter: Mostly recordings. Both Tony
of cyberpunk concept, and to work with and I write music [in notation], but POST-PRODUCTION EFFECTS
lots of polyrhythmic activity between our whenever we share something we actually • Alesis QuadraVerb2
hands. There are a couple of pieces on the record the ideas and then use Dropbox or • Boss SY-300
Photo by Kai R. Joachim
album, like “Mantra” and “Embracing the something to just share the thoughts. • Electro-Harmonix C9 Organ Machine
Sun,” which really illustrate this concept. • Jack Deville Dark Echo
Then there are other pieces that were Do you then get together and practice • Red Panda Subdivision
written entirely intuitively and melodically. for a few days before recording? • Tech 21 Red Ripper
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Levin: Making the album, we actually
decided to have two periods of Markus
and me together. We did one near the
beginning in Berlin for a week. I had written
a few songs at that point, but wanted to
bounce them off Markus and also try some
experimental things, at the same time giving
some Berlin flavor to the music. Then, near
the end of the writing process, he joined me
in Kingston [New York] for a few days in my
home studio, again developing things, adding
new pieces, and homing in on the sound,
feel, and sense the album would have.
Reuter: But we mostly even record at a distance.
It’s funny—it doesn’t sound like it, right?
Not at all—the album sounds live.

Reuter: We have so much experience playing
together that we can somehow recreate the
feeling even if we’re not in the same room.
I guess its part of my production, too. I try
to make things sound live even though it’s
being recorded at a distance. The whole
approach is to make it sound organic—not
just organic, but also exciting.
ad_CC_PremGuitar_3rdpage_Layout 1 2016-11-02 10:31 AM Page 1
What sorts of things did you do as

producer to achieve those ends?
Reuter: I basically take performances
and re-amp them, and I have a couple
pedals where I’m turning the knobs as I’m
rerecording. The re-amping process becomes
a performance in itself, and that’s how I
treat all the sounds in the mix. I actually
create maybe three, four re-amped versions
of each track, including the drum tracks,
with all sorts of crazy effects. In the mix, the
signal creates this extra dimension that you
wouldn’t really get if you were just working
with static performances.
How do you feel about the mixing, Tony?

Levin: I know that my Stick sound, which
I’d already worked on while recording,
definitely changed in the mix—and in a
good way. So it’s fair to say that we’re always
trying to improve on the sound of a track,
and with a lot of mutual respect. There’s no
competition on who does the changing or
has the last say. That’s one of the hallmarks
of a band that’s fun to be in.
How does improvisation factor into the

record, if at all?

Levin: There are no improv pieces actually sparked by improvisation. take and everything is improvised. Mostly I
per se on this album, but in the In a way, I’m trying to always didn’t even know which key things were in,
past we’ve done pieces that were improvise just to keep things fresh and I just played a few notes and they become
completely improvised and even for myself. Sometimes it’s just the backdrop. That’s also how we create this
an entire album [2012’s Open] that a little detail that’s being varied harmonic complexity, by allowing, for lack of
way. But of course there’s Markus’ when I play a piece. On the record, better words, random notes.
soloing, which was improvised as he there’s a lot of stuff happening in
recorded it. the background, if you pay close So there was some indeterminacy, like in a
Reuter: There’s always a great deal attention. A lot of micro sounds, a John Cage piece?
of improvisation in everything I do. lot of details, a lot of glitchy things. Reuter: Exactly, yes.
SHUBB
Most of the parts I’ve written are All of those were done on the first
It’s particularly noticeable on the title track.
Reuter: Yes. You have both the 7 and the %7
of the chord, and the 6 playing at the same
time in the background—this cool cluster of
notes. You can hear things like this all over
the place on the record—odd details that were
improvised in the background. I did most of
these atmospherics on the record using a Red
The best performers will settle for no less.
Panda Particle pedal.
What is it that you like about the Particle?

Reuter: Really the random functions it has,
because you can send the same signal to it twice
and it will create different results. It is a highly
digital pedal but it feels really, wonderfully
f
Jef k”
analog. Some people might not know what to
do with it, but I think it’s very, very useful to
n
have something that is a little unpredictable and
k u
just sounds great. It’s just so highly inspiring. I
“S ter
cannot recommend it enough.
Bax
Considering the randomness generated by the
gear and the recording process, what’s it been
like to learn to play the finished results live?
Levin: We’re really only getting started
preparing to play the album live. We’ve done
some of the pieces in concert before, but not
all of them. It’s always a challenge, once you’ve
fine-tuned a record, to look at how to do it live.
Reuter: Basically what we have to do when we
go on the road is to break things down into
the parts that best represent what you hear on
the album. Then anything that’s happening
on top is a bonus that makes it even better.
Sometimes that means a part will get extremely
simplified on the road. Things that work well
in the studio don’t always work as well onstage.
We can also prepare some of the atmospherics
that the Particle created as samples, and Pat
can trigger them during the show. But really,
the pieces are living things that can evolve in
concert—surprising the audience as much as
[email protected] • www.shubb.com they do us.
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The Godfather Part II
Photo by John Pierce Jr.

Forty-five years after Larry Coryell’s seminal in the back room. When I came back to
the club the next night, it was gone. I
Barefoot Boy album was recorded at Electric was told—but I don’t know if it’s true or
not, nor do I care—that it was stolen by
Lady Studios, the jazz-fusion icon releases members of the Velvet Underground.
Barefoot Man: Sanpaku, a group of seven That’s actually pretty cool.
original compositions intended to invoke the Yeah. I had just hooked up with Gibson
as an endorser and it was unbelievable.
spirit and high energy of improvisation’s past. I called the company—I can’t remember
if they were in Nashville yet. They
might have still been in Kalamazoo
BY ADAM PERLMUTTER [Editor’s note: Gibson was in Kalamazoo
at that time], but I got a new guitar, the
I
one I still have, right away. Nowadays,
n 1965, the jazz guitarist Larry Coryell quit journalism school and moved to something like that would rarely happen.
New York City to establish himself as a professional musician. This might have
been a dicey proposition in such a cutthroat environment—one of the world’s Have you done any work on the guitar
great music cities—but within a year Coryell was flourishing, working with over the years?
some of the biggest names in jazz, like the drummer Chico Hamilton and the It got broken three or four times when,
vibraphonist Gary Burton. again, very naïve of me, I thought I
Throughout the late 1960s and the ’70s, Coryell was one of the most prominent could check the guitar [on an airplane]
voices in fusion. He merged rock and avant-garde tendencies with jazz improvisation— without loosening the strings, or maybe
first in the band the Free Spirits and then in the Eleventh House. Coryell recorded I just forgot to. Anyway, on at least two
a game-changing solo album, Barefoot Boy, in 1971 at Electric Lady Studios. The occasions I opened the case and the neck
influence of the studio’s founder—Jimi Hendrix, who had died the year before—is was cracked right at the headstock, and
apparent in the experimental way Coryell approached the guitar on that recording, I had that fixed. It looks ugly, but it still
both sonically and conceptually. plays and sounds great.
Forty-five years later, Coryell revisits this heady period in a new album, Barefoot
Man: Sanpaku, with pianist Lynne Arriale, bassist John Lee, saxophonist and flautist Did you use other guitars on the record
Dan Jordan, and drummer Lee Pierson. Coryell, now 73, might not be the young or just the Super 400?
whippersnapper he was in 1971, but it’s clear from listening to the album he’s no less I’m trying to remember how many
fiery and energetic as a guitarist and improviser. tracks I played my Martin on. Martin
A few weeks before Election Day 2016, Coryell called us from his home, in Orlando, made a guitar for me about five years
Florida. We chatted about his music then and now, his steadfast Gibson companion, ago. It’s got my name inside, when you
playing with Miles Davis, and his affinity for Wes Montgomery and Igor Stravinsky. look into the soundhole, but they never
manufactured it.
How are you? That’s the exact same one you’ve played With Barefoot Man, you deliberately
A little anxious. I just don’t know what’s for years, I would imagine. set out to make a high-energy record
going to happen in this election. The Yeah, off and on, because when I started like you did in the early 1970s. How
country has been torn apart and brought doing electro-fusion in the early to mid- did you go about doing that?
down a very ugly road of lack of good ’70s, my managers demanded that I play I started by re-listening to Barefoot Boy
behavior. There’s so much backbiting and a solidbody, a Stratocaster or Les Paul. and tried to figure out what I was doing.
criticizing; we’ve hit a new low. “Gypsy Queen” was a composition that
I’d bet that Super 400 has got lots was made popular by Carlos Santana. I’ve
I hear you. Let’s talk about something of stories. never played like that since. I think when I
less stressful. What’s the main guitar on I had a Super 400, just like the one I have did I retuned the guitar a little bit. I think
Barefoot Man? now, when I got to New York in 1965. I moved the sixth string about a half-step
I’m playing a Gibson 1967 Super 400. A couple years later I was working in and also used a wah-wah pedal, but because
The Super 400, to me, is the best guitar clubs there. And because I was kind of a of my avant-garde tendencies in New
ever made. Period. It’s got such an hillbilly, kind of unsophisticated, I thought York throughout the ’60s, ’70s, and ’80s, I
amazing neck. The quality of necks has it would be okay one night, because I was was able to go play some different stuff. I
gone way down since 1967. probably really tired, to leave the guitar actually liked it when I heard it again.

Larry Coryell Why haven’t you played like that since?
is shown here Because it was a unique situation. I was
with his No. 1,
playing with one of the greatest saxophone
a 1967 Gibson
Super 400 he’s players I’ve ever played with, the late Steve
had since the Marcus. And one of the best drummers
late ’60s. He in the world—fortunately, he’s still
acquired it from alive—Roy Haynes. I had my drummer
Gibson after his
first Super 400
from my band that I had right before the
was stolen. “I Eleventh House and he was a very soulful
was told that gentlemen named Harry Wilkinson from
it was stolen the state of Tennessee—he’s living in
by members
Nashville now. The way everybody played
of the Velvet
Underground,” made me play in a certain way that I’m
Coryell says. not always able to do.
In jazz music—at least for me—you
have to respond to what the other
musicians are doing. You can’t just put
your head down like a bull and forge
forward. It’s a listening thing.
On that note, how have you learned

to be a deep listener and to respond in
the moment?
Because that’s what everybody told
me to do when I was coming up. I’d
be chastised if it sounded like I wasn’t
listening to the other people.
Can you talk a little bit more about the

process of rediscovering those old tapes
and revisiting that world in preparation
Photo by John Pierce Jr.

for the new record?
The rediscovering and the revisiting the
world is not exactly what happened with
Barefoot Man. Remembering what we
had done on Barefoot Boy was enough
to set me in the right direction for the
compositions. I tried to use the same
type of personnel that we had on Barefoot
Boy. In other words, I had piano, I
had saxophone, and we did not add LARRY CORYELL’S GEAR
percussion. The drummer, Lee Pierson,
was so good he covered everything. But
the spirit was to just try to play with jazz song: “Manteca” by Dizzy Gillespie.
GUITARS
the kind of intensity that we had on the Once we got that stamp of a style
• 1967 Gibson Super 400
original record. happening, the other compositions just
• Martin Custom MC-40E
played themselves and they had a life of
How did you capture that intensity? their own. They weren’t all exactly carbon
Did you have certain strategies or did it copies of the spirit of Barefoot Boy, but
AMPS & EFFECTS
• Fender Deluxe Reverb
just kind of happen? they related to what Barefoot Boy had
• Dunlop Cry Baby wah
I definitely had ideas I wanted to execute. spawned. It stayed consistent, I think.
I wanted to do some funk. I wanted
to use a wah-wah pedal on at least one How did it feel to be playing in this STRINGS & PICKS
track. I wanted to do one really popular style 45 years later? • Assorted DR strings
• Herco Nylon Flex 75 picks
premierguitar.com
I wasn’t sure we could do it—and we didn’t do way the business was during those of pings on a little tiny chip. But
it 100 percent—but we did capture enough to times. The record companies were then again, Miles was very upbeat
make a unique sound. It’s not like any other there with money and distribution and very intelligent and so maybe he
record I’ve made. and people bought records, and I would’ve taken it in stride. It would
think Miles would not be happy be nice to ask him, but unfortunately
What sets it apart from everything else in with the trivialization of music. I’m not psychic.
your body of work? Of course, Miles was very
I think a lot of it is shaped by the kind of intelligent and perspicacious. He had How do you feel about the
compositions on the record. One of the tunes, tremendous vision. I’m guessing he scene today?
“If Miles Were Here,” was inspired by Miles wouldn’t have liked the trivialization I’m sad about the trivialization of
Davis. Another composition was based on of music through putting millions the music. It used to be you put
some orchestration and melodies that are in
an opera that I’m writing, and it’s called Anna
Karenina. The world premiere is planned for
Joaquin Lares Photography

next May in Russia.
and now
Speaking of opera, what does the classical
literature mean to you as a jazz musician? Grace Harbor
Ukuleles!
A lot. I study Stravinsky, for example. There’s
a little thing on the record called “Improv on
97,” which was inspired by improvising on
one of his scores. I love “Autumn Leaves” and
“Alone Together” and “All the Things You Are,”
but I can only play those so much. I’m always
looking for new forms to play on, so that I Come see our
can sound different. All that stuff, of course, I new line of
learned from Miles.
ukuleles at
Talk about Miles Davis’ importance to you NAMM Booth
as a guitarist.
He was a good man. Miles was interested
#4750
in new ideas and he wanted to work with
young players, and the first guitar player he
recorded with was George Vincent. He also
Great Quality!
recorded with Joe Beck, and then when John Great Price!
McLaughlin came to town he tried a great
combination of his ideas and John’s ideas,
Great Company!
and the rest is history. You just listen to the
music— especially on “Go Ahead John.”
That’s a great song. It was so cool to hear a
nice funk thing with John playing a solidbody
guitar, some great James Brown stuff. Miles
was getting into the stuff that we had started
getting into a little bit before him in New
York, but we wanted to mix Miles and rock
and punk and jazz and avant-garde.
What do you think that Miles would make Grace Harbor Artist Yvonne Silva
of the scene today? is playing a GHD-100CE
He would be very sad, because the record
companies… When I did my thing with Miles
in 1978, his motivation for doing that session
was to help me—he told me he was trying to
help me get signed with Columbia. That’s the
www.GraceHarborGuitars

out a recording, and people go to a store
to check it out. This was a whole mode
of behavior—very pleasing behavior. I It used to be you put out a recording, and people
remember spending whole afternoons in
record stores when I was in college, listening go to a store to check it out. This was a whole
to albums and even buying some, even on mode of behavior, very pleasing behavior.
my meager budget. I loved discovering Wes
Montgomery and Grant Green records and
so much more. Those were the days, man.
I’ll never forget … in the basement of YOUTUBE IT
one of my best friends, the lead singer in an
R&B band I was in, in Seattle, right around
1962 or ’63. He put on a Coltrane version
of “My Favorite Things.” It was just so fresh
and so different. I’d never heard a soprano
saxophone soloing before, and it was almost
Middle Eastern, do you know what I mean?
Here’s a great live video of Larry Coryell holds his own on the Check out this cool mini-lesson
Yeah. Coryell playing a Hagström acoustic guitar in this perfor- from Coryell, a great pedagogue.
Swede with his 1970s band mance with fellow virtuosos YouTube search term:
Almost Asian, and Coltrane was a big Eleventh House. John McLaughlin and Paco de Improvising with Larry Coryell
influence on everybody, most of my YouTube search term: Coryell Lucía during their Meeting of
generation, because he was attracted to and Eleventh House live in the Spirits tour, which spanned
Oslo 1975 1979 and ’80.
Indian music and Asian culture, things YouTube search term: John
of that nature. I think that was good McLaughlin, Larry Coryell, Paco
for everybody. De Lucía - Meeting of the Spirits
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FACTOID
Larry Coryell’s Barefoot Man: Sanpaku
includes compositions inspired by Miles
Davis and Stravinsky, as well as an
arrangement based on an opera Coryell
is writing, Anna Karenina, that is planned
to debut in May 2017 in Russia.
Can you share any other defining

moments you’ve had when discovering
new music?
I grew up in the Southeastern section of
Washington State, where there was mostly
just country music on the radio. One night
I was somewhere out in the country and
my radio just happened to pick up a jazz
station. I heard this amazing guitar player
and I had no idea what he was doing,
but I took an immediate interest in it. It
turned out it was Wes Montgomery. Such
a beautiful tone. There are so many players
of my generation who had the same kind
of moment the first time they heard those
octaves. It was so creative and sensual—
better than having sex for the first time.
Getting back to Barefoot Man, what was

it like to record the album?
Fantastic! I had four of the best musicians—
Lee Pierson, John Lee, Lynne Arriale,
and Dan Jordan—and they were all well
rehearsed. I sent them the music well in
advance, and Lee and I actually started
jamming earlier in the year when we were
both at a jazz festival in Indonesia. We had
a strong rapport and you’ll hear some of
that on the record. Our instruments start

The Godfather of talking to each other. I really liked What other different ideas outside
Fusion onstage that. I like playing with the drums of bebop do you try?
with a P-90- rather than playing on top of the The serial or 12-tone thing, for
equipped Hamer
Monaco III.
drums. Many unevolved players, example. Occasionally what I’ll do is
like young players, might think try to emulate a 12-tone row, or use
the rhythm, the time feeling, is the intervallic jumps that don’t sound
drummer’s responsibility. Really, particularly melodic.
it’s everybody’s responsibility, and
when everybody takes responsibility I imagine it would be difficult
for it, your playing changes. to improvise with a 12-tone row,
because you have to make sure to
Earlier you mentioned practicing only use a pitch once before you
Stravinsky. Do you arrange using it again.
his pieces for guitar or do you I use the concept loosely; it’s
loosely borrow some of his ideas 12-toneish. Scofield is very good at
in your own work? that as well.
Photo by Veronica Tales Jazz Club Photography

It’s both. I’ve written a multiple-guitar oddball time signatures. Boy, does it
arrangement, for up to six guitars, of make for some exciting music. But you still identify as a jazz musician.
The Rite of Spring. I’ve been working on Yes. People ask me why I became a jazz
that for the last five years. It’s more like Do you ever use it as a springboard for musician, and all I can think of to answer
an instructional book than anything that improvisation? is, “I couldn’t help myself.” Remember
might ever be performed, but it forces Absolutely! I don’t just want to play that moment in the car when I heard
you to improve your technique as well as bebop and blues vocabulary. I’m always Wes for the first time? I didn’t understand
your reading. In so many passages you’ve looking for more and love to try out what it was, but I knew I really wanted to
got consecutive bars that are in different different ideas. do it.
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BY DAVID VON BADER
Meshuggah 8-string idol Mårten Hagström reveals the

back-to-basics approach on the metal gods’
latest LP, The Violent Sleep of Reason—as well as
why he’s such a harsh critic of shred.
F
ew bands have shifted the metal landscape in the Reason, the metal mavericks from Umeå have effectively sent the hordes
cataclysmic way Meshuggah has. Nearing its 30th year in of biters and rip-off artists back to the drawing board.
existence, the Swedish quintet has had an impact in myriad The Violent Sleep bristles, grooves, and stomps with the weight
ways—so many that it really is difficult to overstate. Their and unpredictability of a bull elephant on PCP. Rife with the skull-
savage early thrash work and more progressive recent leanings have crushing, industrial-grade guitar work that’s become Thordendal and
made them virtual gods to a who’s-who of heavy bands—including Hagström’s calling card, it finds Meshuggah’s formidable songcraft
Animals As Leaders and Periphery—as well as diehard headbangers in as fine a form as ever. And while it doesn’t necessarily venture too
the world over. Further, the low-end decimation wreaked by guitarists far from the stylings of the band’s most loved past works, it does
Fredrik Thordendal and Mårten Hagström with their custom have an immediacy and an organic, incendiary quality that departs
instruments is inarguably responsible for major guitar manufacturers from the somewhat sterile sound of recent Meshuggah albums.
getting into mass-production of baritone-scale 8-strings. This is no doubt due in no small part to the band’s decision to
For the uninitiated, Meshuggah’s sonic Molotov cocktail is a fusion of track the record live—a daunting task that required two months of
death metal’s bludgeoning intensity, prog’s structural complexity, and an rehearsals and an immense level of care during tracking to make sure
obsession with ultra-controlled, airtight, and—one could even argue— complex arrangements stayed true. In addition, to further accentuate
weaponized polyrhythms. It’s a visceral sound that’s spent the better part the aforementioned organic qualities, Thordendal and Hagström
of three decades escaping the grasp of sub-genre definition, only to be dispensed with the digital modeling amps that have been a staple of
referred to with the now oft-derided term “djent.” Admittedly, like many their rigs of late in favor of real tube amps.
new musical monikers, djent has already become passé for hardcore Premier Guitar recently took audience with Meshuggah’s chief
heavies weary of the endless and inevitable string of copycats. Even so, rhythm machine, Mårten Hagström, to get the story on tracking The
there’s no denying the onomatopoeia specifically coined to describe Violent Sleep of Reason, working with storied Ibanez custom-shop luthier
Hagström and Thordendal’s low, snarling, complex palm-muted stylings Tak Hosono, whether—as legend states—he truly has an aversion to
Photo by Olle Carlsson
is fitting, even if it remains to be seen whether it sticks for good. And shred guitar, and staying inspired after damn near 30 years penning and
with the release of Meshuggah’s eighth studio LP, The Violent Sleep of performing some of the most extreme metal on the planet.
Meshuggah (left to right): Jens Kidman, Tomas Haake, Mårten Hagström, Dick Lövgren, and Fredrik Thordendal.

Mårten On past Meshuggah records, you guys the same. The other big difference was final release. We decided it was going to
Hagström
have typically fleshed-out full songs going into a new studio and doing it with be everything or nothing if we were going
onstage in
1999 with a independently, then brought them to each a more old-school approach, using live to do things the old way. Although, to be
pre-Ibanez other. Did that change this time around? amps and tracking live. That affected how honest, I played less on the album than I
custom 7-string Nope. The actual writing process was the we conceptualized songs and how we were normally would because I got arthritis in
outfitted with a same. What was different this time was going to rehearse them. So the writing my left shoulder.
recessed Floyd
Rose vibrato, a
that Dick [Lövgren, bass guitar] and Tomas process was pretty much the only thing that
single pickup, [Haake, drummer and lyricist] collaborated didn’t change this time. Did that change your playing style at all?
and a master very heavily, since Tomas needs a string No, it didn’t really change my style, but I
volume. instrumentalist to help get his ideas across. I Which songs did you pen on did have to have Ibanez make me a new
worked a lot on my own, too, but all in all Violent Sleep? guitar for this touring cycle. I scaled down
we approached it the same way. We worked “Born in Dissonance,” “Our Rage Won’t my Ibanez signature model from 29.4" to
in Cubase and programmed the drums for Die,” “Into Decay,” and “Ivory Tower.” 28", just for the sake of playability—and I
the demos in full, so that part was basically have to say, the Ibanez custom shop always
Those are some of the more groove- delivers. I don’t understand how [Ibanez
oriented, less chaotic songs on the luthier] Tak Hosono managed to make a
record. Was there anything specific that 28" B-string so neat and playable and still
drove your writing in that direction? sound so very baritone and deep—it sounds
Yes and no. I’ve been intrigued with like a longer guitar than the 29" one!
groove and minimalizing things that don’t I did have to make some adjustments
sound streamlined ever since we wrote to how I stand onstage, because how
[2008’s] ObZen. I don’t know how else you stand around for an hour-and-a-half
to put it—it all orients back to groove every night really affects the shoulder.
because that’s the most essential part of When your body breaks, there’s a lot of
why I write guitar riffs. Another thing that adjustments to make.
was different this time around was that I
had heard bits and pieces here and there Tell us more about the new guitar—is
of what Dick and Tomas were doing, so it the same shape and specs as your
for the first time I actually wrote stuff M8M, just with a shorter scale?
to sort of counterbalance their ideas and Yeah, it’s the same shape, electronics,
to anchor and give context to the stuff and hardware setup as the typical M8M.
they were writing—which was quite a bit Fredrik’s been working on his Stoneman
more chaotic. On [2012’s] Koloss, we were design, but I still love the same M8M
focused on writing a lot of groove-oriented setup. I have a few Iceman-shaped
stuff—which was nice for me, because 8-strings called the IC8M, but I don’t
that’s my natural writing environment, but take those on the road. I also have a new
I think this time it was more optimal in guitar that we’re working on that’s going
the grand scheme of writing an album. I’m to be a little different, but we’re still in
pretty happy that the journey of the record the planning stage and I don’t want to say
ends with the more groove-oriented tracks. too much until it’s ready.
It provides the album with a ride out, so
to speak. Have you played other builders’
8-strings, and how do you feel about
How much of the album is live? them becoming so normalized in the
Most bands track a little bit together, but metal world?
we tracked everything at once—essentially, Yeah, I’ve owned a bunch of bad ones and
it was all live this time. Jens [Kidman, lead a bunch of really good ones from other
singer] even put down vocals while we makers. There’s one guy out of Arizona
tracked instruments, just for the hell of it, whose company is named EIR Guitars,
and some of those vocals made it to the and he makes really, really great stuff.
Photo by Frank White
That said, the guitars that the Ibanez

We never wanted to start a trend. We were just trying custom shop delivers to us are always so
incredible that I don’t feel much need to
to go somewhere specific and new with our sound.” look elsewhere. Tak is always compliant to
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STRINGS & PICKS

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“I’ve always what we need, but also really wants us to 8-string, there are certain ways your What were some of the standout amps
failed to see try new things and push the envelope— hands naturally want to move and do that wound up on the album?
why a rock or and they’re always willing to discuss things, and those moves became a huge The main sound is a modified Marshall
metal song
absolutely has whatever new ideas we have. That kind of part of our sound. that Mike Fortin [of Fortin Amplification]
to have a lead,” working relationship is unbeatable. You tweaked for us many years ago. We also
says Hagström. just can’t top having someone with that What brought you and Fredrik back used the Fortin Satan, and Salvation
“I do not kind of knowledge and experience at your to tube amps after so many years with Mods’s C-Watt module for Randall MTS
understand it.”
disposal who also wants to progress. Fractal Axe-Fx units? amps. We were running four or five amps
As far as how I feel about the boom in It just felt natural with the approach we most of the time, and what actually wound
bands using 8-strings, it’s cool for us that took this time, agreeing as a group to up on the album is a question for our
it’s become so easy to get ahold of the finish the writing and rehearse the stuff producer, Tue Madsen. We gave him free
spare parts and stuff! We never wanted as a band and feel the songs and hash rein on how to color the guitar tones on
to start a trend. We were just trying to through it all. When you rehearse the each track, although we were pretty rough
go somewhere specific and new with our songs for almost two months to get them with him during the mixing process—we
sound. I’m actually a bit surprised that tight and then work with an engineer and threw a lot of mixes back at him and were
it caught on the way it has, because if go to a studio to sit down, old-school extremely picky about it. Luckily he had the
any band uses it the way we do, they’re style, for weeks at a time, it just follows patience of a saint about the whole thing. Photo by Tim Bugbee/Tinnitus Photography
instantly going to sound at least a little suit to go back to amps. He thought “Born in Dissonance” needed
like we do. It’s a quirky thing that it’s Another thing is that Fredrik’s been a tighter low end because it has a messier
become such a big deal, but it’s also messing around with tube amps for his solo rhythm, so he went for the Satan amp. But
pretty cool. That’s not to take ownership stuff for the last five years, so he’s amassed on “Into Decay” he opted for more of the
of tuning down—a lot of bands have a really great collection. He brought a C-Watt, because it’s a sludgy track and that
tuned down this low over the years. And truckload of them down to the studio, so it sound worked better for it. But the reality is
it’s not so much just tuning down that all just felt natural and in-line with how we the tones on the album are a patchwork and
low. It’s that when you start playing an were working this time around. only Tue knows what’s what.
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How about effects?
Fredrik’s been on something of an amp
and pedal rampage for a long time now,
but we actually didn’t use a ton of effects
on the album because Fredrik didn’t write
much of anything for this particular record,
so he didn’t provide much input in the
sound-shaping. We used the prototype for
his signature boost pedal, the 33, a bit. It’s
basically a booster with a sweepable bass
filter. The TC Electronic preamp booster
that we used back in the day to gain the
fuck out of the signal before it hit a tube
head is the template for the 33, but it’s got
some tweaks to make it more useable.
Will you be using the Axe-Fx on

tour again?
We’re using custom 50-watt amps that
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been a long time since it’s been so much fun

to just riff onstage, and these amps brought
that back for me in a way I don’t think
I’ve ever experienced—to the point that
sometimes I just get lost in the riff and how
powerful it feels.
The thing about the Axe-Fx is that it
sounds really good. If you did an A/B test
for use between the Fortins and the Axe-
Fx for front-of-house, you’d probably only
hear a slight difference because the Axe-Fx
is really that great at modeling sounds. But
when I have that Fortin head cranked up
loud and I’m hearing it through my in-ear
monitors, it’s a massive difference that really
changes the game for us live. And there’s
something that happens in the feel, too.
It’s not a matter of latency or a matter of
it being “direct” enough, but there’s still a
tangible difference in using tube amps.
What are some of the tricks you’ve learned

to keep lows so focused and crisp despite
using so much gain?
The truth of the matter is that the whole
signal path is designed around using that
much gain. That’s part of why the Lundgren
pickups we use are so flat—we want a pickup
that represents what’s going on with the

Right: After a guitar sonically instead of just adding
severe bout more power. It’s also got a lot to do with
of shoulder picking technique and how you attack
arthritis during
the recording your low end. I hit that 8th string in
of The Violent a different way than I chug on the 7th
Sleep of Reason, or play single-note stuff. It’s not easily
Hagström explained, but there’s just a different way
commissioned a
of approaching your pick attack when you
custom 8-string
M8M signature go for the low stuff. I actually switched
axe with a 28”, my picking angle from right to left when
rather than a we wrote Bleed, but went back to it being
29.4”, scale. angled to the right for The Violent Sleep
of Reason to see if it would sound better
for this material—and it did, so I stuck
with it. So now I switch techniques
subconsciously throughout the live set,
because half the songs were written and
recorded the other way. But pick attack
has everything to do with how we keep
things articulate. that long, but it’s enough when the guys How has the guitar relationship
stay inspired enough to lift the others up between you and Fredrik evolved over
After this many records, how do you when they falter and lose the fire. So we the years?
stay fresh and progressive when writing talk about our music and our projects When you play together with someone
for Meshuggah without drifting too far quite a lot within the band, but we don’t for a really long time—especially the
from the band’s sonic idiom? necessarily discuss how we’re supposed same instrument—you can’t help
It’s kind of reflex after this many years. to stay inspired. We know why we do it, picking things up from one another.
When I sit down and come up with and we still have fun doing it together. It’s We’ve gotten much closer to each other
ideas, most of the time I kind of know as simple as that. We’re just lucky enough stylistically as rhythm guitar players
where they’re going to go—whether to feel that we haven’t covered all the through the years. I know how Fredrik
they’re going to wind up in one of my ground there is—or gotten jaded. writes stuff, so if there’s something like
other side projects, or whether they’re a subtle acceleration in a group of notes
suitable for Meshuggah. For the last few How do you keep so many tricky or a pitch bend—like some of the tricky
years at least, I try as much as possible rhythmic variations straight as a player, stuff in “Combustion” [off ObZen]—I
not to think too much about what I’m and do you have any advice for those know exactly how that note is supposed
doing and to not be concerned with struggling with rhythmic abilities? to be hit, because I know him so well.
whether something’s going to be this I know this sounds weird in the context He knows my idiosyncrasies, too. We
or that, or what I should accomplish in of our music, because it is so percussive— don’t talk about it much, though. It’s just
sitting down to write. I try to find an but I think of rhythms as melodies. If second nature at this point.
environment in which I can feel good you think of it like a melody and listen I’ve played in bands with Fredrik since
and fired up about just sitting down and to how things move, you hear the part I was 16, and I really, truly think he’s an
coming up with new shit. If you’re in as a whole instead of as just a rhythm. amazing lead guitar player. He’s come
the right mood, it’s supposed to feel a You hear the significant points of the riff up with so much beautiful shit, I just
little like Christmas—you go into this and break it down. Most of the time I can’t explain. I’ve heard a lot of Fredrik’s
imaginative world of music and coming instantly know where the 4 [count] is. It’s leads that no one will ever hear, when we
up with different soundscapes, and you not rocket science in that way—it’s still rehearse and such, and he’s really, really
come back with something cool. I play an AC/DC song, just hidden. good. But we also ground each other,
music to scratch my own itch, y’know? I’d be lying if I said there never and he actually thanks me sometimes for
For me, that’s the trick—to find that came any points within this band in not having leads in some of my songs.
place and just be natural about it. which we’ve had to break things down So we play specific roles as editors of
Photos by Annie Atlasman
theoretically from a rhythmic standpoint one another, and I think we both really
With the band nearing its 30th year, in order to know what’s actually going appreciate that.
what fuels it for you now? on. The key is to follow where the
I don’t think it’s entirely possible to stay cymbals are, because most of the time You’ve said in the past that the
completely inspired within a project for Tomas plays them in 4/4. popularity of the Swedish shred scene
premierguitar.com
put you off from the idea of virtuosity inspired a lot of people—but it wasn’t I could go on for hours, but without
when you were starting out. Can you really in the technique department that he saying good or bad or whether I like
elaborate on that? excelled, though he was very proficient. It something or not. It’s very cool to me
I’m glad you brought that up, because was in his tone and his taste, and the way that people have become so focused
I stand by the things I’ve said about he composed things. That’s why I’ve never on their playing, and it’s cool that a
shredders in previous interviews, but I seen myself as an instrumentalist—I’ve lot of young bands have become very
always have people come up and act like always been a composer. technically inclined. But there’s a lot of
I’m a traitor and ask, “Hey Mårten, why It’s the same with any music: If it people that come to me and say, “Oh,
don’t you like shredders? What’s wrong grabs me, then I guess it’s good. But if these guys are heavily influenced by you
with you?” But that’s not the point—I I can’t pinpoint anything unique nearly guys,” and I can’t hear it—but then I hear
like shredders and love good guitar immediately—like most of the leads I’ve our sound in places that no one else does.
players. There are just not enough good heard since I was 16—then, I’m sorry, So I’m not sure I’m a good person to
ones. I just have a higher standard. There but I don’t think it’s worth my time. judge. It is interesting being held in the
are millions of good guitarists out there, regard of an older band now. To us, we’re
but I’ve always failed to see why a rock Are there any newer metal groups that just beginning—because we still want to
or metal song absolutely has to have a have caught your ear, and do you have create more and do new shit.
lead! I do not understand it. I love a good an opinion on the ones that still nip at You can continue to grow and explore in
lead—I drool over Eddie Van Halen and Meshuggah’s tail, so to speak? metal, even if you’re not 18 and ripped!
Allan Holdsworth, and Alex Lifeson, who
was one of my biggest, biggest inspirations
growing up. [Lifeson] made soundscapes,
YOUTUBE IT
Mårten Hagström, Fredrik Thordendal, and company obliterate an Or-
and he has this almost Tourette’s style of lando House of Blues crowd in this highlight reel from October 2016.
lead playing that’s very unique. He played YouTube search term: Meshuggah Full Set highlights October 2016
Orlando Great Sound
in the most technically achieved band
of their time and did a lot of shit that

ACOUSTIC SOUNDBOARD
Why Guitar Builders Blend Tonewoods

BY ANDY POWERS
W
Conifer wood, hen guitar makers are asked chain, it becomes clearer that some parts
such as spruce, about wood, the questions need to vibrate easily, while others need
and deciduous
are often about what to be solid. It’s like a band, in the sense
wood, such as
maple—shown certain woods sound like. While we do that each instrumentalist has a different
top and bottom, our best to describe the different sonic role to play and, therefore, different
respectively— flavors like the seasonings in a spice job requirements. On a guitar, these
are structurally rack, it’s easy to get lost in the subtleties criteria can be met with different types
very different,
but pair them
without first explaining the fundamental of tonewoods.
correctly and relationship between two other important Coniferous vs. Deciduous. Acoustic
magic can contributors to tone: how an acoustic guitars are essentially made from two
happen. guitar actually works and the different kinds of wood. The first is from coniferous
personalities of trees. trees that have cones and needles, and
As an object designed to amplify hang on to their needle-shaped leaves.
vibration, the acoustic guitar has two (Picture a Christmas tree.) The second
objectives. It needs to be flexible enough comes from deciduous trees. These drop
to bend with each vibration to displace their leaves and grow new ones, like a
air and produce audible volume, and it maple tree that is bare in winter and looks If you think of the guitar body as a
needs to be rigid enough to allow strings like an umbrella in the summer. The two speaker cabinet, the goal is to make the
to vibrate for a long time. So right from tree types have very different personalities. top (or speaker) vibrate and set air in
the start, there must be a compromise Coniferous trees tend to grow wood motion while surrounded by an enclosure
between rigidity and flexibility. But let’s that is strong, but doesn’t weigh much. robust enough to not immediately move
set this conflict aside for a moment to Deciduous trees (the leaf droppers) tend with this motion. If the entire enclosure
break down the basic signal chain of to grow wood with more homogenous was allowed to move freely, the effect
acoustic sound. consistency and weights commensurate would be like a finger poking into one
The strings a player sets in motion with their strength. side of an inflated balloon—where the
are attached to the soundboard. (Think The conifers grow their strong and rest of the balloon would simply change
of the soundboard like a drumhead.) lightweight wood by making a sandwich shape to absorb the indentation—
The soundboard vibrates and sets the air of soft, light layers in between thinner negating the movement that produces
inside the body in motion, causing it bands of hard, strong layers. Together, both volume and sustain.
to move against the back of the guitar. the result is like the structural I-beams Smart luthiers figured this out
While some movement is transferred used in skyscrapers. Material put together centuries ago, and we’ve been playing and
through the sides of the guitar to the this way can vibrate like crazy, and hearing variations on this construction
back, most of the action is the body of because it doesn’t weigh much, it doesn’t ever since. The subtleties of exactly
the guitar acting like an air pump. As require much force (or string power) to how strong the cabinet of a guitar is
the soundboard squeezes and tugs on get it moving. Its springy nature acts and exactly how flexible the top of a
the air in and around the body, the air is like a speaker cone for the strings and it guitar is—or should be—are topics we’ll
displaced, creating audible sound waves. also has a resilient character that resists continue to write novels about. But the
To make more volume, this “air pump” deformation while vibrating. This is the basic point to remember is that each part
needs to be made efficient. perfect wood for making a guitar top. has a different role to play, and as a result,
As mentioned, rigidity is the key to And, as expected, we see instrument tops guitars are made of trees that grow in
making the notes last a long time. If made with coniferous trees like spruces, different ways.
the structure that supports the strings cedars, and even firs.
is strong and rigid, it won’t bend and Deciduous tree wood, by contrast, ANDY POWERS is the Master
absorb the strings’ vibrations. The stiffer doesn’t have the same I-beam-like Guitar Designer at Taylor Guitars.
His expertise as a craftsman
the neck and body are, the longer the composition or the same tendency as blends a finely honed sense
of aesthetics with nuanced
strings tend to continue vibrating. coniferous tree wood to be stronger than its woodworking skills, building
In other words, flexibility equates to weight would suggest. Because deciduous upon the rich heritage of previous
generations of instrument makers
volume and rigidity equates to sustain. tree wood doesn’t grow this way and has while advancing the art form
And both are, of course, important. After weight that is equivalent to its strength as a into inspiring new sonic territory.
For more information, visit
looking at the mechanics of the signal result, it doesn’t vibrate so easily. taylorguitars.com
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sound clips.
The Narrow-Range Tuning Trick

BY JOE GORE
C
onfession: Most of the ideas You can replicate most Sonic Youth Sonic Youth tuning is G–G–C#–D–G–G,
in this column are stolen from tunings with the same string set: use two with that gnarly minor second in the
Sonic Youth, and the rest are of your usual 5th strings for the 6th and middle. Meanwhile Thurston’s “Teenage
swiped from other people. 5th strings, two 4th strings for the 4th Riot” tuning is G–A–B–D–E–G, with
The topic is alternate tunings that and 3rd strings, and two 3rd strings for no unisons. The open strings form a
require restringing—a royal pain in the the 2nd and 1st strings, as if you were pentatonic scale for a dreamy Aeolian
posterior! But time and again, these tuning A–A–D–D–G–G. (String pitches harp effect (Clip 5).
tunings (all of which narrow the interval are listed low to high throughout.) From Clip 6 uses the same tuning, but with
between the 1st and 6th strings, hence there you can crank strings up or down a drumstick shoved beneath the strings
my “narrow-range” moniker) have for hundreds of possible combinations. at the 12th fret. This mimics an Asian
inspired parts that fit the mix when A sketchy sketch. Clip 1 is a sketchy zither, especially when you vibrate and
nothing else did. Perhaps you’ll find the demo of the idea. A standard-tuned bend strings by pressing down behind the
idea compelling enough to keep a spare guitar in the left channel is joined by a drumstick.
guitar strung for these sounds? narrow-range guitar (tuned G–G–D– Strictly stoopid. I saved the stoopidest
The most famous string-swap tuning D–G–G) on the right. I mutilated the one for last. In Clip 7, all six strings
is Nashville high-stringing (explained and tone with trashy fuzz and didn’t sweat the are tuned to G in various octaves. This
demoed here). sloppy tuning. is based on the A–A–A–A–A–A “Gary
The effect has a rough, artless quality Glitter tuning,” as heard on “Rock and
YouTube search term:
How Nashville High- perfect for some musical contexts—and Roll (Part 1 and 2).”
Stringing Works not just punkified ones. Example: my
guitars on Tracy Chapman’s “America.” Gary Glitter – Rock
(Flea’s playing bass, Mitchell Froom and and Roll (Part 1&2)
Michael Webster are on keys, and Tracy
You hear this sound on the Stones’ “Wild and Quinn Smith are drumming. Tchad
Horses” and Floyd’s “Wish You Were Blake produced.)
Here.” But these narrowed tunings aren’t YouTube search term:
I learned this one from Polly Harvey,
delicate and pretty like that. They’re crude, Tracy Chapman who wrote several songs in this tuning,
simplistic, and usually out of tune. Yum! America including “Goodnight,” which I got to
Guitars in the fridge. When I play with her on tour.
met Sonic Youth in the late ’80s, they
couldn’t yet afford lots of nice guitars. PJ Harvey –
They toured with their pawnshop beaters Clip 2 is a solo riff in the same tuning. Goodnight (Live
knocking against each other in cardboard White Room)
I pick out a tune on the top string pair
refrigerator boxes. Their oddball tunings while droning on the low open strings, or
didn’t just inspire new riffs—they barre across several string pairs for chords.
provided a unique sonority, especially Tuned G–G–D–D–E–E, the guitar in This technique isn’t for everyone. You
when cranked through fuzz pedals and Clip 3 exploits the clangorous whole-step might find it overly simplistic and
funky amps. No other band resonated like interval between the upper string pairs. discordant. But why not try slapping
Sonic Youth. The tuning options are nearly endless: on a few spare middle strings before
The guitars and tunings literally G–G–D–D–A–A, G–G–D–D–E%–E%, your next string change? At worst,
varied from song to song, but they shared G–G–C–C–F–F, G–G–C–C–E–E. I you’ll be amused. With any luck, you’ll
common themes. Many strings were could go on, but instead of over-thinking be inspired.
tuned in unison pairs, and the distance it, I recommend simply twisting your
between the highest and lowest strings tuners till the strings resonate nicely with JOE GORE has recorded and
was usually an octave or less, as opposed the song, and then picking out simple performed with Tom Waits, PJ
Harvey, Tracy Chapman, Courtney
to the usual two octaves. Thurston Moore melodies. For Clip 4, I chose the random Love, Marianne Faithfull, Les
and Lee Ranaldo often played melodies key of F minor. I fiddled around and Claypool, Flea, DJ Shadow, John
Cale, and many other artists. Joe
by barring across unison string pairs, arrived at this F–F–C–C–E%–E% tuning. has written thousands of articles
about music and helps develop
which is a technique that enforces a You don’t have to restrict yourself music tools for Apple and other
minimalist style. to unison pairs. One particularly nasty clients. He blogs at tonefiend.com.
premierguitar.com
SPEAKER GEEKS
Alnico or Ceramic—What Gives?

C.J. SUTTON
I
’m going to tell you something you easily, which gives a smooth response
already know: People like different with compression at higher average
things. Shocker, right? Apples or volumes. As the voice coil’s effect
oranges, cake or pie, Strat or Les Paul … lowers the available magnetic field
the list goes on. And it seems the more of the alnico magnet, the speaker
polar opposite things are, the more likely becomes less efficient, and the voice
a person may gravitate toward one choice coil moves less. The physics of it
and show disdain for the other. Like is that the small magnets near the
the English and Scottish in Braveheart, surface of the magnet poles (called
guitarists can end up on opposing sides “domains”) begin to change state, or
ready to do battle over such life-or-death flip directions. The result is smooth
issues as whether to use tube or solid-state compression, which is the same kind
amps. That said, I urge us all to agree on of operating-curve compression that
one thing: Amplifiers don’t make sound occurs in a tube amplifier.
without speakers. Even the simplest During the 1960s, the popularity
amplifier can be an extremely complex of speakers with ceramic magnets
piece of electronics, but a speaker is a increased. The most common type
very basic electromagnetic motor (Fig. 1). of ceramic magnet is strontium
When you apply signal to a speaker, ferrite, which demagnetizes much
the voice coil begins to move in and out less easily than alnico. The domains
in response to that signal. As a result, the change state much faster, so there
voice coil creates a magnetic field of its is little to no compression as the
own, which works against the magnet
and tries to demagnetize it. However, the
magnet generates energy in the opposite The first crop of speakers in the early 1950s
direction, and it becomes a back-and- used alnico magnets, which is why some people
forth struggle. Gluing a cone to a moving say they sound more “vintage” than speakers
voice coil harnesses this motion and
makes it audible. That’s the basic idea built with ceramic magnets.
behind a speaker.
A voice coil is like an electric motor. voice coil moves to its mechanical the battlefield you want to be on. Or
The bigger the voice coil and the more limit. Because the ceramic magnet isn’t you can decide that it doesn’t have to
wire used, the more torque or pulling introducing compression, the result is a come to war at all. That maybe it’s best
power you have to move the cone. With cleaner sound in comparison to alnico. to have each type of speaker, so you
the proper match of components, you Some folks might liken the difference can be ready for whatever tone might
can get more sensitivity, wider frequency between alnico and ceramic speakers to be necessary at any given time. Some
response, and more power-handling the difference between tube and solid- players even mix alnico and ceramic
ability. The size and type of magnet state amplifiers, where one compresses speakers in the same cabinet. Though
also affects a speaker’s sound. There are smoothly and the other gives all it has different in the way they operate, their
two major types of magnets used in and then clips hard. I don’t know that it’s purpose is the same: to supply energy
loudspeakers: alnico and ceramic. These a fair comparison because the differences to the motor, so the cone will move and
magnet types differ and this difference between the speaker types aren’t as starkly thus everyone will hear whether you’ve
affects a speaker’s overall tone. Let’s take a contrasted as the differences between the been practicing or not.
closer look. two amp types. Furthermore, by varying
Image courtesy of Weber Speakers
The first crop of speakers in the early the size of the magnet, it’s possible to C.J. SUTTON is the resident
speaker guru and graphic designer
1950s used alnico magnets, which is why build very efficient alnico speakers, as at Weber Speakers. He worked
alongside Ted Weber from 2004
some people say they sound more “vintage” well as very inefficient ceramic speakers. until his passing in 2009, soaking
than speakers built with ceramic magnets. Now that you know the reasons up as much knowledge from the
speaker legend as possible.
An alloy comprising aluminum, nickel, why the two magnet types do what
and cobalt, alnico demagnetizes relatively they do, you can decide which side of
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SIMPLE MAN
Lynyrd Skynyrd’s Gary Rossington
gets back to blues-rock basics in a
new album with wife Dale Krantz,
and shares the recipe for
his fat, classic Les Paul tone.
| BY JOE CHARUPAKORN |

cat on its ninth life would be wise to trade What inspired Take It on Faith?
places with Gary Rossington. The seemingly We decided to do meet-and-greets with
invincible Lynyrd Skynyrd guitarist and Skynyrd every night, and a lot of the fans
cofounder has triumphed over catastrophe kept asking if Dale would ever sing or do
numerous times—including one of the most another album. So we did it for the fans
famous disasters in rock history. In 1977, just three from the Rossington-Collins Band days, and
days after the release of Street Survivors, a tragic plane everybody seems to like it. We’re very happy.
crash put the kibosh on the band’s meteoric rise and
took the lives of members Ronnie Van Zant, Steve I understand the writing process for
Gaines, and Cassie Gaines, and assistant road manager Dean Kilpatrick, among Take It on Faith goes back a decade?
others. Rossington emerged from the rubble with two broken arms, a broken leg Yeah. We always write songs here and
and pelvis, and a punctured stomach and liver, yet miraculously lived. He’s also there. We can’t stop ourselves. [Laughs.]
endured whiskey-and Quaalude-induced car wrecks, quadruple bypass surgery, and We wrote some of them and we took
several heart attacks, including one in October 2015 and one this past summer. some of them from our producer, who
As the last original member still touring under the Lynyrd Skynyrd banner, helped us pick a few songs. It came
Rossington continues along the route he, singer Ronnie Van Zant, and their together real quick.
friends set out on in 1964 as if he’s on a crusade to keep the dream alive. “All these
years later, ‘Freebird’ and some of these songs have taken on an anthem-like feel,” When you revisited the previously
says Rossington. “Everybody yells out ‘Freebird’ or ‘Sweet Home Alabama.’ I’m written material, did you make any
the only one left that gets to tell about it.” major revisions?
In addition to his legacy with Skynyrd, Rossington has been part of other Nah. Most of them were blues songs,
projects throughout the decades. Two years after the plane crash, he and Allen and blues never changes. You can play
Collins, another of the founders, formed the Rossington-Collins band. To avoid blues from way back in the day until
accusations of being a Skynyrd knockoff, they brought in Dale Krantz, who now. We just started writing two or three
had previously opened for Skynyrd as a singer with 38 Special. Rossington and blues tunes, and we had a few in mind
Krantz fell in love making music together and eventually got married. After the that we thought were great that we didn’t
Rossington-Collins band disbanded in 1982, the Rossington Band, featuring write. We figured a blues album would
Rossington and Krantz, formed. be fun, but then we went more rhythm
When Lynyrd Skynyrd reunited in 1987, Rossington and Krantz were back in and blues, and picked a few other songs
the fold, where they’ve remained. (By then Collins was paralyzed from the waist that weren’t hard blues … or I don’t
down, due to an alcohol-fueled car wreck. He died in 1990.) And now, almost 30 know what style you’d call it, but it was
years later, they’ve released a new album called Take It on Faith. This time, there’s different than the blues.
no band. The album is simply credited to Rossington. And, in fact, the guitar
legend explains that the songs were recorded seven or eight years ago and awaited Do you prefer old-school recording
release. For the sessions, producer David Z (Etta James, Buddy Guy, Prince) chose methods or today’s hard-drive-based
a diverse group of studio musicians—including Jack Holder on guitar, Bruce approach?
McCabe on keys, David Smith on bass, and Richie Hayward on drums—to lay We just did it with tape—analog, you
down a foundation that would bring Rossington’s vision of a blues-tinged rock know? Put down a basic, overdubbed a
album to life. Notably, Holder and Hayward—also legends of Southern rock— little bit, and “boom,” there it was. For
died before the album was released. blues, that’s the best way. But we did
Rossington, who has otherwise always recorded with bands, says making Take a little Pro Tools for tuning up things
It on Faith was a new experience for him. “A band goes in, works together, and and moving things and this and that.
kind of tries to change things here and there,” he says. “We just went in there and Pro Tools and computer stuff nowadays,
showed these studio guys the songs real quick—sang it once—and then they went I don’t understand all of that, but my
out into the studio, and, bang, it was there. It was so cool.” engineers did and that was real good.
Nonetheless, fans of his big-boned guitar work will be pleased. The title track
features his elegant slide playing on acoustic guitar, and his keening bends, On all of the album’s ripping solos, you
recognizable from decades of recorded and live Skynyrd performances, shine still seem to be focused on maintaining
through on Krantz’ vocal showcase “I Should’ve Known.” Ditto the pinch the integrity of the songs—never
harmonics that decorate the rocker “Good Side of Good” and recall his stellar overplaying. That’s impressive
opening and solo on the classic Skynyrd smoker “That Smell.” considering how much free reign you
On a break from Lynyrd Skynyrd’s still-busy touring schedule, Rossington can have with overdubs.
talked about creating the new album, his love for Gibson Les Paul Standards, and I try. That’s coming from Skynyrd and
his basic-but-effective recipe for achieving his classic sound. trying not to overplay over everybody.
premierguitar.com
GARY ROSSINGTON’S GEAR
Rock ’n’ roll survivor Gary
Rossington plays one
of his beloved Les Paul
GUITARS Standards in Bethel, New
• Gibson Custom Shop York. “Everybody yells out
‘Free Bird’ or ‘Sweet Home
Gary Rossington Les Paul Alabama,’” he says. “I’m the
• Gibson Custom Shop Les Paul Standard only one left that gets to
• Gibson Custom Shop ES-335 tell about it.”
• Fender Eric Clapton Stratocaster
• Fender Telecaster (customized by late
Skynyrd guitar tech Gary Smalley)
• National resonator
• Gretsch Tennessean
AMPS
• Peavey Mace 100-watt head
• Peavey 4x12 cabinet with
JBL 120F speakers
• Fender Prosonic Amplifier
STRINGS & ACCESSORIES

• D’Addario NYXLs (.009–.042)
• D’Addario medium gauge-mixed
strings for the National
• Mel Bay green light nylon
contoured picks
• Score Marketing Coricidin bottle
• Buffalo Straps custom leather strap
Photo by Frank White
premierguitar.com
Back in the day we had three guitars and a
keyboard, so that’s all strings. It’s hard to get
all those strings together, and the hardest
part, is not playing. Growing up, we learned
where not to play. Even though you could
play, you leave the space and room. That’s
cool, too.
“I Should’ve Known” alternates between

two feels. How did you come up with that?
It’s just different tempos. The song lent itself
to being played fast or slow. A lot of songs,
when you’re writing or playing them, you
play them a little faster at rehearsal and it
sounds good that way, too. So I just put it
together—the first verse is slow and the next
verse is fast. It seemed to work out. There’s
a few songs like that I’ve heard throughout
the years, and it was kind of fun, having
two tempos in one song.
Was that tricky to record?

Nah, man. It’s on beat. When it picks up the
beat, just jump on and hang on. It’s not that
hard once you’re going.
Tell us about Billy Gibbons’ involvement

on “Good Side of Good.”
Well, he didn’t play on it. I played all the
guitar there. But he cowrote the song. We’ve
toured with him throughout the years, and
became friends. We just love him. He lives
right in Texas, and there’s some guy [Tom
CAPOS & PICKS
Vickers] he writes with. They sent us one
song, and it just seemed to fit our feel. It’s
got a little blues feel to it. It’s just got a weird
sound on it and there’s a piano, too. On that
particular song, I used my Les Paul, the one
I always use. When I went to the studio I
also took a Strat, a Gretsch Tennessean, a
Telecaster, an ES-335… hopefully to get a
different sound than Skynyrd.
Even with all those axes, you’re ultimately

a Les Paul guy, aren’t you?
I always use Les Pauls. With Skynyrd, I thaliacapos.com
always used my ’59 Les Paul the whole
time until 1977. I just use reissue Les Paul
Standards now. They’re still old and good.
Are you still using the Les Paul that we

looked at in our 2011 Rig Rundown that was
damaged in the 2010 Nashville flood and
restored by RS Guitarworks in Kentucky?

I use that one sometimes. It’s real, real
Buttery slide playing heavy. The newer ones are lighter, and
is one of Rossington’s
they still sound great if you get them all
signatures. Here,
he uses a medium- tuned up.
sized reproduction
of a Coricidin bottle. How would you describe the perfect
Occasionally he plays in Les Paul?
open G, but mostly he
slides in standard tuning.
To me, it’s the Les Paul Standard.
Humbucking pickups are great. I love
the warm tones that you can get, and
if you turn the treble up really high on
the amp, you can get kind of a Fender
sound, too, with a Les Paul. But you
can’t get a Les Paul sound with a Fender.
I always liked Gibson—really because
of Keith Richards and Brian Jones. Way
back when I was learning to play, they
Photo by Tim Bugbee/Tinnitus Photography

had Les Pauls. I saw them on The Red
Skelton Show and I just fell in love with
that guitar.
What about amps?

I’ve used a Peavey Mace throughout my
whole career, really, even in the early
days back in the ’70s. But we also use
premierguitar.com
Marshalls. Peavey and Marshalls, to me, sound on the road and everything is good. at night and doing all the other
pretty similar if you get them side-by-side. The She takes care of me. I’m a mess these stuff like talking about the old
Peavey seems to carry out into the crowd more, days with my health. [Laughs.] I had guys and the original band. That’s
and have that tone even 100 feet out, whereas the a couple of heart stents put in. But what I try to do everyday, to keep
Marshall seems to get a little tinny when you get I’m feeling great and I’m playing, the dream alive and keep them
out front. and we’re enjoying our grandkids and alive. It’s a lot of hard work, but
taking a few weeks off here. it’s worth it and it’s fun. It’s all I
What do you use for gain—the amp or pedals? know how to do.
I just use the amp, but put the preamp up high Being on the road is hard.
and the regular volume down, so it’s dirty. If you Yeah, it’s a lot of work, just the Do you ever get tired of playing
turn the guitar volume knob, like, halfway down, traveling. Playing for the people the Skynyrd stuff?
it’s a lot cleaner. That’s what I do, I play all my
rhythms on 4 or 5, and for leads, I just crank it up
and it gets that bite. Jennifer Adams Laurie Anderson Felipe Andreoli Jeremy Arrowood Pat Badger Adam Baldych
Randy Barnes Cindy Baucom Quintin Berry Ron Bienstock Blake Bowen Andre Bowman
Damien Boyd Karen Briggs Jorg Brinkmann Michael T Brown Michael Burd Gregory
Can a guitar with the volume rolled-off get
C. Byers Jeffrey Byrd Rob Calder Jean-Michel Charbonnel Eric Chardon Grace C h a t t o
clean enough for something like, say, the intros Noor Cheree Paul Dateh Jennifer Choi Brandon Christy Anthony Cimorosi
to “Simple Man” or “Sweet Home Alabama?” Jonathan Clarke Les Claypool Annie Clements Jacob Collier Evan
Yeah, but actually that’s a Stratocaster doing that Coniglio Anthony Cooperwood Shiah Coore Claire Courchene
“Sweet Home Alabama” intro. Sparky [Mark Jeff Cox Jim Creeggan Ryan Cross Stefan Custodi Connie Darden-Young
Matejka], our guitar player now, does it, and it was David Darling Paul DeJong - The Books Carlos DelPino Robert Derhak
Yvette M. Devereaux Ramin Djwadi Casey Driessen Charles S.
Ed King that started it. I play the little lick right after.
du Chateau David Dyson Steve Earnhart Jeff Elbel Lee
So there’s a Fender sound and a Les Paul sound. England Jr. Dan Eubanks Markus Fahrenberger Joseph A
Fazio Silvio Ferretti Robin Finck Ken Ford Dave Fowler
You’ve got other guitars throughout the album. Zach Fowler Adam Frederick Ed Friedland Eugene Friesen
It sounds like a 12-string on “Where Did Love Brittany Frompovich Lucine Fyelon Geoff Gascoyne
Nora Francesca Germain Kristian Gilmore Tatiana Glava
Go?” and a dobro on “Take It on Faith.”
Yorgis Goiricelaya Tomaz Goleviewski Thaddeus Graham Derek
Yeah, I played dobro on “Take It on Faith” and Gray Alan Grubner John Hanifin Robert Harper Winston Harrison
“Something Fishy,” and a couple of songs here and Anna Heifetz Harold “Hal” Henkel Bill Holt Edward Howe Simon
there. I just love that. I wish I could’ve played it Huber James Hutchinson Trevor Hutchinson Aleksey Igudesman Dean Jarvis
more, but we didn’t record that much. We only Jeff Jenkins Theresa Jenkins-Russ Jun Jensen Benjamin Johnson Ben Johnson
did it in a few weeks. The studio cats were so good Polo Jones Kameron Keller Ryan Kienle Jody King Gregoire Korniluk Sandra
Kreisler John Krovoza Bakithi Kumalo Gary Kuo Mat Labess Scott Laird Juho
they put down one or two tracks a day, and we
Laitinen Jonathan LaMaster Mark Langis Paul R. Langosch Zoltan Lantos Morwenna
just went in and overdubbed on them—played Lasko Tony Levin Gard Lewis Derrick Long - DeRock Ulrich Maiss Robbie Malone Janice
some lead, and “bang,” we’re done. Martin Timmy Massey Melissa McGinley Mike Meadows Avery Merritt Jim Messina
There was a 12-string and an acoustic up Tom Michael Eric Mingus Philippe Mius Cregan Montague Glen Moore Jason Moore
front on “Where Did Love Go?” and we kind Joseph Patrick Moore Miles Mosley Tony Mowell John Mullett Juan Nelson Jeremy Nesse
of brought it down a lot so it doesn’t sound real Tommy Nichols Kenny O’Quinn Steve Octave Chance Onody Aleksey Orlov Alex Page
Mike Parker Christopheur Payne Pedro Perez Kyle Perkins Chase Potter Paul Priest Vernon
twangy. I just played slide on that song. Wayne
Prout Dustin Pyrtle Mugurel Radu Michael Rais John Regan Ernst Reijseger Benny
Perkins wrote it and it’s a beautiful song. He’s a Rietveld Bonnie Riley George E. Rodgers III Michael Rosch Zachary Rudulph
good friend of mine from Alabama. Bryan Russell Sav Sankaran Bahman Sarram David Sartore Anna Schaad Sarah
Clanton Matthew Schoening Ron Shuffler Khari Simmons Sean O’Bryan
Will you tour with Dale to support Take It Smith Olivier Soubeyran Jesse Stern Kersten Stevens Danny Stewart
on Faith? Mike Sugar Patrick Swoboda Wayne Taylor THERoberto Tiezzi
Michael Thurber
We haven’t planned it yet. If it calls for it, or we get

Tim Tipton Pascal Tirapani Paul Turner
Jimmy VanCleve Marcos Varela Rick
ARTISTRY
Michal Urbaniak Etnoacustica
Marcel Radina Veliova Christopher
some offers, we would, I guess. We’re touring all over Vitas Dr. Gregory Walker Matt Wallace OF
Charles M. Ward Jr. Rob Wasserman
the world with Skynyrd so we’re taking a few weeks Hitoshi Watanabe Brandy Weeks Jair-Rohm Parker Wells Danushka
off for the holidays, and then starting back up. Weskewicz Kevin Williams Jedi Willis Doug Wimbish Adrienne Woods Chris
Woods Billy Wright Charles Yang Jason Yang Andrea Young Ion Zanca
Anne-Colombe Martin Bonnie Paine Brazilian 2wins Bryan Kuban
Is it hard to separate work and life
Bud Snyder Buffi Jacobs Christian Hebel Craig Jarvis Dango Rose Daniel
with Dale? Blair Daniel Perry Darrol Anger David Leikam Dominic Peters Frank
No, man. We just get along really good and she’s Abraham Glenn McDaniel Grace Chatto Jacob Collier Jasper Lorentzen
my best friend. If we weren’t playing music together, Josef Crosby Joseph Smith Judy Kang Julie Lyonn-Lieberman Katie
we’d still be hangin’ together. We help each other Larson Kristian Attard Louis Ochoa Luis Espaillat Margot Lane Maurice
Ned Steinberger.com
Ellis Melissa Priller Mendosa
Villalobos Rhonda Smith
Mendosa “LOY” Mitchell Brown Nicholas
Richard Egolf Rob Zisette Sam McMahan
Tatiana Glava Todd Williams Vonnie Quinn Wytold Lebbing Zack Clark

Nah, man. It’s a pleasure and an honor
for me. Back when it was new and we YOUTUBE IT
first wrote it and toured with it, it was Gary Rossington and the 2003 edition of Lynyrd Skynyrd—
magic to us that we could do it, and including Blackfoot founder Rickey Medlocke and Outlaws
frontman Hughie Thomasson on guitars—tear through the
that we finally made it after all those classics “Simple Man” and “That Smell.” Both songs are
years of trying. That was our dream. showcases for Rossington’s burly tone, roughhouse licks, and
And to play it now … unfortunately singing feedback technique. He’s playing one of his beloved
Les Paul Standards while Thomasson jams on a Fender Strat and
Ronnie and a lot of the guys in the
Medlocke plays a Gibson Firebird, the preferred instrument of
band, after the crash, they never got original Skynyrd co-guitarist Allen Collins.
to hear “Freebird” and “Sweet Home YouTube search term: Lynyrd Skynyrd - Simple Man | That
Alabama” be played for years and turn Smell (Live)
into classical music.

Like I said, I’m an old blues guy so I Where do you see yourself during the
It’s great that you’re still staying true to listen to old blues. And I love the Beatles, next 10 years?
your roots, after all these years. actually, and all the old groups like the Oh wow! I don’t know the future, really.
We just do what we do. Unfortunately, Yardbirds. I listen to that stuff. We were so I just see us doing some more tours with
Ronnie would have gone on to be a great lucky—our generation that grew up with Skynyrd stuff. We’re loving that and will
songwriter, which he already was. He was the Beatles. These kids nowadays, I don’t keep on going until our farewell tour,
one of the best I’ve ever heard. His lyrics— think they know how to appreciate real whenever that might be. Anything me and
he had a magic way of talking to people, musicianship with real people that try to Dale get going with this album … who
and the common person. But as far as rehearse all day to sound good. [Laughs.] knows, in the future we could do another
Southern music, that’s just the way we play. There’s not a lot of bands around anymore album or songs. It’s hard to do a whole CD
that tour all the time. There’s a lot of solo now because people just stream one song or
Are there any new artists that have artists with dancers, but never a real band. two. You don’t have to do a whole album
caught your attention? But I’m gonna keep on going until I can’t. now because nobody cares. [Laughs.]
HAND CRAFTED HIGH FIDELITY
AVA I L A B L E F R O M T H E F I N ES T R E TA I L E RS WO R L D W I D E
W W W. M I L K M A N S O U N D . C O M
premierguitar.com
ON BASS
Click here to
hear clips from
It’s All in the Approach this lesson.
BY VICTOR BRODÉN
I
Photo 1: n most modern styles of music, our
Approach A7’s main job as bassists is to provide a
1
root from below
by playing
basic harmonic foundation. There are
G# with the several reasons for this, but it’s mostly just
second finger. because it sounds good. Usually there are
other instruments whose job it is to play
Photo 2:
the colorful chord tones, which can include
To approach A7’s
root from above, upper structures of a chord that extend well
play B using the beyond simple triads. Most non-bassists
fourth finger. will agree: One of the worst things you can
encounter in an ensemble is a bassist who
isn’t holding down the bottom end due to
overplaying. Too many inversions or too
many notes won’t win you friends.
A happy medium is to aim for rock-
solid playing while adding just enough
personal touches to make a lasting impact
on both the audience and your fellow
musicians. So this month, I want to share
2
the fairly basic concept of approach notes
through a fun, musical set of exercises.
Approach notes will add personality to
your chord tones, and if you apply the
knowledge tastefully, it can really take your
playing to the next level. Let’s use an A7
chord to illustrate the process. The formula
for a dominant 7 chord is 1–3–5–%7,
relative to a major scale starting from the
chord root. For A7, this yields A–C#–E–G.
We’ll start by approaching every chord
tone from below. Set your metronome
to a comfortable, quarter-note tempo
and play these first three exercises as
eighth-notes. The first order of business
is to approach the root—A. As shown in
Photo 1, begin by playing G# on the 4th
string with your second finger, and follow approached all four chord tones from a the same fret, so make sure you play the
that by playing A on the next fret with half-step below. Once you’ve played this note with the softer, meaty part of your
your third finger. Next up, approach the 3 exercise ascending, reverse directions and finger. (By flattening out the last knuckle
(C#) from below by playing C (3rd string, descend through the same set of moves. of your second finger, you don’t have to
3rd fret) with your first finger, then C# The next exercise approaches the move your fingertip off the A you played
(4th fret) with your second finger. target notes from above. As shown in before fretting D, and this will keep the
Root and 3—so far, so good. Now Photo 2, start with your fourth finger whole exercise sounding very legato and
repeat the same concept to approach the on B (4th string, 7th fret), and then relaxed.) Now move down to the 3 by
5 (E). Use your third finger for D# (3rd play the A—our root—located two playing C# with your first finger.
string, 6th fret), and your fourth finger frets below with your second finger. To To approach the 5, play F# (2nd
to play the E (7th fret). Finally, approach approach the 3 from above, place your string, 4th fret) with your first finger,
the %7 (G) by playing F# (2nd string, 4th second finger on D (3rd string, 5th fret). using that knuckle-rolling technique I
fret) with your first finger, and G (5th This requires you to use the same finger just described, and then E with your
fret) with your second finger. We’ve now you just fretted the 4th string with on fourth finger (3rd string, 7th fret). Last,
premierguitar.com
Photo 3:
Nailing E—A7’s
3
5—from D#, a
half-step below.
Photo 4:
Approaching G
(A7’s %7, played
by the second
finger) by way
of A (fourth
finger) and F#
(first finger).
approach the %7 by first playing the A

4
(2nd string, 7th fret) and then tagging
G two frets below. Use your fourth and
second fingers, respectively.
As with the previous exercise, once
you’ve reached the last note, flip the pattern
around and descend to the low root.
A real ear-bender, the exercise
illustrated in the next two photos is my
favorite. In it, you’ll approach every
chord tone from both above and below.
This means the notes will be in groups of
three, so set your metronome to a slower
quarter-note tempo and play this exercise
as eighth-note triplets.
Start with your fourth finger on B
(4th string, 7th fret), followed by G# (4th
fret) with your first finger, and then A
(5th fret) with your second finger. See Finally, Photo 4 shows the %7 approach
VICTOR BRODÉN is a Nashville
how that works? that occurs entirely on the second string: bassist and producer who has
Approach the 3 by playing D, C, and A (fourth finger, 7th fret), F# (first finger, toured and recorded with more
than 25 major-label artists,
C#—all on the 3rd string—with your 4th fret), and G (second finger, 5th fret). including LeAnn Rimes, Richard
third finger, first, and second fingers. These exercises can add pizzazz to Marx, Casting Crowns, and Randy
Houser. His credits also include
Next move to the 5 by playing F# (first your bass lines and serve as a great Grammy-winning albums and
finger, 2nd string, 4th fret), then D# (third launching pad for soloing, so I hope numerous television specials
on CMT and GAC, as well as
finger, 3rd string, 6th fret), and finally E you’ll find them useful. If you’ve been performances on The Tonight
Show and The Ellen DeGeneres
(fourth finger, one fret higher). The last stuck playing triads, you have now Show. You can reach him at
half-step shift is shown in Photo 3. officially been set free. [email protected].
premierguitar.com
BASS BENCH
Time to Put Your Bass on a Diet?

BY HEIKO HOEPFINGER
W
One of these hen you bring your axe And just for comparison: Most woods
bridges is very to a local shop for some range within 0.4 to 0.8 g/cm3, which
light, but only
a hands-on
minor repairs or a hardware hints at why we don’t see many metal bass
inspection of upgrade, it gives you an opportunity to bodies—or at least no solid metal ones.
the uninstalled chat about the advantages or drawbacks The fact that aluminum’s density is
hardware will let of certain mods. You might also get more than three times lower than brass
you experience
a chance to physically inspect some implies that any hardware made from
the differences
that lurk beneath uninstalled hardware, and this tactile aluminum is just a third the weight of
the finish. experience can be quite instructive. its brass counterpart. Unfortunately,
The whole point of modding a bass is aluminum lacks hardness, so all screws
to improve it aesthetically, sonically, or and many load-bearing parts still need to
ergonomically. Photos and sound samples be made from brass or steel. Nonetheless, So far we’ve been targeting parts
can guide your decisions in the first two the weight differences can be impressive. made of the densest materials, but more
categories, but many ergonomic decisions Let’s begin with the tuners. Saving voluminous parts can easily add way
require personal, hands-on engagement. weight here makes a lot of sense because more to the bottom line. Most Jazz-bass
Most of us only know the overall it fights neck heaviness and benefits the bodies range between 4 to 6 pounds,
weight of our bass—too heavy, right?— instrument’s overall balance. A standard so you can save almost twice as much
but rarely do we know the weight of bass tuner weighs in at approximately weight by replacing a heavy body than
its various components. So once a 60 grams, while the lightest aluminum going after hardware.
player gets a chance to make a direct versions are 36 grams, which means a Okay, back to the beginning: Does
comparison between uninstalled solid reduction of 40 percent. replacing parts make sense? It can,
brass and aluminum bridges, it prompts And in the case of the aforementioned especially if there are parts you want to
a question: “What if I replace all my bridges, you can easily drop from 250 replace anyway, but it never makes sense
standard hardware with the lightest grams to a mere 90 grams. That’s a to do all of the above. It costs more
available equivalents?” After hefting 60-percent weight reduction. Typical to trick out a bass this way than buy a
brass and aluminum bridges, one’s initial 5-string humbuckers weigh about 200 new one, and you’ll never wind up with
expectations are usually high. Of course, grams, while the Lace Aluma pickups go a better instrument than one that was
there are other considerations than simply as low as 70 grams—a reduction of 50 to originally conceived as a whole.
weight. Do you like the tone or look of 70 percent. If your beloved bass feels oppressively
the new parts? Can you afford them? As Swapping knobs is the easiest and heavy, here’s a thought: Keep it as it
the saying goes, your mileage may vary. cheapest way to trim weight. And is and play it seated for practice and
But here’s a good question to start with: presumably not even the most diehard recording, and get a cheap light one for
How much weight could I actually save? vintage purist would claim that moving stage use. When we’re onstage we all want
The heaviest components that come from a 30-gram brass knob to a 4-gram to present ourselves in the best light, but
to mind are those composed mostly plastic or aluminum knob—a weight that doesn’t mean we have to be playing
of metal—the tuners, bridge, pickups, savings of more than 80 percent—would the best sounding instrument. The only
and even knobs. The market not only extract a sonic penalty. ones who would likely hear the difference
offers all these in many functional Now let’s sum up what we could are other bassists, and they won’t buy
variations, but also made from different potentially save on a 5-string bass with your latest record anyway. If you sound
materials, which of course translates into five controls that weighs a total of 4 good, bassists will credit the instrument’s
different weights. Brass and steel are the kilograms or 8.8 pounds in its original manufacturer, but if you play well
materials that most often get replaced by condition: 670 grams or 1.4 pounds— because you feel comfortable, the glory is
aluminum. Here’s a first impression of about 15 percent of the bass’ overall on you.
what to expect by looking at the densities weight. Does this really justify the
or specific weights of two common presumed cost? And even if you have HEIKO HOEPFINGER is a
Image courtesy of basslab.de
German physicist and long-time

hardware metals expressed in grams per a lot of expertise gauging the potential bassist, classical guitarist, and
cubic centimeter (g/cm3): tonal effect of swapping out parts, it’s motorcycle enthusiast. His work
on fuel cells for the European
hard—or even impossible—to know orbital glider Hermes led him to
• Brass 8.5 what you’ll sonically end up with after form BassLab (basslab.de)—a
manufacturer of monocoque
• Aluminum 2.75 changing this much hardware. guitars and basses.
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Out
Click here to hear
audio examples
from this lesson and
download a PDF.
About
To improvise compelling solos, you sometimes
have to violate the conventional rules of harmony.
Open your ears and discover how to harness the power of
controlled chaos with these four easy principles.
| BY ADAM LEVY |
“C
an we talk about outside done all of this. Then, one day, he was hearing, and then playing, sounds that are
playing?” hungry for something different. beyond listeners’ expectations.
One of my guitar As I’ve been teaching for 25 years or With that in mind, I’d like to show you
students asked me this recently. This so, I’ve had more than a few students my approach to outside playing, both as a
shouldn’t have surprised me, because reach this point in their development. performer and in my teaching practice. It’s
for quite a while the student had been Dishearteningly, when such players start based on a handful of easily understood
working so hard at playing inside. For to seek information on how to play principles, all of which are derived from
example, if he was improvising over a outside from online resources, in books, one big-picture concept: Outside is inside.
tune and the sheet music indicated an and from some teachers, they’re likely (Or, less succinctly put: Outside one
Am7%5 in the third measure, he was able to encounter thesaurus-like approaches. thing is inside something else.) What I
to outline that chord in a really musical To play outside over Dm7, these are the mean is that when we want to play notes
way. He had developed his ears and 12 scales you can use. To play outside over beyond the prescribed harmonic structure
technique to a level where he could “make A7, these are the 17 arpeggios you can use. of any song, we’ve still got to be thinking
the changes,” as jazzers say, whether Does anyone really improvise like that? inside some other structure—an alternate
playing jazz, blues, rock, or other styles. Possibly so, but I sure don’t. In my own harmony, or melodic motif, or rhythmic
As anyone who’s done the woodshedding experience as a teacher—and as a lifelong motif. Wherever you’re at in your own
Photo by Tedra Walden
knows, this is no small achievement. student myself—I’ve come to believe that development as an improviser, I think
There are so many rules to heed, so many the path to outside playing is not merely you’ll be able to understand the principles
formulas to memorize, so many fingering rote memorization of exotic scales or presented here and apply them in your
patterns to get down pat. My student had arpeggios. It has more to do with actually own musical escapades.

Play from triad shapes, not 6-string scale patterns.”
Start with Triads tight boundaries, when the whole point playing. If you can’t, try taking the tempo
The first principle is this: Play from triad of outside playing is to be free from down a few notches and practicing awhile
shapes, not 6-string scale patterns. For such restraints. Secondly, when we use at the slower pace.
instance, if we’re going to improvise over common two-octave scale fingerings, it’s Once you’re comfortable improvising
an Am chord, we can use a simple Am easy to rely on muscle memory rather this way, it’s time to step outside. We’ll do
triad (A–C–E) as our starting point, as than actually appreciating the quality of that by allowing access to the notes that
opposed to the commonly employed A each individual note. are a half- or whole-step above or below
minor pentatonic scale (A–C–D–E–G) When we start with just three notes, each of our triadic tones. (These nearby
or A natural minor scale (A–B–C–D– it’s much easier to hear what’s going on. notes are sometimes called “neighbor
E–F–G). Why would we bother with Improvising over four measures of A tones.”) Ex. 2 was improvised using such
such a small shape when we could easily minor, using just the notes of our Am neighbor tones. You can analyze the non-
grab two octaves of scalar material? triad, we might play something like Ex. triadic tones–G#, G, F, E%, and B% (7, %7,
Good question! The answer is twofold. 1. Play this example a few times, then %6, %5, and %9, respectively), but harmonic
First of all, scales are finite. If we choose improvise your own four-measure phrases specificity isn’t the point here. What we’re
to play, say, A minor pentatonic, that at the same tempo (142 bpm), using only after is introducing some non-triadic
obliges us to using only the five notes these three notes. Be certain that you sounds that we can hear in relation to the
of that particular scale. We’re setting can really hear each of the notes you’re triadic tones. Ex. 3 is another variation,
Ex. 11
Ex.
Moderately fast q = 142
‰ œj j
Am
4 œ Œ œ œ œ ‰ œ œ ˙™ Œ ‰ œ œ œ œ ‰ Œ
& 4 œ™ J .
—
mf 1/4
˙
5
5 5 5 5 5
7 7 7 7 7 7
Ex. 22
Ex.
˙™
j œ
Am
4
& 4 œ™ œ Œ ‰ œ #œ œ œ ‰ nœ Œ ‰ bœ œ bœ œj ‰ Œ
J .
mf
˙
5 6
5 5 8 5
7 7 6 5 6 5
Ex. 33
Ex.
˙™
#œ ‰ #œ nœ œ œj ‰ Œ
Am
4
& 4 œ™ œ Œ
J ‰ bœ bœ nœ #œ ‰ nœ. Œ
J
mf
˙
5 7
5 8 6 5 6 5
7 8 5 7
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Ex. 44
Ex.
Moderately slow q = 84
œ™ œ™ œ™
D
œ™
4 j œ j j
& 4 #œj œ œ œ #œ œ
J œ œ #œ œ œ #œ
mf
˙
3 3 2 5 3 2
2 4 2 4 2
4 4
Ex. 55
Ex.
nœ ™ bœ ™
D
bœ ™
4 j œ œ #œ j œ j œ
& 4 #œ œ œ œ œ™ œ œ
J #œ œ J
mf
˙
9 8 10
7 9 8
8 7 10 9
9 10 9
using the same concept. Once you get the
Rhythm can be the

hang of these lines, improvise your own at
the same tempo. Next, you may want to
driving force behind

try different phrase lengths and different
tempos. There are Am triad shapes in
various inversions all over the fretboard, so
take time to explore those too.
There are many other chord qualities
melodic invention.”
as well. Be sure to practice all of the
common sonorities. For major-type caught a glimpse of our second principle: to superimpose a D major tonality and
chords (A, A6, Amaj7) or dominant-type Rhythm can be the driving force behind decide to work from a 1st-inversion D
chords (A7, A9, A7%9, and so on), use melodic invention. This may be obvious to major triad in 2nd position (on strings 4,
A major triads. For minor-type chords some, but it’s an easily overlooked idea. 3, and 2), we might improvise something
(Am, Am7, Am11, and the like), use A Too many tenderfoot improvisers jam like Ex. 4.
minor triads. For diminished and half- simply by choosing a scale position and Now, what if we were to improvise
diminished chords (Adim7, Am7%5), use roving around within that box. While this on the same rhythmic structure and
A diminished triads. (I’ve kept everything won’t lead to playing any so-called wrong completely eliminate any harmonic
rooted on A here for simplicity’s sake. notes, it’s not likely to lead to many context? To lend a bit of shape to the
You’ll need to practice in all of the major musically right-on choices either, because chaos, let’s keep it all in one area of the
and minor keys, not just A.) If you the convenience of familiar fingerings fretboard, say, 7th position. That might
want to craft melodies that have a wider is prioritized over essential musical lead to something like Ex. 5. When we
melodic span, pick two triads in different elements, such as rhythm and melody. open our scope to include all possible
areas of the fretboard and practice playing For a moment, let’s think solely about notes on the fretboard, it’s easy to feel
phrases that bridge the two positions. rhythm, without regard to the melodic or overwhelmed, which may inhibit the flow
harmonic implications. We’ll start with of our creative juices—the exact opposite
Rhythm Rules the opening riff to Radiohead’s “Airbag,” of our intention. Claiming a specific
Did you happen to notice that the first which, I hope, is familiar to you. The parcel of the fretboard for this exercise
three examples are all built upon the same rhythm is simple and repetitive. That’s can help us stay on task. A particular
rhythmic structure? If so, you’ve already just fine for our purposes here. If we were position is an easy framework to impose
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Strong melodic motifs are malleable and moveable.”
when improvising. Focusing on just one along the continuum between these two-measure melody outlining a G
string is another kind of limitation that two polarities. As you practice playing major chord (the I chord, as this piece
can spark some fresh melodic substance, outside, be sure to explore varying is in the key of G major), followed by a
as illustrated in Ex. 6 (played entirely on degrees of relative outness. melodic variation that outlines D7 (the
the 3rd string). V7 chord in this key). Mozart’s melody is
Note that Ex. 4 is clearly tonal, with Motif Manipulation so ingeniously simple and strong that we
the key of D major being outlined by Once you’ve got the hang of using a can liberate it from its diatonic lockup
the melody, while Examples 5 and 6 single rhythm to generate multiple without sacrificing the intrinsic charm.
have no central tonality. Outside playing melodic possibilities, our next principle The chord suggested in measures
is not always as black-and-white as this. should be relatively easy for you to grasp three and four of Ex. 8 could be analyzed
At any given moment, we may choose because it’s closely related: Strong melodic as F#m6 (or, perhaps D#m7%5). That
to play mostly inside, taking just a motifs are malleable and moveable. particular harmony wasn’t premeditated.
few adventurous sidesteps. Or we may Take, for instance, the well-known It was simply where my ears
embrace total musical pandemonium. phrase that opens Mozart’s “Eine kleine spontaneously led my fingers as I skirted
Or we may decide to live anywhere Nachtmusik” (Ex. 7). It starts with a Mozart’s original, but it never hurts to do
Ex. 66
Ex.
œ™ œ™
D
bœ ™ œ™
4 j œ œ œ bœ œ #œ #œ œ #œ œ œ œ
&4 œ J J J J
mf
˙
2 3 7 12 10 8 6 4 6 11 14 9 7
Ex. 77
Ex.
œ œ œ œ œ œ œ œ œ œ œ œ
µ
#4 œ œ œ
& 4 ‰ œJ ‰ œJ Œ ‰ J ‰ J œ Œ
mf
7 10 8 8 8
˙
8 8 8 8 10 10 10 7 10
7 7 7 7
Ex. 88
Ex.
œ œ œ œ œ #œ œ œ œ # œ œ œ œ #œ
µ
#4 œ œ
& 4 ‰ œJ ‰ œJ Œ ‰ J ‰ J Œ
mf
7 10 9 9 9
˙
8 8 8 8 10 10 10 7 10
7 7 7 8
premierguitar.com
Playing inside alternate chords will
sound outside to everyone but you.”
Ex. 99
Ex.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
µ
#4 œ ‰ œ œ ‰ œ ‰ J J ‰ J ‰ J œ ‰
& 4 J J
mf
7 10 8 8 8
˙
8 8 8 8 10 10 10 7 10
7 7 7 7
Ex. 10
Ex. 10
Moderately q = 116
œ
E7
##4 œœ œœœ
j œœœœ œ 3 #œ œ nœ œ œ œ œ 3
& # #4 Œ œ œ œ nœ#œ œ Œ œ bœ œ nœ#œnœ ˙

3 3 3 3 3
mf
˙
5 5 5 7 9 5 7 5 5 9 9 8 8 7 7 5
4 6 4 6 6 4 4
5 6 9 8 7 5 6
some analysis after the fact. (Especially if as a natural extension of measures one we’ll intentionally superimpose some
the improv pleases your ears.) and two. How much can you tweak the different harmonic colors over whatever
In one final variation (Ex. 9), the rhythm of a phrase before it loses its chords are inherent to the music at
implied harmony (two measures of I, character? There’s only one way to find hand. This is the idea behind our final
two measures of V7) is the same as in out: Start tweaking and keep listening. principle: Playing inside alternate chords
Mozart’s original. The difference here is will sound outside to everyone but you. Let’s
solely rhythmic. Notice how the phrase in Alternate Chords say we’re improvising over a bluesy E7
measures three and four swings in a totally Though suggested harmonies can happen vamp. Playing totally inside, we might do
different way—yet is still recognizable extemporaneously, there are times when something like Ex. 10.
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Ex. 11
Ex. 11
Moderately q = 116
E7 C7 E7
# ## 4 œ œ œ nœ bœ
&# 4 Ó nœ #œ nœ œ Œ Œ ‰ œj bœ œ nœ œ nœ #œ œ nœ œJ ‰ Œ
mf
˙
5 5 5
7 7
5 6 8 5 8 7 5 5 6
7 7
Ex. 12
Ex. 12
Moderately q = 116
nœ bœ nœ ™
Bbm7 Eb7 Abmaj7 G C E7
##4 œ bœ nœ œ nœ ‰ œj nœ nœ œ nœ nœ nœ
nœ œ œ™ œ
& # #4 Œ J bœ Œ J Œ
3
mf
7
˙
6 8 6 4 6 4 5 8 7
6 5 4 5 7
6 6 5 7
If we want to stray a little bit outside no formula to memorize here. Just bear in to just about any style. Remember, one
of the E7 zone, C7 would be an mind that common tones can be helpful of our goals throughout this lesson has
interesting choice (Ex. 11). It’s got one gateways between inside and outside been to really hear every note we’re
note (E) absolutely in common with sounds. (The chords notated in Examples playing, regardless of how inside or
E7. C7’s 5th degree (G) is a piquant %3 11 and 12 aren’t meant to be played. outside it may be.
(or #9) against the E7, while the C7’s %7 They’re the chords I was thinking about One final thought to leave you with:
degree (B%) is E7’s blues-approved %5. The while improvising over E7.) If you really want to play outside,
root of C7 is harder to justify against E7 Before wrapping up this lesson, you’ve got to attune your ears to such
(it would be the %6), but overall C7 has let’s review the four principles we’ve sounds. Listen, lots and lots, to players
enough overlap with E7 to make it an explored here: who routinely bend the conventional
accessible choice. rules of music. You’ll have to find
If we want to wander a little further • Play from triad shapes, not 6-string scale your own favorites, of course. Among
from home base, we might play Ex. 12. patterns. mine are Nels Cline, Marc Ribot,
There’s a bunch of implied harmony • Rhythm can be the driving force behind Mary Halvorson, Jeff Parker, and Noël
here. In the first two measures, we’ve got melodic invention. Akchoté. How these guitarists developed
B%m7–E%7–A%maj7 (IIm–V7–I in the key • Strong melodic motifs are malleable and their unique musical sensibilities is
of A%). What helps connect this remote moveable. likely different from how I’ve refined
key to E7 is the emphasis of the note A%, • Playing inside alternate chords will sound mine. Still, I suspect that even when
the enharmonic equivalent of G#, E7’s 3rd outside to everyone but you. they’re taking their music way, way out,
degree, which begins and ends the phrase there’s still some organizing principle
in measures 1 and 2. In measures three These aren’t the only ways to take your (or insideness) at work—however
and four, the implied G and C chords playing outside, but the principles are obscure it may be—that helps marshal
both share common tones with E7. There’s simple and effective, and can be suited the mayhem.
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STATE OF THE STOMP
The End of Mystery

BY BRADY SMITH
O
Brady Smith ver each of the past 10
and his team at years, things have changed
Old Blood Noise
exponentially for marketing a
Endeavors are
shown here hard product or brand. For the guitar pedal
at work on a industry, the mystery has diminished.
YouTube video The world isn’t as large. Magical pedals
to announce one are more attainable and, as a result, less
of their projects.
magical. It’s not that there isn’t top tier,
tasteful, and dramatic pieces of gear
created every year. There are. But they’re
easy to come by, easy to procure, easy to
know about. It’s all so easy. Think about
the first time you heard the word “Klon”
and how long was it until you actually
heard what a Centaur sounded like?
By that point, the pedal was probably
legendary—if for no other reason than
its mystery.
The ease of exploration and discovery
is great. The internet has everything. online marketplace where, if you were the customer. Today we use social media
Social media has everything. I’m not either gullible or smart enough to send to show the customer what we have, what
complaining, but I’ve found myself a complete stranger money, you could we’re doing, what we’re working on, and
reflecting on how showing guitar pedals wind up with vintage and unique gear what we like. It’s a lot of noise, but that’s
to friends, bandmates, and even customers otherwise geographically untouchable for the game. And we are playing. So we take
has changed. The marketing landscape has a teenager in, say, Oklahoma. My pedal pictures and make videos so we won’t be
evolved from word-of-mouth and print world grew larger still. forgotten or left out of the mix.
advertisements to blogs and social media, Back then an advertisement in a guitar Woof. I’ll admit it: I’m a little grumpy
and will continue to change. publication carried the most weight. The about the state of things.
For example, the first “boutique” pedal only way to hear about the new Electro- In 2016, there’s no mystery left.
I ever sought out was the Fulltone Full- Harmonix pedal was to skim a magazine. Posting a photo to social media instantly
Drive 2. I’d stomped through my Line And if you were lucky, the local Mars transfers intimate knowledge of new
6 DM4 Distortion Modeler and needed Music or Guitar Center would have one products and availability, which is great.
something to capture what I considered in stock to try out. But only if you were I do it. I like doing it most days. But it’s
at the time to be the desirable tone. A lucky. Not long ago, the unlucky went also terrible. Everybody knows everything
friend of a friend lent me his Full-Drive without. So it was a thrill to search for without working for it, and I can’t help
2, and I was in. I’d never heard of it new and different gear at a good price. but feel that we don’t deserve to know
before. I didn’t know how or why it was Then eBay and Craigslist gave everything about everything—at least not
different. I just knew that it made my way to music stores with e-commerce without working for it and taking the
amp sound “better.” It provided magical capabilities, offering products beyond journey to find magical and new guitars,
dynamics that I’d never thought to their immediate geographic region. This pedals, and gear. But that’s all right.
pursue. That was in 2003. I didn’t know gave every distributor and reseller an There’s always next year and there will
where or how to find one. After much opportunity to step up their advertising always be new and unexpected ways to
searching, I found one. And I knew that and marketing game. A quick web search discover and display what’s next.
hardly anyone else in my universe had flashed all the options in front of any
one. It was unique. Exciting. And my potential buyer. So your picture, your BRADY SMITH is the cofounder
of Old Blood Noise Endeavors
pedal world slowly began to grow. tagline, your deal had all better stand and the Coffee & Riffs video
Everything was relatively new and, out. The audience was larger, but the series, as well as a part
time guitar tech. Despite his
therefore, everything suggested by a competition was—and is—greater. deteriorating posture, he has a
friend or the local guitar guru was worth Here’s the catch-up to now: direct sales strong affinity for Jazzmasters
and aluminum necked guitars.
checking out. And there was eBay—the and marketing from the manufacturer to And coffee. And sleep.
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MOD GARAGE
Four Ways to Configure a 4-Conductor Humbucker

BY DIRK WACKER
T
his month we’re going to explore Fig. 1
four ways to configure any
humbucker that has 4-conductor
wiring. (Note: These wiring schemes
are not intended for an old-school
humbucker with 2-conductor wiring, but
rather the modern humbucker that allows
coil-splitting and other wiring mods.)
For starters, let’s review our
terminology. Looking at a humbucker
from the front, we call the lower coil
“south” and the upper coil “north.” The
south coil is always the “screw side,”
while the north coil is the “slug side.” The
latter is named for the type of magnetic
material used on this coil. Each coil is
wrapped with very fine wire, and this
wire has a start and a finish. This results
in a total of five wires coming from the
humbucker: into whatever color code corresponds Fig. 2
to your particular brand of humbucker.
• North coil start plus north coil finish. Fortunately that’s not too hard—you only
• South coil start plus south coil finish. need to know which color wire on your
• Ground. pickup indicates the start or finish of
which coil. Once you have that info, you
The bare wire or braided shield always can draw up a reference chart to decode
goes to ground—there’s no exception—so this column’s wirings.
that leaves us with four wires to play Here’s the Seymour Duncan
with. Having access to the start and finish 4-conductor humbucker color code: Here are the connections for series
of each coil wire not only makes it easy wiring (Fig. 2):
to solve potential out-of-phase issues (a • North coil start is black; north coil
subject we’ll cover in another column), finish is white. • North coil start is the hot output.
but it also gives you the option to wire up • South coil start is green; south coil • North coil finish and south coil finish
your humbucker in one of four different finish is red. are soldered together and taped off
ways. If you’re ambitious, you can use • Ground is bare wire. (this is the series link).
a switch to put several options at your • South coil start is soldered together
fingertips. Fig. 1 sums up what we’ve covered so with the bare wire going to ground.
Every pickup company uses its own far in the Seymour Duncan format. Now
color-code scheme for these four wires. let’s walk through the four ways you can “Single-coil” humbucker wiring:
This makes discussing humbucker wiring wire up a humbucker. Ready? both coils connected in parallel. This
a little more confusing than necessary, Standard humbucker wiring: both option gives you a single-coil-like tone,
but that’s the way it is. As usual, I’ll use coils connected in series. This is the but still retains hum-cancelling capability.
the Seymour Duncan color code as a default wiring in almost every guitar It doesn’t deliver a crystal-clear Strat
Illustrations courtesy of singlecoil.com
quasi-standard. You should be able to get loaded with one or more humbuckers or Tele tone, but to my ears it at least
color-code information for your pickups because it produces a warm, fat tone resembles a single-coil pickup—maybe
from their maker, and there are several with maximum output while offering closer to a P-90 than to a standard single-
charts available on the internet that let hum-cancelling capability. (It’s also the coil. Every type of humbucker sounds a
you compare color-code schemes from factory standard for all humbuckers with little different when wired this way, so
different manufacturers. You can use such 2-conductor wiring consisting of only hot it’s simply a matter of giving it a try to
charts to translate the following wirings and ground.) determine if you like the sound.
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Fig. 3 is that it doesn’t sound great in a full
humbucker mode, so, as we’re so often
reminded, it’s about compromise.
Splitting to the humbucker’s south
coil, which is the screw side, is only
recommended for neck pickups. (You’ll
learn why we’re excluding the bridge
pickup when we get to our fourth wiring
scheme.) Let’s also remember that in most
guitars with neck humbuckers, the south,
screw-side coil lies closest to the neck.
For this coil-splitting wiring (Fig. 4),
you need the following connections:
Fig. 4
• South coil start is the hot output.
• North coil start, north coil finish, and
south coil finish are soldered together
with the bare ground wire.
Coil-splitting humbucker wiring

#2: splitting to the north coil. This
wiring follows the same concept as our
previous coil-splitting recipe, but leaves
the north coil active—that’s the slug side.
This version is recommended for a bridge
humbucker because pole-piece slugs deliver
a fuller sound than pole-piece screws.
Here are the connections for our
Fig. 5
second coil-splitting wiring (Fig. 5):
• North coil start is the hot output.

• North coil finish, south coil start, and
south coil finish are soldered together
with the bare ground wire.
Well, that’s it. In a future column we’ll

explore how to integrate and control all
these options with the help of a switching
device. And, of course, we’ll learn how
to compensate for possible out-of-phase
issues that can occur when you combine
several humbuckers or a humbucker
with a single-coil. But next month, we’ll
Parallel wiring (Fig. 3) requires the splits the humbucker in half, shunting dig into a project designed to make a
following connections: one coil to ground and leaving the Telecaster more sonically flexible. Until
other coil engaged like a true single-coil then ... keep on modding!
• North coil start and south coil finish pickup. In this mode, the hum-cancelling
Illustrations courtesy of singlecoil.com
are soldered together as the hot output. function is no longer active, so you’ll DIRK WACKER lives in Germany
• North coil finish and south coil start get the hum and noise of any single-coil and has been a guitar addict since
age 5. He’s also a hardcore DIY-er
are soldered together with the bare pickup. But don’t expect a true Strat or for guitars, amps, and stompboxes
ground wire. Tele tone: If that’s your goal, investigate and runs a website on the subject
(singlecoil.com). When not
the special breed of humbuckers that are working at his guitar workbench,
Coil-splitting humbucker wiring #1: made out of two real single-coil pickups. he plays country, rockabilly, surf,
and flamenco. Contact him at
splitting to the south coil. This wiring The downside of this type of pickup [email protected].
premierguitar.com
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ASK AMP MAN
Supercharging a Super Reverb

BY JEFF BOBER
Q:
where the signal from the preamp is
Hey there from Argentina! Love your articles! attenuated in the circuit prior to reaching
I have a 1966 Super Reverb amp, all original. I’m looking to mod it the phase inverter. This can work fine
lightly to have early breakup (now it’s at about 7). I don’t like pedals, in many instances where the preamp is
so wanted to ask you for advice. designed to achieve distortion, and is the
Thanks so much, case with most mid- to hi-gain amplifiers.
Martin The drive is developed in the preamp
and that signal is fed to the output stage
via the master volume at whatever level
necessary, with the output stage being
A:
Hello Martin, Deluxe), and sometimes that’s the power used, for the most part, as a source of
Glad you’re diggin’ the range we need for smaller venues. That clean power.
column … in Argentina! sounds like the situation you’re currently There is another type of master
And, might I say, nice amp. The Super looking to solve, so let’s see if I can help volume—the simplest of all, actually—that
Reverb is definitely one of my all-time you with some options. You mentioned acts to combine the two out-of-phase
favorites. It has great midrange content, you’d be open to modification, so let’s signals from the phase inverter before
which we all know (or should) is where a start with suggestions there, and then I’ll they reach the output tubes. And what
guitar belongs in the mix, because, well, give you other options, too. happens when two out-of-phase signals
a guitar is a midrange instrument. And Mod 1: Install a master volume. are combined? For those who don’t know,
at only 40 watts, it can be pushed into Master volumes come in a few different they cancel out. Therefore, the signal being
overdrive easier than higher-powered styles and affect the signal differently. A sent to the output tubes is shut down in
amps (although not as easily as, say, a standard type of master volume is one varying degrees, from not-at-all to full.
At only 40 watts,
a Fender Super
Reverb can be
pushed into
overdrive easier
than higher-
powered amps
and is at a good
power range for If you decide to
smaller venues.
use a Variac-style
device, lowering
the wall voltage
10 to 15 volts
may get the
results you’re
looking for.”
Photo by GabeMe
premierguitar.com
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Unfortunately, neither of screen grid of the tube via the 470-ohm
these would work well for you, resistor connected between pins 6 and
in my opinion, as there is not 4 in a Fender amp. Simply connect
much in the way of overdrive the pin 6 connection of that resistor to
that can be achieved in the pin 3 of the socket, which is the plate
preamp section of a typical connection of the tube. Connecting the
Fender amp. What I would plate to the screen grid through that
recommend is a master volume 470-ohm resistor causes the tube to
that actually changes the signal run in a quasi-triode mode. This can
prior to the output tubes to also be accomplished with a heavy duty
simulate a bit more drive—and DPDT switch so you can run the amp
yes, they do exist. They’re called in either standard pentode more or
post-phase inverter master triode mode for those smaller venues.
volumes, or PPI’s. There are Non-mod 1: Swap rectifier tubes.
two different types that, when If you’re running a 5AR4 rectifier
reduced from maximum volume, tube in the amp, try a 5U4. While
begin to actually flatten out the the 5U4 draws a bit more filament
Above: If you’re peaks of the signal being fed to the current than the 5AR4, Super Reverbs
running a 5AR4 output stage, which tends to mimic an have vacillated between them over
rectifier tube overdriven output stage. This is one way the years while using the same mains
in the amp, try
a 5U4. Super
to get more “apparent” overdrive from transformer, so this should not be
Reverbs have your amp at a lower volume. These master an issue. As far as the difference, the
vacillated volume circuits can be found by you or 5U4 should lower the plate voltage
between them your tech on the internet. I would suggest by 10 to 15 volts, and it seems to
over the years searching “The Trainwreck Pages” compress a bit more. So, if you’re
while using the The Brown Box was developed to run
same mains online for more background. looking for merely a subtle change,
vintage amplifiers at the voltages that were
transformer. This is an article written this may be all you need.
present when the amp was designed, which
by the late Ken Fischer of Non-mod 2: Install a Yellow in the U.S. was closer to 110 or 115 volts.
Right: Removing Trainwreck Circuits in the Jacket tube converter. This
the 6L6 output
tubes, installing
mid 1980s. You’ll enjoy it. allows you to convert the output
Yellow Jackets in Mod 2: Convert to a stage from 6L6 tubes to 6BQ5s. it’s impedance specific: You purchase a
the tube sockets, quasi-triode mode. Have You simply remove the 6L6 output 2-ohm model for the Super Reverb.
and inserting your tech either convert your tubes, install the Yellow Jackets in Non-mod 4: Use an external voltage
a pair of EL84
amp, or install a switch, so the output tube sockets, and insert reduction unit. Try something like a
tubes into the
adaptors reduces you can run your output a pair of 6BQ5 (EL84) output Variac or a Brown Box. The Brown Box
the output by stage in a quasi-triode tubes into the adaptors. The output was developed to run vintage amplifiers
20 watts. mode. This can reduce is now reduced to approximately at the voltages that were present when
the output power by 20 watts, but because the EL84 is the amp was designed, which in the
approximately 40 percent the baby brother to the EL34, the U.S. was closer to 110 or 115 volts,
and generally causes the tonal characteristics of the amp as opposed to the typical 120+ volts
amp to have a somewhat will change and have a bit more currently supplied. If you decide to use
smoother response. This mids with less top and bottom. a Variac-style device, lowering the wall
can be done by simply But hey, vive la différence. voltage 10 to 15 volts may get the results
disconnecting the screen Non-mod 3: Use an external you’re looking for.
grid voltage from pin 6, attenuator. There are certainly I hope that makes your Super Reverb
which is being fed to the plenty out there. Just be sure super for all applications.
JEFF BOBER is one of the

WARNING: godfathers of the low-wattage amp
revolution. He co-founded and was
All tube amplifiers contain lethal voltages. The most dangerous voltages are originally the principal designer
stored in electrolytic capacitors, even after the amp has been unplugged from for Budda Amplification, though
he launched EAST Amplification
the wall. Before you touch anything inside the amp chassis, it’s imperative that (eastamplification.com) in 2010.
You can catch his podcasts at
these capacitors are discharged. If you are unsure of this procedure, consult your ampsandaxescast.com or email
local amp tech. him at [email protected].
premierguitar.com
TOOLS FOR THE TASK
Partial Capos
Whether you’re a beginner hoping to make starting out a little easier or a seasoned player who wants to explore
alternate tunings and sounds, a partial capo—like the 10 examples here—can open up a new world of possibilities.
1
WEASELTRAP RECORDS
Harmonic Capo 1
Ideal for use with open tunings, this capo lightly touches
the strings to create harmonics (instead of clamping the
strings), which allows fretted notes to be played above or
below the capo.
$34 street
weaseltrap.com
2
CAPO CLIPS 2
E/A/D Capo Clip
This device works with most any spring-loaded capo to
create a partial capo that provides open-E tuning without
retuning. Other key configurations are available.
$10 street
capoclips.com
3
3
G7TH
Newport Partial #3
This cut capo clamps three strings for a variety of
different tunings and features a fine-tuning tension-
adjustment screw for dramatically reducing common
tuning and sustain issues.
$21 street
g7th.com
4
4
KYSER
Short-Cut
Whether used alone or in combination with a standard
capo, the Short-Cut was designed to make simple chord
progressions even easier and alternate tunings reachable
without retuning.
$17 street 5
kysermusical.com
5
PITCH-KEY
PK-01
While not technically a capo, this device—which installs
behind the nut—enables a player to set up two different
pitches for a particular string, and allows quick switching
between the two.
$33 street
pitch-key.com
premierguitar.com
Look for this icon
to click and
purchase the gear.
6
6 SPIDER CAPO
Spider Capo Std.
This universal partial capo lets players capo each string
individually, which allows for the exploration of new
tunings, keys, textures, and harmonies.
$29 street
spidercapo.com
7
LIBERTY GUITAR
Flip Model 43
This easy to adjust and operate capo is reversible, which
7 allows it to function as a 3-string or 4-string partial capo,

depending on the chosen tuning/configuration.
$24 street
libertyguitar.com
8
SHUBB
C8B
By skipping the 6th string and clamping the other five,
8 emulating drop-D tuning is a breeze with this lightweight
brass capo that features over-center clamping action.
$25 street
shubb.com
9
WOODIES
G-Band II
These low-profile capos grab the outer two strings (top or
bottom) of a standard steel-string guitar and work up to
the 7th fret.
$12 street
woodieshanger.com
9
10
PLANET WAVES BY D’ADDARIO
10 NS Drop Tune Capo
Designed for drop-tuning use, this capo’s micrometer-
adjustment mechanism allows players to dial in the exact
tension needed for clear, ringing notes without excessive
force on the neck.
$15 street
daddario.com

REVIEWS
Quick Hits
FOXPEDAL SPECTOR
Defector Timbre
By Jason Shadrick By Rich Osweiler
Foxpedal’s Defector Fuzz is a modern When revered bass designer Stuart Spector went to work
take on the Russian-built version of the conceiving a new acoustic bass guitar, strength and
Electro-Harmonix Big Muff, but with responsiveness were at the front of his mind. In
some somewhat secret features. There turn, the jumbo-sized Timbre is constructed with
are two parts of the pedal: a rather gritty laminated mahogany for the back and sides, and
boost and a 4-stage transistor fuzz. The Spector went with an offset-soundhole design and
boost (controlled with the pre knob) feeds ladder bracing—rather than X-bracing—for the
into the fuzz, but it can also be engaged solid Sitka top. Outside of some minor scratches on
independently. Unity gain for the boost is and around our tester’s neck-joint bolts, the build
at about 9 o’ clock, although even here I quality was tight and clean from top to bottom.
noticed the bubbling influence of the fuzz. You get a little bit Unplugged, the Timbre produced a clean, dry tone
of dirt at lower boost settings, and when you crank it all the across the rosewood fretboard. It’s one of the louder acoustic bass
way it yields a medium-gain, classic-rock vibe. guitars I’ve had my hands on in recent memory, and the sound
In the center of the pedal is a small toggle that can move projected well across my not-huge living room, but I was also
through three different fuzz flavors: silicon-diode clipping on my own. As with other instruments in this category, you’ll be
(classic Muff), no clipping, and LED clipping. Used without plugging in if you’re playing with others and want to be heard.
the boost engaged, the fuzz circuit is beefy and rich, with The Fishman Presys+ preamp is capable of wide-ranging
plenty of low end—especially in the LED mode. But the tone shaping through its 3-band EQ and brilliance dial. Rich,
MVP here is the mid control: As you dial it counterclockwise earthy tones came forth with the Timbre plugged in, and I
it adds a hump, while turning it the opposite direction gives especially liked what I heard with the mids dialed down and
it the classic scooped Muff sound. If you can’t get over the the bass, treble, and brilliance set around 1 o’clock. The clean,
old-school scooped sound, then this knob alone is worth the woody sound had plenty of thump for walking bass lines along
price of admission. Fuzz pedals aren’t meant to be timid, and the Timbre’s comfy neck. If you’re after acoustic low-end tones
the cranked Defector is fat and saturated without any fizziness. without the heft and hassle of an upright and you like the idea
And it gets bonus points for its flexible tone controls and rock- of an acoustic bass guitar with an aesthetic different than most
solid construction. others, a Timbre tryout could be time well spent.
TEST GEAR Gibson Les Paul, Fender Stratocaster, TEST GEAR Gallien-Krueger 800RB, Orange OBC212,
Fender Hot Rod Deville ML212 Focusrite Scarlett 2i4
PROS Creative tone controls. PROS Good build. Top-

$199 street, foxpedal.com Very handy boost. Plenty $699 street, spectorbass.com notch electronics. Nice tones.
of gain. Visually striking.
Tones Tones
CONS None. CONS A touch pricey
Ease of Use Playability compared to others in its class.
Build/Design Build/Design
Value Value
CLICK HERE TO HEAR this pedal. CLICK HERE TO HEAR this bass.
premierguitar.com
TC ELECTRONIC FREE THE TONE
Tailspin Ambi Space
By Charles Saufley By Shawn Hammond
There’s a lot of anticipation about The Ambi Space puts six 32-bit
TC Electronic’s new affordable reverbs and four programmable
stompboxes. Much of it is related to presets into a box that feels
the rock-bottom prices. The Tailspin uncluttered despite its nine top
is just 50 bucks. But after a spin with controls—two footswitches (on/
the Tailspin, I suspect enthusiasm for off and a preset-cycler), five
the sounds will rival the excitement knobs (mode, mix, tone, decay,
around the price. and pre delay), and two small black buttons (one selects
Ridiculously inexpensive analog manual or preset mode, and edit saves settings to the selected
vibrato has been a reality since TC’s preset). In preset mode, knobs are deactivated, effectively
parent company Behringer built the preventing clumsy feet from wreaking havoc. In manual
UV300 Ultra Vibrato. But the Tailspin’s bent metal enclosure mode, the mode knob cycles through reverb types: spring,
and robust construction make the TC pedal an altogether plate, room, hall, “cave,” and “serene.”
more appealing proposition. Tailspin exhibits none of the Each ’verb type boasts outstanding fidelity and virtually
design shortcomings that make budget pedals unappetizing. no harshness, even with a Tele bridge pickup and Ambi’s
The potentiometers turn with satisfying resistance. Jacks are tone maxed. The spring and plate sounds are impressively
stout and secure. The footswitch is smooth. And the pedal convincing, and room and hall modes really do yield a feel
is relatively quiet for an analog circuit. Even the minimalist like the spaces they emulate. Serene offers a valiant effort
graphics are refreshingly stylish. at ethereal spacey-ness, while the hint of reverse ’verb in
It’s the sounds that really sell you, though. There may cave’s tails sounds strange yet organic. The latter two were
be more complex-sounding vibrato units out there, but my favorites for experimental sounds, but even at maximum
the Tailspin delivers many of the quivering undersea tones settings they’re pretty staid compared to the competition—
favored by Boss VB-2 fans. Both speed and depth controls although the pre delay knob (one of the most natural
have expansive range. And if it lacks the deep dimensionality sounding I’ve encountered) helps expand quirky horizons a
needed to simulate Leslie sounds, it delivers variations on those bit further.
textures that are very appealing in their own wobbly way.
TEST GEAR Squier Vintage Modified Tele with Curtis Novak
TEST GEAR Fender Jaguar, Fender Telecaster Deluxe, Silverface pickups, Goodsell Valpreaux 21 driving Weber Blue Dog and Silver
Fender Bassman, Fender Champ Bell speakers
PROS Deep, immersive PROS Pristine tones. Cool

$50 street, tcelectronic.com analog vibrato tones on the $330 street, freethetone.com “cave” setting. Stereo ins
super-cheap. Fun to use. Stout and outs.
construction. Looks cool.
Tones Tones
CONS Pricey. Somewhat
Ease of Use CONS None. Ease of Use conservative sounds. MIDI but
no expression input?! Presets
Build/Design Build/Design
hard to discern onstage.
Value Value
CLICK HERE TO HEAR this pedal. CLICK HERE TO HEAR this pedal.

REVIEWS
EASTWOOD
Jeff Senn Model One
By David Von Bader
E
lectric guitar culture has rarely strayed far from its mid- charm is strong. And while the Model One is clearly a product of
century birthing grounds. Manufacturers still cling to lust for the Space Age (it actually looks like it’s flying when hanging
designs that were forged between the late-’50s and early- from a strap!), there are certain aspects of the design, like the
’60s. But that doesn’t mean there isn’t room to explore those headstock, that look a little more streamlined and 21st century.
themes in imaginative ways, and Eastwood Guitars—which With its basswood body, our demo Model One weighed
based its early business on homages to oddball mid-century less than eight pounds and balanced nicely on a strap. (The
designs—is exploring its own retro-futurist tangents with guitars streamlined headstock is almost certainly an asset here.) The fit
like the Model One, designed by Nashville-based luthier and and finish of the guitar are excellent where it counts most—the
tech Jeff Senn. metallic red that covers its body and neck is free of blemishes.
And the fretwork is smooth and consistent up the neck.
George Jetsonsmaster The Eastwood/Senn has a maple neck topped with a
Though you can see bits and pieces of iconic guitar designs in the rosewood fretboard that’s built around a comfortable D shape
Model One—most notably, Fender offset cues—the Senn feels that’s substantial without being chunky. In fact, it feels a little
original and unified. You never get the sensation that you’re holding like a ’50s-style Stratocaster with a much flatter fretboard radius.
a cherry-picked mish-mash of classic parts. Even so, the vintage While the Model One is built around a Gibson-style
Airline VVSC
single-coil pickups
Jazzmaster-style tremolo
and roller bridge
Basswood body
premierguitar.com
24 3/4" scale length, the Jazzmaster-style tones are articulate and biting with filtered through beefy Muff-style fuzzes
vibrato provides a bit of extra string plenty of chime—thanks in no small and the Orange’s midrange-y EQ profile.
length and tension, which, to my ears, part to the duo of deceptive single-coil And though it has great capacity for
gives the Model One a little more top- pickups lurking beneath the Model detail, the Model One just about begs
end resonance. These specs add up to a One’s chrome, humbucker-style covers. you to bash away at simple, brassy
playable and relatively pliable axe, but The pickups are the same single-coils chords. Using the bridge pickup and the
with a string tension that makes it a killer Eastwood uses in its Airline guitars, Rocker 30 at full volume, the Model
rhythm machine. which are inspired by the Valco models One dished muscular, MC5-riff tones
and laser-sharp lead sounds that never
seemed harsh.
The Model One produced zingy Through a clean, Fender-style amp,
the Model One happily delivered British
high-mid jangle tones and lots Invasion chime and sparkle with plenty
of plunky, twangy top end on tap, and
of garage-rock snarl.
I have no doubt it would excel with a
set of flatwound strings and a touch
of compression for even-more-vintage
sounds. The neck pickup is smooth and
The Senn/Eastwood’s control array is found in many late-’50s Supros, flute-like with plenty of presence. It also
functional: a volume knob, a tone knob, Nationals, and Airlines. I really liked flattens out gracefully for jazzier passages
and a 3-way pickup switch in the shape the tones of the Airline Vintage Voiced with a little tone attenuation.
of a white flipper that looks nicked from Single Coils. But customers that dig
an old tube radio. While the pickup the Model One aesthetic yet prefer the The Verdict
selector knob looks cool, it didn’t always muscle of humbuckers can take solace in If you’re looking for an original design
feel as immediate, accessible, or robust as the fact that most PAF-style pickups fit that remains fundamentally rooted in
it could be. The vibrato arm also could be without any additional routing. a vintage aesthetic, the Senn/Eastwood
more responsive. It had a loose feel that As the Jazzmaster-style vibrato Model One is a killer, affordable option.
made deep bends seem a little imprecise. suggests, endless sustain is not a major And for less than $700 (including a gig
On the upside, the roller bridge is a big part of the Model One equation. The bag), you get a balanced, well-built, and
improvement over traditional Jazzmaster- attack is killer and the overtones are thoughtfully designed guitar brimming
style bridges and does a fine job of colorful, but you’re a long way from with detailed vintage tones that can run
keeping the guitar in tune when you use Les Paul-style hang-time. That said, from jangly to raunchy.
the vibrato heavily. through an Orange Rocker 30 1x12
combo, the Model One produced
Bell Chimes and Beefy Tones zingy high-mid jangle tones and lots of CLICK HERE TO HEAR this guitar.
Model One tones feel like the product garage-rock snarl. The Airline VVSC
of well-considered design moves. Clean pickups remained articulate when
Eastwood Jeff Senn Model One

22-fret neck $679 street
eastwoodguitars.com
Tones
Playability
Build/Design
Value
PROS Killer looks and vibey vintage

sounds. Available left-handed.
CONS Some hardware feels cheap for

this price range.

REVIEWS
SANDBERG
Forty Eight
By David Abdo
B
ack in the late ’50s and early ’60s, Gibson challenged models), and a neck carved from Canadian hard-rock maple that’s
tradition by introducing a number of futuristic- topped with a rich, rosewood fretboard is bolted on.
looking instruments, including the Explorer and the The gorgeous teal-metallic finish with gold racing stripes pairs
Thunderbird. While their shapes may not have been immediately well with the assertive body shape and invokes memories of
favorable to the masses, the Explorer and Thunderbird have long Speed Racer vehicles. Our tester was made extra sporty with the
since solidified their place in rock lore. Inspired by these classic cool, matching headstock option as well as the “hardcore-aged”
templates—but also motivated to tweak some of their commonly relicing that gives the instrument character without forcing a
cited shortcomings—Holger Stonjek of Sandberg Guitars and vintage vibe. In short, the Forty Eight looks pretty badass.
Chicago Music Exchange’s Marc Najjar put their heads together What really sets the Forty Eight apart is Sandberg’s electronics
to dream up the Sandberg Forty Eight bass. It’s an instrument and hardware package. A Sandberg V-style split-coil pickup rests in
that boasts aggressive styling with modern technology, tonal the neck position for full, warm tones, while one of the company’s
versatility, and a boatload of wow factor. Powerhumbuckers resides in the bridge slot for delivering bark
and bite. The pickups are dressed with aged-metal pickup covers
Flying a New Bird that contribute nicely to the vibe. Tone shaping is provided by
The Forty Eight’s looks combine the curvaceous corners of a Sandberg’s 2-band active preamp, which can be disabled for passive
Thunderbird with the angularity of an Explorer. The body of our operation via the push/pull volume knob. And to complete the
test bass was constructed from alder (ash is used for matte-finished package is Sandberg’s proprietary hardware, which provides pinpoint
Sandberg Powerhumbucker
Sandberg V-style
split-coil
Sandberg bridge
Push/pull
volume/mode knob
premierguitar.com
accuracy for intonation adjustments, string style are known for having—dare I popped strings with a pleasant edge—
stability, and overall playability. say—thunderous tone, but the Sandberg perfect for a contemporary approach
pickups and electronics made it much to Bobby Caldwell’s “What You Won’t
Go, Forty Eight. Go! more than a one-trick pony. Do for Love.” And when soloing the
Historically, critics of Thunderbird To start out, I plugged the Forty bridge pickup for tunes like Steve
basses have cited balance issues and Eight into a Bergantino B|Amp paired Wonder’s “Superstitious,” the Forty Eight
cumbersomeness. Sandberg was no doubt with a Bergantino HD112 cabinet, and shined by barking hard and giving my
savvy to this, since the Forty Eight held pulled up the volume control to set the 5th-string notes a snarling intensity. I
its position in most playing angles when bass in passive mode and reveal the true can report that at the end of the night,
strapped and standing. Not only that— characteristics of the instrument. The both listeners and bandmates lauded the
the Forty Eight’s balance held up in a neck pickup on its own produced lush, extreme looks and tonal versatility of
seated orientation as well. thick mids accompanied by lows that were Sandberg’s newest creation.
The Forty Eight’s fast neck provided supportive rather than overpowering. And
effortless shifting and string crossing, and the the impressive 5th string felt solid while The Verdict
satin finish felt smooth against my thumb. it delivered bowel-shaking notes with heft The Forty Eight is simply a great-looking
As someone who usually plays 34"-scale and bell-like clarity. bass with tones that will suit most
instruments, I found the 35" scale to be Soloing the bridge pickup delivered musical situations. The Powerbucker and
quite manageable. (The standard scale length tight, bark-y mids that would even split-coil pickups provide a wide palette
for the Forty Eight is 34".) Never did it feel pleasantly surprise Jaco disciples, and of timbres, all the way from clean and
like I had to reach for the lower notes of the balancing both pickups created a focused, contemporary to dark and dirty. With
fretboard. My only concern was in the upper scooped sound, with a top-end bite that its excellent balance, playability, and
portion of the fretboard, where the deep would fit nicely in most modern musical high-end hardware, Sandberg’s hybrid
neck joint prevented my hand from reaching styles. The responsive tone knob added design essentially eliminates the issues of
the upper three frets of each string. Yes, it’s to the palette by topping my sound with the models that influenced it. The Forty
the nature of the beast with this body style, clang and bite, or tempering the highs for Eight’s price tag places the instrument in
but at a price a touch north of 3K, I’d love brooding, deeper characteristics. a range that typically caters to financially
to have easy access to all of the notes. Ear-pleasing tones summed up my live comfortable players, but it’s hands down
Another not-uncommon gripe with experience with the Sandberg Forty Eight one of the best Thunderbird- or Explorer-
some Thunderbird-style basses is the as well. Gigging with a blues-rock trio at style offerings I’ve had my hands on.
3-point bridge, known for providing some a medium-sized club, I expanded my rig Sandberg already had a solid reputation
challenges when setting up string height. by adding a Bergantino HD210 to the for improving on tradition, and the Forty
I appreciate that the Forty Eight has been B|Amp/HD112 setup. When I soloed Eight confirms it’s well deserved.
outfitted with Sandberg’s standard bridge, the neck pickup and slightly boosted the
where the string height can be adjusted at lows for a jam of Albert King’s “Killing
each saddle. These saddles also allow shifts Floor” and “Born Under a Bad Sign,” the CLICK HERE TO HEAR this bass.
in string spacing and easy adjustments to tone was big and warm, and it established
intonation, and the locking mechanisms a thick foundation that proudly held its
for each saddle are a nice touch as well. own within the loud ensemble.
Balancing both pickups in active
Forty Eight Bottles of Tone mode and boosting the highs and lows Sandberg Forty Eight
I did not expect the Forty Eight to created a smoking modern slap tone that $3,035 street (as equipped)
be so sonically versatile. Basses of this punched the low notes and projected the sandberg-guitars.com
Tones
Playability
Build/Design
Value
PROS Superb looks, playability, and

tonal versatility.
CONS Difficult to reach upper regions

of the fretboard. Pricey.

BOUTIQUE GUITAR EFFECTS MADE IN THE USA SINCE 1993 WWW.BLACKCATPEDALS.COM 203.764.2644
premierguitar.com
REVIEWS
MILKMAN
Pint
By Joe Gore
T
he term class A is often misapplied by naïve guitarists known as single-ended amps) usually have just one output tube.
and sneaky amp manufacturers. Maybe it’s because the That’s a design often used in vintage practice amps—notably the
letter A signifies premium quality. Doesn’t class A/B Fender Champ (which probably makes Clapton’s tweed Champ
sound sort of second best, as if the device could barely manage tones on “Layla” rock’s best-known class-A colors).
an A-/B+ in amplifier school? But there’s a rare exception to the “class A = one tube” rule: A few
For example, Vox amps are not class A, though they can vintage amps, including Gibson’s GA-8, deploy two outputs tubes
deliver sounds with class-A characteristics: explosive treble in parallel, essentially treating the pair as a single tube for increased
energy, the early onset of harmonically rich distortion, and a output. And that’s exactly what’s going on inside the 10-watt Pint,
tendency toward loose, spattery tones. True class-A amps (also the latest creation from San Francisco’s Milkman Sound.
Spring reverb and

tube tremolo
True class A
operation

Two 6V6 power tubes
Handwired on
turret board siphoning off lows can make the highs
sing more sweetly.) And naturally, some
players will use Pint chiefly for its lovely
clean and lightly overdriven tones, rarely
venturing into the meltdown zone.
Pint’s effects are stellar. The tremolo
throb is sweet and sexy, and the rate knob
12" Jupiter ceramic-
magnet speaker has a nice, musical taper. The reverb is a
warm bath you never want to exit, with
more headroom and top-end detail than
you tend to encounter on vintage amps.
The Verdict
With its dual single-ended design, Pint
provides a fresh take on familiar Fender
flavors. Its workmanship is faultless.
Rich and beguiling clean tones make the
Fantasy Fender knob’s range, but all settings are extremely amp ideal for refined jazz and fingerstyle
Milkman has a reputation for exquisite touch-responsive. It’s easy to control the guitarists playing in living rooms and
Fender-derived amps, handcrafted amount of distortion via finger pressure intimate venues. Lightly overdriven tones
with audiophile parts and painstaking and guitar knob adjustments. You can have impact and complexity. The maxed-
attention to detail. Pint is a spinoff from literally go from warm, sweet jazz tones out class-A distortion won’t suit all tastes,
the 5-watt Half Pint, a sort of über- to violent clipping without touching the though some players will thrill to its
Champ powered by a single 6V6 tube. amp. Class-A circuits are by nature less punky edge. The luscious trem and ’verb
Pint is similar, except—you guessed it—it efficient (that is, quieter) than their A/B are to die for. When the price is $249
employs two 6V6s in parallel for double equivalents, but Pint’s dual power tubes per watt, you should expect excellence.
the output. are at least loud enough for small gigs Thankfully, Pint pours it on.
That’s a configuration Fender never with light-touch drums and bass.
used, which makes Pint a sort of
Fullerton fantasy—something Leo might Presence Plus
have conceived if he’d pursued dual Be aware, though, that while I’ve given
single-ended circuits. And sure enough, Pint the highest possible tone rating, the
Pint provides a compelling take on the amp’s maximum-volume sounds aren’t for
Champ sound, but with greater power everybody. Many players romanticize class
CLICK HERE TO WATCH A
and several killer upgrades. A distortion until they actually encounter
REVIEW DEMO of this guitar.
it. The hot class-A sound is bright, noisy,
A Pint of Perfection and at times painfully present. If you
Pint’s build is a thing of beauty. The prefer your high-gain tones tight and fat,
solid pine cabinet is flawless. The top- this simply may not be the circuit for
shelf parts include Mercury Magnetics you. (Whenever I post demo clips of a Milkman Sound Pint
transformers and Jupiter capacitors. The maxed-out tweed-style amp, discerning $2,499 street
12" ceramic speaker is also by Jupiter. readers inevitably inform me how crappy milkmansound.com
(Alnico-magnet speakers from Jupiter I sound.)
and Celestion are upgrade options.) Take these comments as clarifications, Tones
The components are neatly arrayed on not criticisms. I happen to dig anarchic Ease of Use
turret board and linked by fastidiously class-A overdrive. You can also generate Build/Design
organized wires. In addition to the two less harsh colors with lower amp volume
Value
6V6s, there’s a 5Y3 tube rectifier, plus settings and overdrive pedals. Also, the
12AX7s for the preamp, trem, and reverb. two tone controls are perfectly voiced to
Yep, Pint is sort of a Champ on shape distorted tones. The treble knob PROS Stellar workmanship. Deep,
detailed tones. Glorious trem and reverb.
steroids. The shimmery cleans are detailed can help tame that brutal presence or
and three-dimensional, with ample low add sheen when playing darker-toned CONS Class A distortion isn’t for
mids to balance their sparkle. Tones start pickups. The bass knob also helps rein everybody. Pricy.
clipping relatively early in the volume in diffuse distorted sounds. (Ironically,
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and Collings Guitars
Bill Frisell at the Village Vanguard with his Collings I-35 LC Deluxe
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REVIEWS
MXR
EP103 Echoplex Delay
By Charles Saufley
W
hen I was a kid, my brother’s surf band got a Steadily Wobbling
Maestro Echoplex to perform the swirling intro While I didn’t test the EP103
to the Tornadoes’ “Telstar.” (Imagine my surprise against other digital Echoplex
when, years later, I discovered it was the reverse-tape playback simulators, I did compare it
of a flushing toilet.) The Echoplex was a beguiling piece of to my own early-’70s Maestro
equipment for a 12-year-old already developing technologically EP-3, and I was very impressed
regressive tendencies, with a squeaky tape loop, an odd sliding with how close the MXR
lever that warped the echoes, and knobs that could turn the came to nailing the Maestro’s
machine into a madly oscillating monster if you weren’t careful. complex overall sound picture.
I fell hard for the Echoplex. I bought my own as soon as I We’ll get to the similarities, but
had bread to spare. And when digital engineers delivered the at least one critical difference
first good simulations, I rejoiced. Because you haven’t really bears mentioning.
experienced an Echoplex if you haven’t watched in horror as Specifically, the EP103
a tape ripped or some other irreplaceable part turned to dust does not contain an EP-3-style
and smoke. preamp. It’s a critical omission,
MXR’s EP103 is the first compact digital stompbox to wear because while the EP-3’s
the Echoplex name. The good news? MXR didn’t just slap a preamp is a very simple piece
cool logo on a digital delay and call it a day. The EP103 is of circuitry, it adds much to the
an excellent delay and an authentic homage to the Maestro EP-3’s tone signature. MXR has
Echoplex EP-3 and its many quirks. a solution in the form of the
EP101 Echoplex preamp pedal.
Tape Crinkle, Numbers Crunched (And in truth, most good JFET
The EP103’s interior hints at the digital horsepower required or FET boosters that don’t color
to simulate a whirring, wheezing contraption like the Maestro your signal too much can be a serviceable stand in.) But it’s hard
EP-3. It’s a busy, but near-immaculate circuit that bristles to fully approximate the EP-3’s sonic whole without that flavor,
with enough compact ICs to look like a little city viewed from and it stinks to have to buy or use a separate pedal to get it.
35,000 feet. The exterior is classy and functional. And though What the EP103 does really well is approximate the EP-3’s
the three-knob array is simple, the volume knob cleverly complex combination of tape modulation, high-end taper, and
doubles as a push-button that activates age mode—introducing the gentle, organic, bright-to-patinaed fade in the echoes. In
tape-warble-simulating modulation and a filtering effect that most respects, the EP103’s darkish echoes feel more natural
approximates tape degradation. It’s a clever setup that’s intuitive and pleasing than some of my favorite analog delay units. And
to use and keeps the pedal surface free of clutter. The sustain though the initial attack and first echo from the EP103 are not
control regulates the number of repeats, while the delay control as bright as my EP-3 (which can be surprisingly bright), the
sets delay time. The delay knob ranges to 750 ms. But by using tone inhabits a potentially ideal middle ground between digital
a tap tempo switch (not included), you can extend maximum brightness and analog darkness that players unconcerned with
delay time to 4 seconds. tape-echo authenticity are likely to dig.
Age mode isn’t the only concealed function. An internal Modulation is key in any tape echo simulator for creating
switch activates stereo mode, which requires two TRS splitter the illusion of tape warble. The EP103’s modulation sounds
cables. The pedal ships set up for an analog dry signal path. good, though single-coil pickups and bright amps can highlight
But sticklers for authenticity may prefer the wet mode, which a faint regularity in the modulations when the pedal is in
delivers only effected signal to your amp. You can also activate a standard mode. Activating the age mode, however, darkens the
trails mode at startup. repeats, adds cool coloration, and at times even seems to lend

randomness to the modulation. Typically, at maximum settings. The interactivity
I kept the pedal in age mode. The range and odd dynamic curve of the controls
of the control is wide and useful, making make the pedal feel tricky and twitchy at
it easy to add just a touch of filtering or times, but they add up to very organic
simulate a decades-old tape loop chasing dynamism and sensitivity that enables
CLICK HERE TO WATCH
dust bunnies. you to tuck and tailor repeats for a song
A REVIEW DEMO of this pedal.
The authentic functionality of the or arrangement in very precise ways.
EP103’s volume and sustain controls
also bears mentioning. The volume The Verdict
control allows you to either tuck the In purely sonic terms, it’s hard to imagine
repeats well behind the original signal or getting much closer to an EP-3 without MXR EP103 Echoplex Delay
actually make the first few repeats quite employing prohibitively expensive
$199 street
a bit hotter before they begin to fade. processing power and a complex control jimdunlop.com
The dynamic range is narrower than on set. The EP103 strikes a smart, elegant,
my EP-3, but it adds impressive tone and sensible balance between simplicity, Tones
variations. The EP103 sustain control affordability, and authenticity that can get Ease of Use
also approximates the odd taper of the you 90 percent of the way to EP-3 sounds
Build/Design
EP-3’s sustain control. In the first half of without the attendant hassles. That’s an
Value
the range, you’ll rarely hear more than impressive achievement in my book. And
two repeats and a very subtle, pleasing while it’s near impossible for any compact,
fade. In the second half of the sustain affordable digital pedal to replicate a PROS Complex echo tones. Wide
dynamic range. Great sensitivity in
control’s range, however, the repeats Maestro Echoplex’s arcane and expressive all controls.
seem to get almost exponentially more mechanical functionality, the MXR EP103
prominent depending on the echo is about as fine a sonic approximation as CONS No onboard preamp.
volume until you reach self-oscillation you’ll find in its price range.
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REVIEWS
COLLINGS
OM2H T
By Joe Gore
W
ant to rub shoulders with some of the world’s OM Sweet OM
best acoustic guitar builders? Just hang out at the Let’s decode the Collings’ model number. OM stands for
Collings booth during a NAMM show, where a orchestra model. The H is for the lovely herringbone purfling
who’s who of lutherie inevitably congregates to view the latest that rings the guitar’s top. And the T represents Collings’
creations from Austin’s Bill Collings. Excruciating attention to traditional series—guitars influenced by pre-WWII tones and
detail and the transcendent naturalistic tones of Collings’ guitars construction techniques. T models are built with animal-protein
have earned him a reputation as a builder’s builder. glue and have thin nitro finishes. They’re voiced more warmly
I just spent a day with one of Collings’ newest models, the than all those sizzlin’-bright modern flattops, with manicured
OM2H T. This guitar is easy to review: It’s perfect. highs and complex low-mids.
THE END. The OM2H T is built from beautiful materials. The tight, even
Hey, guess what? Premier Guitar won’t pay me for an grain of the Sitka spruce top seems to glow through an exquisite
85-word review! So I guess I have to cough up some paragraphs finish. The East Indian rosewood back and sides are a delicious
telling you why this retro-flavored flattop is perfect. dark chocolate hue. The elegant Honduran mahogany neck has
Herringbone purfling
Sitka spruce top
Thin nitrocellulose finish
East Indian rosewood

back and sides
14th fret body joint
premierguitar.com
Fingerstylists First
Make no mistake: the OM2H T sounds
The complex low-midrange great for pretty much any style/technique,
from crude cowboy chords to fleet flatpicked
character makes solo playing lines to refined fingerpicking. But the latter
style is probably the guitar’s greatest forte.
sound massive.
The wide, touch-responsive dynamics
amplify every nuance of fingerstyle
playing. The complex low-midrange
character makes solo playing sound
a retro-cool squared-off peghead and a OM Alone massive, but some of that particular
pretty volute with an offset pyramid shape. I confess I’ve clocked relatively few character might be obscured in ensemble
The compound-radius neck’s relaxed V hours on OM-style guitars, so consider contexts. And while string spacing is a
profile feels simultaneously sleek and these observations as an outsider’s matter of taste, the OM-signature 1 3/4"
substantial. The long-scale ebony fretboard perspective. OM bodies aren’t as nut width (as opposed a more common 1
meets the body at the 14th fret. There deep or wide as dreadnoughts. You 11/16" you typically see on a 000) seems
are 20 smallish, square-shouldered frets. don’t get a dreadnought’s volume more attuned to a relaxed picking hand
The bridge is ebony. The nut and bridge and bottom-octave thump, but the and fingerstyle phrasing than to speedy
are bone. A built-in-house, Bill Collings- midrange character—especially between flatpicking. (Man, a mere 1/16" can mean
designed case that combines vintage approximately 150 and 500 Hz—is such a difference in feel!)
aesthetic with more thorough and modern more pronounced and complex than on
protective features is also included. smaller-bodied flattops. The Verdict
At this point in a review we usually Some OM fans describe the style’s I already told you: perfection! Collings’
assess the detail work. Are the frets evenly tonal tendencies as “piano-like,” and OM2H T is glorious to listen to, look at,
seated? Are their ends rounded and comfy? I definitely hear that. Tones are dense and touch. It sounds magnificent now,
Is the instrument devoid of acoustic dead and complex in the best sort of way, and its tones will only improve as the
spots? Does the finish shine with mirror- with an especially prominent second instrument opens up and mellows out.
like perfection? Is the detail work of the (octave) harmonic, especially on the bass It excels at any style, though its detailed
binding, purfling, and rosette flub-free? strings. The mids never feel crowded or low mids and 1 3/4" string spacing make
Are the interior surfaces and X-bracing as constipated, however. There’s simply a it especially suitable for sophisticated solo
immaculate as the exterior? Well, duh—I wealth of energy in that register. The fingerstyle work. It was an honor to spend
already told you this guitar was perfect! resulting tones can feel warmer than time with this extraordinary guitar.
And while most new acoustic guitars smell those from 000-type guitars (which
nice, sniffing this soundhole is an apex typically have similar body dimensions,
olfactory experience. If the fragrance were but use shorter scale length) though CLICK HERE TO WATCH
A REVIEW DEMO of this guitar.
sold as cologne, I’d buy it and bathe in it. there’s no shortage of high-end shimmer.
Honduran Bone nut and saddle Collings OM2H T

mahogany neck $4,635 street
collingsguitars.com
Tones
Playability
Build/Design
Value
PROS Superb workmanship. Ravishing

tones. A perfect choice for many
fingerstylists. Cool case included.
25 1/2"-scale ebony
fingerboard Open-back
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REVIEWS
DUNLOP
CBM105Q Cry Baby
Mini Bass Wah
By David Abdo
I
f you watch John Bohlinger’s recent Rig Rundown
with Tim Commerford, you’ll enjoy a lengthy
conversation about the raging bassist’s pedals.
At the front of Commerford’s effects board is a white
wah pedal that, as he puts it, “looks like it’s made for a
baby’s foot.” Humor aside, the pedal in question is no
child’s toy. It’s the latest addition to Dunlop’s Cry Baby
Auto-return
family, called the Mini Bass Wah. And it contains useful
switching
features for bassists that are packaged into a frame about
half the size of a conventional Cry Baby. Bassists from
Bootsy Collins to Cliff Burton have used wah pedals
to add articulations and unique textures to their bass
lines, so I was excited to see if the Mini Bass Wah would
continue or improve on tradition.
A Brand New Rocker

The wah effect on a Cry Baby is typically activated by
stomping on a switch located under the toe of the foot
control. In lieu of tradition, the Mini Bass Wah employs
a spring-loaded rocker pedal and silent auto-return Q control Volume control
switching technology. This system instantly engages the
wah as the rocker control is depressed. When the foot Half the size of
raises off the pedal, the rocker automatically returns to standard wah
an upward position—bypassing the wah effect. Dunlop
also utilizes this technology in the full-size 105Q Bass Little Wonder
Wah and a minority of other Cry Baby models. While exploring the Mini Bass Wah at home, my signal chain
The Mini Bass Wah contains similar circuitry to the 105Q, consisted of a Ritter R8 5-string plugged into the Cry Baby,
and the side of the aluminum chassis has two knobs. The and then into a Bergantino B|Amp paired with a Bergantino
volume control allows a player to balance the sound level when HD112. Keeping the pedal in its factory setting, I set the
the effect is engaged, while the neighboring Q control adjusts Ritter to passive mode and balanced the effect with the volume
the width of the wah frequencies. Higher Q settings deliver control. Within seconds, the Mini Bass Wah inspired funky,
dramatic sweeps by enhancing brighter frequencies and vocal- filtered sweeps and wacky wah-laden warbles. However, I found
like qualities. Lower settings are darker, with subtle filtering. the auto-return switching to be a little touchy as it briefly
Dunlop’s auto-return delay control is a welcome feature. This interrupted the signal with a split second of silence. This is
dial inside the Mini Bass Wah determines how long the wah where the auto-return delay control is a big benefit. I simply
effect rings out after being disengaged. Proper setting of the opened the bottom plate and adjusted the rotary control so the
control creates near-seamless transitions from the effected and effect would ring out enough to create a smoother transition
native signal. from effect to bypass mode.

I began to get comfortable with the funkier. With the Ritter’s pickups balanced,
nuances of the Mini Bass Wah over I coordinated the pedal with slaps and
time, similar to someone getting used pops over Cheryl Lynn’s “Got to Be Real.”
to a clutch on a manual transmission. As on the Stevie Wonder tune, the pedal’s
Rocking the pedal up and down, I sweeping filter gave the lively bass line a
adjusted the Q control to a width that vocal quality—rife with blossoming wahs. CLICK HERE TO WATCH
A REVIEW DEMO of this pedal.
leaned towards brighter sounds, which The expressive Mini Bass Wah had become
allowed me to strum sharp, rhythmic so easy to use, I found myself adding some
wacks or slow, enveloping wahs. of its flavor on nearly every tune in the
Once I felt familiar with the pedal, it three-hour show. Excessive? Indeed. But
was time to take it to the stage for a soul this pedal is pretty damn fun. Dunlop Cry Baby Mini Bass Wah
gig. I again connected the Ritter bass/
$119 street
Dunlop duo to a Bergantino B|Amp The Verdict jimdunlop.com
and paired it with Bergantino HD210 Dunlop has developed another welcome
and HD112 cabinets. I pushed the Q addition to the Cry Baby series for Tones
control to almost maximum for brighter bassists. Its small footprint minimizes Ease of Use
sweeps and balanced the volume for level space on a pedalboard and it boasts
Build/Design
consistency—ideal settings for shaping the features that will reward professionals to
Value
bass lines for classic R&B and soul. During novices with pleasing tonal shaping and
Stevie Wonder’s “I Wish,” I soloed the neck cool textures. If you’re looking to jump
pickup and stomped the Mini Bass Wah into the world of wah—or are already PROS A fun, interactive wah pedal with
expressive effects and cool features.
to the beat of the pulsing quarter-note savvy and curious to audition a pedal that
bass line. The responsive, spring-loaded deviates from traditional wah design— CONS Auto-return switching takes
pedal gave the notes an accented, textured make sure the Dunlop Mini Bass Wah is some getting used to.
timbre that made the familiar passage even on your must-try list.
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REVIEWS
FENDER
’57 Custom Pro
By Ted Drozdowski
I
’d never really played through a 15" guitar speaker before a bad tone, even when cranking the bass all the way off and
firing up Fender’s new ’57 Custom Pro-Amp. Sure, in a the treble to the top—a sound I could certainly hear sitting in
pinch I’ve jacked into a big bass amp when a guitar amp a song mix, if not onstage. But perhaps I’m giving away too
wasn’t available, but it never sounded good. So while not much? Read on, read on.
entirely skeptical, I approached this new spin on a classic tweed
with a certain curiosity. The Skinny
Wow! My ears are now open! As a fan of fat, low-mid- The ’57 Custom Pro-Amp isn’t an exact reproduction of the Pro
seated guitar sounds, I didn’t know what I’d been missing. But that Fender made in the ’50s, but it is inspired by the original
plugging into this 26-watt, thin-cabbed combo rewarded me amp’s 5A5 circuit, which was wired into a thin-bodied cabinet.
with a rich, wide tone spectrum and uncompressed clear bottom The new iteration is still slim—standing 21" tall, but just 9"
end. And yet the high end was exactly as I like it—bright when from font to back. The original versions had two channels
appropriate, but never slicing. And it was impossible to get and four inputs—two marked “instrument” and two marked
Schumacher
transformer
Two 12AX7 preamp tubes,
12AY7 preamp tube,
5AR4 rectifier tube
26 watts 15" Eminence-made

custom speaker
Solid pine

every dollop of phasing, delay, distortion,
vibrato, and even low-octave pizzaz
sounded splendid on top. This amp is a
killer pedal platform.
The Verdict
The Fender ’57 Custom Pro-Amp is
really a boutique-level product with
a major manufacturer’s nameplate.
Unfortunately, it also has a boutique price
Bass, treble, and two Four inputs
volume controls
of $2,499. The lack of reverb may be a
minus for some, too, but today plenty
“microphone.” The original Pros came The cabinet is solid pine and fronted with of great amps require a pedal or box for
with Jensen speakers. By all accounts, Bassman-style grille cloth. ’verb vibes. The microphone input, in my
they were unsung heroes in the early view, is an unnecessary nod to the past.
Fender combo amp line. The Blast But the Pro is wired clean and with care.
The new ’57 Custom Pro-Amp comes I paired the Pro with a ’73 Fender Strat The custom-built Eminence speaker gave
an astonishing 70 years after the first one with ’50s-inspired Seymour Duncan me every sound I wanted unequivocally.
was built. And, needless to say, there are pickups and my ’68 Les Paul Standard This amp loves pedals and the feeling is
significant improvements in the tube with the original humbuckers and got mutual. The controls are easy-to-use and
array, the controls, and in a sweet new down. Both guitars sounded super-warm, an improvement over vintage versions.
Eminence 15" ceramic magnet speaker and twisting the Pro’s tone controls and While I’m no expert on the
designed specifically for the amp. The presence never yielded anything more microscopic details of tweed amp
improvements start, most visibly, with unpleasant than the boxy-but-usable circuitry, I was smitten with the results.
the control panels. It’s got the same tones that occur naturally with treble at So if you’re in the market for an amp in
two-channel, four-input set-up. The zero and the bass at 12. (A goofy setting, this price range, don’t let boutique-brand
independent volume controls are the same I know, but potentially amazing in a elitism keep you from firing up this tall,
too. All the dials go up to 12. studio setting.) lean machine in the showroom.
A word about the microphone input. Although the amp has no master
In the ’40s and ’50s, when decent club volume, it does produce sweet, natural
PAs were not always available it was distortion similar to that of other vintage
often necessary for vocalist-guitarists to medium- and low-wattage Fenders and
plug both their instrument and their Supros—which the Pro-Amp’s tones
microphones into the same amp. Usually brought to mind. At about 5 on the
one channel was simply a duplicate of the volume, chords and notes start to purr, CLICK HERE TO WATCH
other, or the microphone channel had and as the numbers move up, they A REVIEW DEMO of this amp.
lower sensitivity. The latter is the case rumble. Even cranked up to a dirty
with the new Pro’s microphone channel dozen, the speaker sounds great and isn’t
input 2, which has a 6 dB-lower rating horrifyingly loud. Powerful and present,
than input 1. It’s a nice vintage touch for sure! But not ear piercing.
the authenticity hound, but the audible If you love distortion and play in big Fender ’57 Custom Pro
difference is slight. I can imagine this spaces, I could see running the Pro flat $2,499 street
feature being handy in the studio as a out—if that tone suits you. A lot of us fender.com
means of achieving a vocal effect, however. prefer to use pedals to achieve overdrive
The tube array is tasty. There’s one once we get to a certain volume, though. Tones
12AY7 and two 12AX7 preamp tubes, And for me, volume at 5 or 6 is perfect Ease of Use
two 6L6 power tubes, and a single 5AR4 for that job—offering plump tones and Build/Design
rectifier tube. There are also internal meaningful sustain that you can pepper Value
bias pots for substitutions to the output with pedal colors. And the ’57 Custom
tubes. The hand-wiring is ultra-clean and takes to pedals well. Although the amp
PROS Great, warm tones—from clean
efficient, arrayed on an eyelet circuit board, sounds great dry, a touch of reverb from to mean. Easy control set. Quality build.
and includes reverse-engineered, vintage- my DigiTech Supernatural Ambient
style “yellow” paper/foil/resin capacitors to stomp set on spring or plate sweetened CONS $$$$ and no reverb.
help the amp speak “tweed” more fluently. and smoothed tones beautifully. Really,
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4 PEDALS, 36 SOUNDS,
100s OF HITS.
From the game changing B9 and C9 Organ Each polyphonic pedal provides a unique Whether you want to cook up some hot Green
Machines to the KEY9 Electric Piano Machine collection of classic sounds in a simple Onions, lay down a cool Riders on the Storm
and MEL9 Tape Replay Machine, EHX plug-in-and-play package. No modifications, style groove, take a trip to Strawberry Fields
gives you the sounds of enough legendary special pickups or MIDI implementation is or spend some time at the House of the Rising
keyboards to fill a stage and then some! required, and tracking is impeccable. Sun, EHX has the keys!
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REVIEWS
WREN AND CUFF

Sonder
By Charles Saufley
Clean boost
W
hile it’s not unusual to see multi-modulation The chorus is perhaps
effects, or Uni-Vibe-inspired effects that combine most illustrative of the
chorus and vibrato, tremolo/chorus combinations Sonder’s rangy tendencies.
like the analog Wren and Cuff Sonder are less common. This At the lowest settings, the
mildly unconventional effect combination is built around a effect is mellow to barely
very simple idea. But as in the company’s celebrated Big Muff perceptible—depending
clones or their Germanium Compressor, the Sonder’s outward on the rate you select—but
simplicity conceals thoughtful design and surprisingly complex it adds a beautiful, subtle
tones and textures. shading that you miss when
it’s gone. Want to add
Muff Master Goes Mod motion to chord melodies
If you’ve ever played one of Wren and Cuffs’ other pedals, and arpeggios without
Tap tempo for tremolo
you’ll understand how designer Matt Holl seems single-minded tipping listeners to the
about getting precisely the sound he wants. That laser-guided chorus on your board? These
focus usually takes the shape of vintage-correct exactitude settings are the golden ticket. The next 25 percent of the depth
in his Big Muff clones. In the Sonder, it manifests itself in control’s range shifts the chorus into rich, first-generation analog
a straightforward but idiosyncratic control set that delivers chorus realms. There’s more than a trace of the old Boss CS-1’s
beautiful and unexpected ends. deep, shimmering submarine textures in the mix here, and it
Consisting of depth/mix and rate controls, the top left sounds beautiful at slower rates—particularly with a hint of delay
quadrant is dedicated to the chorus effect. The pedal’s upper and reverb. If you advance the rate at the same depth settings,
right section is home to depth/mix and rate controls for the the Sonder’s chorus becomes a more-than-passable facsimile of a
tremolo. In the center there’s a simple boost to compensate for fast-rotating Leslie. In fact, I can’t think of an analog chorus that
the perceived volume drop you hear when using chorus and does a better job at that task. It’s killer for driving faux-organ
heavy tremolo, in particular. chord sequences and liquid Hendrix-y blues melodies.
At first glance, you’d probably suspect that the two soft-relay At the more extreme reaches of the chorus’ depth and rate
footswitches are bypasses for each effect. But this is where the settings, the Sonder transforms itself into a throbbing, twitching
Sonder’s idiosyncrasies come into play. Only the left footswitch texture generator. These deep, pulsing modulations don’t totally
is a bypass, while the right footswitch doubles as a tap-tempo obscure picking dynamics or melodic nuance in a passage,
switch for tremolo rate and a means for switching between sine- however. And even the fastest rate and heaviest depth settings,
and square-wave tremolo settings. To take either effect out of which are bizarre enough to evoke the twitch of metallic insect
the mix, you have to zero the respective depth/mix control. It’s wings, integrate smoothly with the clean signal. Slightly more
a less convenient approach in most respects, but the trade-off modest depth and rate settings have the quavering, disorienting
yields a significant gain in space efficiency. qualities of a good analog vibrato unit.
The Sonder’s guts are what you’d expect from Wren and Cuff.
It has a clean and neatly populated printed circuit, and you can Twisted up Tremolos and Tandem Tones
run the pedal on 9V AC or 9V battery power. The Sonder’s tremolo is equally intoxicating and offers a
similarly wide range. At a recent NAMM show, Holl told us
Extended Chorale Sojourns that the gently undulating tones of Fender brownface and
Each of the Sonder’s effects sound great and exhibit chameleonic blackface tremolo and the Demeter Tremulator were sonic
range and color. There’s a lot of variation in each control, and touchstones for the Sonder tremolo. And while the Sonder’s
it pays to approach the pedal with an adventurous mindset and sine-wave tremolo does have much of the silky smooth quality
twist knobs with abandon. of those Fender amp tremolo circuits, it also goes places the

Fender can’t—most notably on the real wonder. The two effects are often easily set you back the same sum—and
extreme ends of the rate curve. The beautifully, unexpectedly, and seamlessly potentially never work quite as seamlessly
Sonder can go very, very slow. Slow interactive. And the settings at which as these two effects do.
enough to make you wonder if you’ve they interact musically are abundant.
unplugged your guitar momentarily. It Together, they can significantly extend the
also goes fast enough to take the pedal already impressive range of color in each CLICK HERE TO HEAR this pedal.
back into robotic insect and high-rpm individual effect. And if you’re skeptical
helicopter zones. These textures aren’t about the value of uniting chorus and
uncommon in some of the more out- tremolo in a single device, a session using
there digital tremolos. On an analog them together will almost certainly change
unit, they’re much more rare, and they’re your mind—and even reshape the way Wren and Cuff Sonder
especially musical here. you play and approach modulation.
$249 street
The square-wave tremolo is also wrenandcuff.com
deeply satisfying and happy at extremes, The Verdict
and it provides a very different feel While Sonder is a source of copious sound Tones
and dynamic that extends the pedal’s delights, the lack of footswitch activation Ease of Use
expressive potential. And where the sine- for the individual effects—especially at
Build/Design
wave tremolo might add sultry, slinky nearly 250 bucks—may deter players who
Value
animation to a slow arpeggiated passage, switch effects off and on frequently within
the square wave can add powerful a single song. For just about everyone
propulsive thrust that enhances eighth- else, and studio tinkerers in particular, the PROS Deep, rich modulation tones that
interact seamlessly.
note strumming patterns and percussive Sonder is a very deep well of inspiration
arpeggio patterns. and modulation possibilities from radical CONS Lack of footswitch functionality
When tremolo textures are interlaced to subliminal. Scoring an excellent analog for individual effects.
with the chorus, the Sonder becomes a chorus and tremolo independently could
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REVIEWS
LOLLAR
8.9k resistance
Fits most soapbar-pickup guitars
Available with black

or cream covers
Staple P-90
By Joe Gore
G
ibson’s Alnico V pickup—usu- But before performing
ally called the “staple pickup”— the swap, I made benchmark
is one of the great forgotten recordings with the factory neck pickup peace with the fact that like all single-coils,
guitar gizmos. Introduced in 1954 as to better gauge how the Staple pickup they’re a bit noisier than humbuckers. With
a more articulate version of the P-90 might alter the character of a P-90 guitar. a Staple swap, you can remain as nasty
pickup deployed in most post-WWII as you want to be at the bridge, but you
Gibson electrics, the staple pickup occu- Screw vs. Staple have the option of clearer and prettier neck
pied the neck position in the first Les You definitely hear a difference! Staple pickup sounds, plus a bit more openness
Paul Customs. It also appeared in some pickups are sometimes described as when blending neck and bridge. It’s strictly
of Gibson’s upscale archtops. But it was “twangier” P-90s, but I don’t feel that’s a matter of taste. (I don’t happen to own
abandoned overnight when Seth Lover’s quite the right description. The Lollar a P-90 guitar right now, but if I did, I’d
humbucking PAF pickup debuted just Staple isn’t unduly bright, and it certainly definitely consider the Staple switch.)
two years later, changing everything. sounds nothing like a vintage Fender
The humbucker has been the default pickup. (If that’s your goal, check out The Verdict
Gibson pickup ever since, though there Lollar’s Alnico Pole P-90, which is sort of The Alnico V design is a classy, relatively
have always been fans of the rough, raw a Fender-single-coil in soapbar clothing.) hi-fi alternative to the traditional P-90, and
P-90 sound. That’s especially so today, as For me, “extended range P-90” is a better Lollar’s gorgeous-sounding Staple P-90 is
the P-90 is enjoying renewed popularity— description. There’s a greater sense of “air” a stellar incarnation of the design. If you
not just in Gibson-flavored guitars, but on top, and the individual notes in chords like the basic P-90 flavor but feel it might
also in Fender-style instruments and speak more clearly. When toggling between benefit from a touch of treble clarity at the
various modern hybrids. Which makes this my P-90 and Staple test recordings, the neck, it may be time for a transplant.
a great time to revisit the staple design. latter have more snap and presence, and
the P-90s can feel dull in comparison. Yet
The Spirit of ’55 the Staple sound blends well with a typical CLICK HERE TO HEAR this pickup.
Lollar’s Staple P-90 aims to capture the P-90 bridge pickup. You just get a bit more
magic of the original. Unlike P-90s, air and clarity in the combined position.
where steel pole pieces make contact with However, my demo clips feature the
an internal coil and magnet, the staple’s Staple alone, because your P-90 bridge
pole pieces are themselves elongated pickup might not sound like ours. Lollar Staple P-90
rectangular magnets that extend through Vintage P-90s can display significant tone
$145 street
the coil. Gibson probably created the and output variations from unit to unit, lollarguitars.com
design to compete with the brighter tones and modern winders interpret the P-90 in
of the DeArmond pickups in rival Gretsch varying ways. But on average, staples and Tones
guitars, not to mention those newfangled P-90 have similar output. (In Lollar Land,
Build/Design
Fenders. And sure enough, the design a standard P-90 is wound to 8.2k, just a
Value
yields better string-to-string differentiation tad less hot than their Staple’s 8.9k.)
and improved high-end detail.
I installed the Lollar Staple in the Rough or Refined? PROS An elegant, more hi-fi alternate
to a traditional P-90. Works great with a
neck position of PG’s house P-90 guitar, It’s not terribly hard to decide whether a P-90 bridge pickup. Looks bitchin’.
a recent-model Gibson SG Traditional. Staple pickup is a good option for you. If
(Staple pickups have the same dimensions you have a P-90 guitar, chances are you dig CONS None.
as P-90s, so they’re an easy retrofit.) the pickups’ rude attitude and have made

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REVIEWS
ERNIE BALL
Ambient Delay
By Matthew Holliman
W
hile foot-pedal-controlled delay or reverb
isn’t a new idea (delays and reverbs with
external expression-pedal capabilities are
now ubiquitous), Ernie Ball has pursued the concept to
very convenient ends with the new Ambient Delay. This
re-imagining of Ernie Ball’s time-tested volume pedal
design combines digital delay and plate-style reverb with
the expressive potential of a wah. It can transform your
approach to traditional delay and reverb effects. But it
can also enable more radical and unusual effects, like
the rhythmic application of reverb and rising-and-falling
symphonic washes that typically require two pedals. Internal trimpot
for maximum
reverb mix
Concrete Design
Though the Ambient Delay is obviously and outwardly
related to the Ernie Ball volume and expression pedals,
the rose gold color and smaller footprint represent Reverb intensity control
design departures. It’s more compact than the VP Jr,
but this does not detract from its usability. Unlike some Delay feedback
and time controls
compact treadle-equipped pedals, Ernie Ball’s design
retains a practical, more full-sized width. In fact, it’s
about as wide as the VP Jr but it’s about two inches
Tap tempo
shorter. The height is ever so slightly taller than a switch input
volume pedal—presumably to accommodate the delay
and reverb circuitry.
Using it for a quick dash of color at the

end of a guitar solo or for a big finish at
the end of a song adds a layer of studio- with maximum mix at about 75 percent, but I jacked this up to
100 percent, which still seems to let a touch of dry signal trickle
like production to live performance. through (no bad thing). I preferred having the extra range for
exploring more extreme reverb washes, and I didn’t seem to
The treadle action is smooth, and even my fat foot falls sacrifice much in the way of sensitivity or range by making the
naturally and feels steady on the treadle. Toe-up action reduces maximum setting extra wet.
the effect mix. Toe-down action increases effect intensity. There As anyone who has handled an Ernie Ball volume pedal would
are three knobs on the front of the unit—reverb (which controls expect, construction is sturdy and the pedal feels substantial.
the reverb intensity), and feedback and time controls for the There is no battery option. But the new PVC-coated Kevlar cord
delay. The time knob can be set between 50 ms and a full that connects the treadle and expression pot is noteworthy. It
second of delay time, which can be further adjusted by using seems like a major upgrade in roadworthiness, and I’m curious to
a tap tempo footswitch (not included). Settings for maximum see how durable the new solution is, as I’ve gone through many
reverb mix can be adjusted using an internal trimpot. It ships of the cotton cords on my volume pedals. And while replacing

these cords on a volume pedal is generally the end of a song, for instance, adds a
a pain, the removable back plate on the layer of studio-like production to live
Ambient Delay should make replacement performance.
easier if the cord fails. For more ethereal, ambient work, the
Ambient Delay also plays well with other CLICK HERE TO HEAR this pedal.
Casting Shadows and Echoes delays. I enjoyed using the reverb from
Even at maximum mix settings, the my Twin Reverb as baseline coloration,
delay is crisp but never too digital or and fading in stronger reverb and delay
sterile. The reverb also has a very natural textures with the Ambient Delay.
bloom that makes swells extra organic
Ernie Ball Ambient Delay
sounding and sits nicely with the delay The Verdict
without creating a messy slurry of echo. The Ambient Delay is a very versatile $199 street
ernieball.com
Delay feedback never veers into the effect. It sounds vivid and rich with
wild oscillation of an analog unit— small and large amplifiers and with
Tones
even when maxed out, which seems every pickup configuration I tried. It
Ease of Use
like underutilization of the expression also sounds spectacular with synths
pedal’s functionality. But the gently and bass. Most decent digital delay/ Build/Design
tapered swells of reverb and delay that reverb combo effects have crept toward Value
are the pedal’s strength are a sublime the $200 mark, and the Ambient
effect, and open up subtler possibilities. Delay, at 199 bucks, is no exception. PROS Expansive tone-shaping
Mastering these subtleties takes practice. But with treadle functionality that will potential. Nice reverb tones. Solid
But you may also quickly find you apply suit casual delay and reverb users and construction.
the pedal in unexpected ways. Using heavy-duty texturalists alike, the Ernie
CONS No battery option.
it for a quick dash of color at the end Ball stands apart on both practical and
of a guitar solo or for a big finish at expressive fronts.
aud io
/ p r o
rns .com
. b o u
www
premierguitar.com
STAFF PICKS
Question & Obsession

Call it admiration, if you please, but we aren’t ashamed—a twinge of jealousy can be a healthy thing. This month,
Ron Gallo joins PG staffers in naming the guitarists whose talents make us go green.
The guitarist I’m most

envious of right now is _____
because _____.
Ron Gallo Kris Judd

Guest Picker Reader of the Month
A: I’m not envious of any A: Derek Trucks. He can

guitar players, because what connect to something
I like about guitar playing inside the emotional core
does not require “talent” of humanity, and show it to
per se. I don’t care too much you without speaking a word,
about technicality or the because that’s something no
“guitar gods” but am more words can do.
Far left: Photo by Tim Duggan Below: Photo by Ken Settle

drawn to the freaks—ones
that have a primal approach Current obsession:
to the instrument, and an Learning new music! Practice,
innovative style that evokes practice, and more practice.
bizarre and unique sounds Learning new songs, new
from it. I like Robert Quine licks, new rhythm patterns in
of Richard Hell and the genres I don’t normally listen
Voidoids, Lou Reed, etc. to. Getting out of my comfort
zone and bringing bits of
Current obsession: what I find back to enhance
I don’t know what it means, my own style.
but I have pretty much
exclusively listened to
jazz lately. It’s like a warm
wool blanket on the soul
and mind. In jazz, there are
no wrong notes, there is
only jazz. There can be no
conflict while jazz is
on. Jazz is pure human
expression. Jazz is life.
premierguitar.com
Joe Gore Tessa Jeffers Ben Kuriscak
Contributing Editor Managing Editor Digital Designer
A: The guitarist I’m most A: Jack White, because he’s A: Although I would not be
envious of right now is Mark so prolific and everything too envious of the attention
Twain, because he got to he touches has authentic garnered by any famous
hang out with Mark Twain all mojo. Beyond playing guitar guitarist, I’d have to say Jason
day long. His wise, witty voice in a raw, fury-of-passion Isbell. His abilities astound
would vastly improve the style, he plays drums, has me. To write and play music
21st century. several bands, collaborates that reaches out far beyond
with Beyoncé and gets whatever genre it may
Current obsession: nominated for Grammys, and happen to fall into… it’s not
Gold foil pickups. I’m such his songwriting abilities are something you see a whole
a trend slut. But that open, undeniable. I believe him, lot of with today’s artists. Plus,
acoustic-like tone is so and that’s more than half the his collection of guitars offer a
Jason Isbell photo by Perry Bean
nice for fingerstyle battle. Maybe it isn’t envy— lot to be envious about.
electric playing. perhaps I just want to marry
him. Boom! Current obsession:
Watching my five-month-
Current obsession: old daughter experience the
“Carpool Karaoke” with James sounds of various stringed
Corden. The only instruments instruments for the first time.
he needs are his Range Rover, She cracks up at the sound of
his vocal harmonies, and a banjo. It’s become my go-to
Madonna twerking reason for playing lately.
shotgun … #myhero.

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ESOTERICA ELECTRICA
The Price of Tides

BY JOL DANTZIG
T
It’s remarkable he link between guitars and cars
how easily the has enjoyed an indelible bond
curves, lines, and
colors of even
for generations, and for good
the most lowly reason. Flashing chrome, curvaceous
of pawnshop lines, aggressive angles, and the scent of
guitars will spark latent power are the language of both
a sprint to the
these parallel worlds. To a young person
nearest ATM—to
pay a sum that who sets sail on the sea of life, the guitar
often doesn’t can represent freedom and expression.
seem to add up. Likewise, the automobile symbolizes—or
literally delivers—the promise of a jour-
ney towards new horizons.
It’s no wonder that California’s Kar
Kulture of the 1950s and ’60s also
drove Fender—America’s most forward-
looking guitar company—to emulate the
styles and even borrow the names and
colors of popular vehicles. Even stodgy drive the prices of legendary gear upward factors. Sometimes it’s a middle-finger
Gibson copped the finned look of the into the stratosphere—where only high- salute to the status quo, but more often
’50s to capitalize on our love affair with flying tycoons or serial debtors can fly. it’s purely affordability. All said, it’s
wheeled speed. The suits in Kalamazoo So what do mere mortals do? Many amazing how we convince ourselves that
famously hired venerated auto-designer buy custom instruments carved out by rags can be riches.
Raymond Dietrich to create the Firebird people like me. It’s the modern-day trip I was lucky enough to be born at a
models, and in an act of reciprocity, to the blacksmith’s shop to be fitted for time when those classic items were new.
General Motors borrowed the name hand-hewn wares of a bespoke nature. An old Telecaster was just a used guitar
for their Pontiac pony car five years But for a much larger contingent, the hanging in a pawnshop. The Jazzmaster
later—touché. allure of possessing a vintage instrument was a redheaded stepchild and nobody
Along with the jet age and space still calls. As the saying goes, “a rising tide cared about a single-cutaway Les Paul
race, the world’s infatuation with cars floats all boats,” and it’s never been truer anymore. New artists today are chasing
and mobility was a defining factor in than today’s hobbyist market. Classic different sounds, and some of those
the arc of our industry. Even now it’s a Ferraris and Porsches are multi-million- tones are hiding in offbeat and previously
presence felt in musical products, though dollar, blue-chip rolling investments overlooked guitars. But things change, as
it’s more of a romantic tie to the past in that are rarely navigated down scenic they will change again. The sun will rise,
a sort of hipster retro-rehash as opposed country roads—let alone the drive-thru at followed by the moon, and the tides will
to anyone’s love of E-Type Jaguars or Wendy’s. This offers an opportunity for swell and float the yachts and the bay
Maseratis. Still, the symmetry continues next-tier hardware, as the vacuum sucks boats alike.
to exist. lesser gear into the “affordable” spotlight. They have a saying in the collectibles
In tandem with the love of old-growth A quick scan of the automobile world: “You can never spend too much,
wood fashioned into musical instruments, auction results show vehicles that were you can only sell too soon.” Now that
our worship of mythology fuels the desire once viewed as footnotes are now the tide is in, I can’t afford the guitars
for instruments produced in the halcyon collecting six- or even seven-figure of my youth, but I won’t play junk
days of rock and blues. The emotional sums. When pedestrian Mercedes sedans either. Thankfully I can make any guitar
echo chamber of our dreams and desire from the 1970s routinely blow through sound lousy.
for simple answers keeps us looking over the quarter-million-dollar mark, that
our shoulder for clues on how to rock a Corvette looks pretty tempting at $80k. JOL DANTZIG is a noted
designer, builder, and player who
more authentic life. Like wizened elders, Likewise, a Fender Starcaster (that wasn’t co-founded Hamer Guitars, one of
old gear promises to reveal the secrets fit to be kindling when it was new) is the first boutique guitar brands,
in 1973. Today, as the director
of a life well lived. The fact that these suddenly the new darling of those who of Dantzig Guitar Design, he
instruments sound incredible is merely work for a living. The popularity of continues to help define the art of
custom guitar. To learn more, visit
the justification. These factors, and more, any given instrument is owed to many guitardesigner.com.
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. .
LAST CALL
How the Kashmere Stage Band Stayed on the Good Foot

BY JOHN BOHLINGER
M
From 1968 y son played on a youth on the level of the ’72 Kashmere Stage
to 1974, the basketball team when he Band. If I practiced 10 hours a day for
Kashmere Stage
was 13. From the moment 12 months, I might have upgraded from
Band inspired its
young members these kids, with their spindly, newborn- unlistenable to terrible, but I couldn’t
to give music calf legs, stumbled onto that cold gym hang with those kids. So how did this
their all, thanks floor on early Saturday mornings, it was killer band happen?
to the leadership obvious that at best only three out of There were probably some innately
of Conrad O.
Johnson. Today,
the 10 understood the basic concepts of talented kids in that band, but what
their albums the sport. They spent most of the game made them great was their music teacher,
are reissued rushing in every direction, chasing a Conrad O. Johnson. “Prof ” Johnson
and their tracks rolling ball like drunks chasing their hats managed to inspire greatness in these
sampled and
in the wind. Boys would stop mid-play to kids—most of whom were what we
revered.
stare at the ceiling. It was a shit show. would now call “at risk.” They lived in a
I’d sit right behind the bench so the poor part of Houston, known for its high when I play, because for years I focused
coach would feel guilty if my kid didn’t population of felons, and many came so intently on where I put my fingers that
play. The coach spent the game shouting from single-parent homes. One KSB my peripheral vision was groove-blind.
at the players through his megaphone alumnus described himself and some of Johnson told his students something
hands while thick veins popped out his bandmates as “thuggy” before they I wish I had heard when I was their age:
of his dangerously red neck. During joined the Kashmere High School group. “You can do the right thing, for the right
time-outs, I’d hear him describing The story goes that Johnson attended reason, with the right person, but if you
these super-complex, four-set offensive an Otis Redding concert in 1967 and do it at the wrong time, everything gets
plays. A monkey locked in a room with was inspired to start this elite band for jacked up and twisted.” Johnson got KSB
a tuba had a better chance of nailing a his students. He composed original funk to listen to each other, lock in, and move
Van Halen solo than those kids had of songs for the group, dressed them in as a unit. They were so tight that you
achieving anything this delusional coach platform shoes and matching crushed- couldn’t squeeze a Bible page between the
was trying to impart. Maybe he should’ve velvet suits, and got them moving with kick and the bass.
dumbed it down for these children who impeccably choreographed steps that KSB recorded eight albums, which
couldn’t remember to tie their shoes? would make James Brown take note. are now coveted by collectors as well as
I thought of this coach recently while I For a decade, in spite of constant lineup hip-hop artists and DJs who sample KSB.
was at PG staffer Tessa Jeffers’ Halloween changes, KSB reigned in national high The Warner Bros, Now-Again, and Kram
party. We were taking turns picking vinyl school band championships. labels have all released KSB’s recordings.
out of big stacks of records—the rule With a lot of work, most bands can And Thunder Soul, a 2011 documentary,
being that we spin the entire side of the learn to read what’s written on a page, tells the band’s story. The movie leaves
chooser’s album. (Abbey Road side two but Johnson instilled in his musicians you with plenty of feel-goodery and some
is my go-to). When Tessa’s neighbor, an understanding of groove—the secret moral takeaways, including:
Mike Tristan, pulled out an LP recorded ingredient to great music. There’s no
in ’72 by the Kashmere Stage Band, a formula for a deep groove: sometimes • With the right guidance, kids can
group from a high school located in grooves lay back, sometimes they rush, accomplish amazing things
a predominantly black neighborhood sometimes they move, sometimes they • We need to continue teaching and
in Houston, I thought I’d politely are locked solidly in place. The only rule funding the arts
pretend to listen for 20 seconds then is: When a groove is right, you feel it. • Above all, if you want to make
excuse myself and hide outside with Social media is full of children playing music that leaves a mark, focus on
the smokers until his turn was over. I wildly complicated music, but most of the groove
imagined out of tune brass and Lawrence these performances are heavy on notes
Welk arrangements. Turns out, it was and light on feel. It’s impressive as hell JOHN BOHLINGER is a Nashville-
based multi-instrumentalist best
shockingly good music full of deep- and makes us insecure about our own known for leading the band on
Photo by Mike Tristan
pocketed funk grooves. abilities, but the music rarely moves you NBC’s Nashville Star and serving
as music director for the CMT
When I was in high school, I’d been emotionally because notes without groove Awards and specials on PBS
playing guitar for two or three years. I and feel don’t mean anything. It took and GAC. When not filming Rig
Rundowns and gear reviews for PG,
can’t imagine making music at the time me a long time to tune into the groove John plays pedal steel for Lee Brice.
Premier Guitar ISSN 1945-077x (print) and ISSN 1945-0788 (online) is published monthly by Gearhead Communications, LLC. Principal office: 3 Research Center, Marion, IA 52302. Periodicals postage
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II
PERFORMANCE
IS EVERYTHING:

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BUCKET BRIGADE 101 • CHRISSIE HYNDE • WARPAINT • MESHUGGAH • LARRY CORYELL

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©2017 Fender Musical Instruments Corporation. FENDER.COM

PRODUCTION & OPERATIONS

GEARHEAD COMMUNICATIONS, LLC

The (Sort of) Zen Art of Limiting in Order to Gain

Hi Shawn, our review may have caused. Hendrix will always

118 127 141

DiSCOVeR the LegenD

Tosin Abasi with one of

8-string prototypes. RIG

CONTENTS February 2017

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The Wild Beasts guitarist opens

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After a lengthy battle with

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