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ESP Scott Gorham


Orange Danny Bryant
Peavey Marcus Miller
Freshman and more
JULY 2013 Vol 24 No 10 4.25
ALBERT KING REMEMBERED







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Private Collection
Home on the guitar range
Discover how it became
the king of Gibsons
Electric Spanish dynasty
Semi-Acoustic
Superstar!
Gretsch and
Marshall tested!
P
L
A
Y
L
I
K
E
Bruce
Springsteen
9 771755 338229
0 7
9 771755 338229
0 7
Gibson
SEM
I-ACOUST
IC
SUPERSTAR
SPECIAL!
ES-335
2013 KMC Music, Inc. TAKAMINE is a trademark of KMC Music, Inc. All rights reserved.
www.facebook.com/takamineguitarseurope
See the entire line of Takamine guitars at takamineguitars.eu
THE HARDEST
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2013_Takamine_Ad_Simon Neil UK 210x297mm[3mbld].indd 1 13/05/2013 16:15
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Experience that true, authentic Marshall tone.
The SL5 is a mini AFD in a box!
It sounds so good I use it at home,
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SL5 Video Demo
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For full guitar details, pricing and photos, enter the number next to each guitar model into our SKU search facility on the website.
01524 410 202
www.promenademusic.co.uk
PROMENADE MUSIC
8033 - Breedlove AD25/SM
8035 - Breedlove AJ250/SF Plus Electro Acoustic
10296 - Breedlove Atlas Solo Series C350/CR
10284 - Breedlove Cascade C25/CRE Electro
10285 - Breedlove Cascade OM/CRe S Cutaway
10287 - Breedlove Passport C250/COe Electro
10288 - Breedlove Passport D/MMe Electro
10289 - Breedlove Passport D250SMe Electro
10299 - Breedlove Passport PLUS D/CME Electro
10292 - Breedlove Passport Plus C250/SBe Elect
7979 - Breedlove Passport Plus C250SFE
4282 - Breedlove Passport + D/SFE Elec Sunburst
10301 - Breedlove Passport Plus D250/SB Electro
10300 - Breedlove Passport Plus OM/CMe HH
10294 - Breedlove Retro D/ERe with LR Baggs
10295 - Breedlove Retro OM/ER Orchestra Electro
10298 - Breedlove Revival OM/SMe Top Burst
4283 - Breedlove Solo C35/Sme Electro, Natural
10069 - Brian May Rhapsody Electro, Black
10068 - Brian May Rhapsody Electro, Cherry
10071 - Brian May Rhapsody Electro, Red
10070 - Brian May Rhapsody Electro, Sunburst
10219 - Cort NDX50 Electro Acoustic Guitar, Nat
10221 - Cort SFX-E NS Electro, Natural Satin
10125 - DRL 008 8 String Electro Acoustic Guitar
10124 - DRL CT09 Thinline Electro Acoustic
4769 - EKO Ranger EQ Vintage Series, Black
8905 - Eko Ranger Vintage 12 String w/Fishman
9206 - Epiphone EJ200CE, Natural
5157 - Epiphone EJ200CE Jumbo Vintage SunB.
9542 - Faith FMETB Mercury Electro Parlour
9104 - Faith Saturn Cutaway High Gloss FSCEHG
8300 - Faith FECS Electro Acoustic Guitar
10320 - Fender CD60CE Mahogany
7881 - Fender Kingman SCE, Dreadnought, Nat
6929 - Fender Stratacoustic, Electro, Black
10194 - Fender T-Bucket 300CE, Amber
6930 - Fender Telecoustic, Electro, Black
10243 - Fender Tim Armstrong Deluxe
10106 - Fylde Alchemist Electro Acoustic
7867 - Gibson J200 Standard Electro in Natural
7032 - Gibson J200 Standard Jumbo Guitar
8241 - Gibson J200 Studio, Vintage Sunburst
10150 - Gibson J35 Electro Acoustic Guitar, Nat
10143 - Gibson LG2 American Eagle
10147 - Gibson SJ100 Modern Classic V.Sunburst
8091 - Jimmy Moon 0003CE Electro Acoustic
4555 - Jimmy Moon Bryan Adams Signature
4554 - Jimmy Moon PF0003 Electro, Pau Ferro
6948 - Jimmy Moon RD3, Electro, Natural
9552 - LAG T300AE Electro Acoustic Guitar
7302 - LAG T66ACE Auditorium Cutaway Electro
7972 - LAG T200ACE Auditorium Cutaway Electric
5403 - Levin LD60CE, Dreadnought Electro, Nat
9243 - James Neligan NA72CBB Electro Acoustic
0000 - Levin - 5 models in stock now
8277 - Martin DC15ME Dreadnought Cutaway
6404 - Northwood R70 00 14fret Electro, Natural
4400 - Northwood R80, 000V Electro, Natural
6403 - Northwood R80, 0M Electro, Natural
9841 - Ovation Adamas 1581-7 Electro Acoustic
5093 - Ovation CDX24 Electro Acoustic in Natural
10033 - Ovation Celebrity CC44S AB, Autumn
10031 - Ovation Pro Elite 2078AX
10032 - Ovation Pro Elite TX 1868TX Super
10151 - Ovation Pro Speciality 1773AX-4 Natural,
9299 - Peerless Martin Taylor Maestro
10095 - RainSong BI-JM1000N2 Graphite Guitar
10094 - Rainsong S-DR1000 Graphite Guitar
10038 - Rainsong S-DR1000 Graphite Guitar
9820 - Rainsong CO-DR1000N2
9821 - Rainsong CO-JM1000N2
9819 - Rainsong CO-OM1000N2
9818 - Rainsong CO-WS1000N2
9814 - Rainsong DR1000 Graphite Guitar
10097 - Rainsong H-DR1100N2
10100 - Rainsong H-OM1000N2
10098 - Rainsong H-WS1000N2
9815 - Rainsong JM1000 Graphite Guitar
4812 - RainSong OM1000
10082 - RainSong P12 Parlor
10084 - RainSong P12 Parlor in Blue
10086 - RainSong P12 Parlor in Green
10085 - RainSong P12 Parlor in Pewter
10087 - RainSong P12 Parlor in Red
10088 - RainSong P14 Parlor
10091 - RainSong P14 Parlor in Blue
10092 - RainSong P14 Parlor in Green
10093 - RainSong P14 Parlor in Pewter
10089 - RainSong P14 Parlor in Red
9824 - Rainsong S-DR1000N2 Dreadnought Std
9823 - Rainsong S-OM1000N2 OM Studio Electro
9822 - Rainsong S-WS1000N2 WS Studio Electro
9827 - RainSong SG Shorty Gloss Shorty Series
9828 - RainSong Shorty Fine Texture SFT Model
7974 - Rainsong WS1000 Graphite Guitar
5257 - Satori YD18EQ, Dreadnought Electro, Nat
5256 - Satori YD28EQ, Dreadnought Electro, Nat
5252 - Satori YD28HEQ, Dreadnought Electro, Nat
8234 - Satori YD42EQ Electro Acoustic
5255 - Satori YO28HEQ, OM Electro, Natural
9536 - Sigma 000MC 15E Electro Acoustic Guitar
10303 - Takamine EG340SC, Pre-Owned
0000 - Tanglewood - 17 models in stock now
10118 - Terry Pack PLSR Parlour w/Pre-Amp
9615 - Terry Pack SJRS Small Jumbo LR Baggs M1A
8007 - Vintage Gordon Giltrap Signature
9561 - Vintage VEC1400 Electro Acoustic
9535 - Walden CG570CE Electro Acoustic Guitar
8307 - Westcoast SW201BK -VT Acoustic Guitar
8305 - Westcoast SW201RDS VT Electro Acoustic
8306 - Westcoast SW201VT Acoustic Guitar
6960 - Yamaha CPX500 Electro in Red
9190 - Yamaha CPX700 Electro Dusk Sun Red
8020 - Yamaha CPX700, Tinted Finish
9191 - Yamaha FGX730SC Electro Acoustic, Nat.
9192 - Yamaha FJX730SC Electro Acoustic, Black
6965 - Yamaha FX370C Electro Acoustic in Nat.
8141 - Yamaha SLG110S Silent Steel String
0000 - Azahar - 6 models in stock now
10290 - Breedlove Passport N250/COe Electro
7365 - Jose Ferrer 3/4 Size Classical Guitar
0000 - Mendieta - 6 models in stock now
9482 - Ovation 1616 Classical Guitar, Pre-Owned
0000- Raimundo - 4 models in stock now
0000 - Ramirez - 10 models in stock now
5828 - Roberto - 3 models in stock now
5481 - Strunal Electro Classical Guitar
9404 - Takamine G344RC Electro, Wine Red
0000 - Tanglewood - 4 models in stock now
8351 - Westcoast - 5 models in stock now
10323 - Yamaha CGX102 Guitar
10321 - Yamaha NTX700 Guitar
8030 - 1963 Gibson ES175 Jazz Guitar, Sunburst
10067 - Brian May Bass in Cherry with Gig Bag
10066 - Brian May Red Special, Antique Cherry
10055 - Brian May Red Special, Metal May
7028 - Brian May Red Special, Antique Cherry
10065 - Brian May Red Special, Baby Blue
10061 - Brian May Red Special, Black
10063 - Brian May Red Special, Gold
10064 - Brian May Red Special, Green
10059 - Brian May Red Special, Honey Sunburst
10058 - Brian May Red Special, Natural
10057 - Brian May Red Special, Sunburst
10062 - Brian May Red Special, White
10060 - Brian May Red Special, Windermere Blue
10069 - Brian May Rhapsody Electro, Black
10068 - Brian May Rhapsody Electro, Cherry
10071 - Brian May Rhapsody Electro, Red
10070 - Brian May Rhapsody Electro, Sunburst
10231 - Brooks Custom Steve, Lukather Clone
9767 - Cort G260 Electric Guitar
10224 - Cort M600 AVD Antique Violin Dark
10220 - Cort Sunset I in Black
10223 - Cort X6 S-M BK Electric Guitar in Black
7793 - DBZ Barchetta Eminent FR Absinthe
7785 - DBZ Barchetta ST, Aubergine
7789 - DBZ Barchetta ST FR, Cobalt Blue
7814 - DBZ Crucifixion Electric Guitar
7810 - DBZ Dark Angel Electric Guitar
7812 - DBZ Bare Bones Religion Series Devil
7811 - DBZ Bare Bones Religion Series Preacher
7800 - DBZ Bolero AB, Solid Wine Red
7796 - DBZ Bolero FM, Trans Wine
7794 - DBZ Bolero ST, Black
7837 - DBZ Venom, Dark Blue Metallic
9770 - Dean Evo, Pre-Owned
5043 - Duesenberg 49er Cow Limited Edition
5040 - Duesenberg Rocket II in Black & White
10233 - ESP LTD MH50, Black, Pre-Owned
9769 - Encore Electric Guitar, Black
5205 - Epiphone Broadway Jazz Semi, Natural
8220 - Epiphone ES339 Semi Hollowbody, Ebony
9155 - Epiphone ES339, Natural
8528 - Epiphone ES339 Ultra, Vintage Sunburst
5432 - Epiphone G310 SG Shape, White
9631 - Epiphone Joe Pass Emperor II, Natural
9695 - Epiphone Les Paul Special II Cherryburst
9905 - Epiphone LP Stan Plustop Pro, Cherry S/B
10351 - Epiphone LP Stand. Plustop Pro, Wine Red
8365 - Epiphone Les Paul Standard in Gold
10352 - Epiphone Les Paul Standard, Ebony
10217 - Epiphone Les Paul Studio, Sunburst, S/H
9604 - Epiphone Les Paul Ultra III Alpine White
8096 - Epiphone Ltd Ed Flying V, Antique White
8165 - Epiphone Ltd Ed 1961 SG, Alpine White
9666 - Epiphone Phrophecy LP Custom Plus GX
8101 - Epiphone by Gibson, Pre-Owned
4231 - Fender Am Special Strat, Candy Apple Red
9074 - Fender American Special Strat, Sunburst
9914 - Fender Am. Special Tele, Vintage Blonde
9348 - Fender American Stan. Hand Stained Strat
10199 - Fender Am Stand. Strat LH, Sburst
9910 - Fender Am Standard Strat, Mystic Blue
8342 - Fender Am Standard Strat, Sienna Sburst
9134 - Fender American Stratocaster Daphne Blue
9023 - Fender American Vintage '70s Strat Reissue, Nat
9287 - Fender Blacktop Stratocaster HH, Black
10072 - Fender Classic Player Baja Telecaster, Blonde
9261 - Fender C. Player Jaguar Spec HH, White
9559 - Fender Custom Shop 1960 Relic Strat, GR
7112 - Fender Deluxe Lonestar Strat, Sunburst
10163 - Fender FSR 72 Telecaster Deluxe, Aqua Flake
10198 - Fender FSR Am Stan. Strat, LH, Sunburst
9085 - Fender FSR Strat HSS TBX Amber Burst
10218 - Fender Japanese Strat, CAR, Pre-Owned
4634 - Fender Jim Root Signature Strat, Black
9775 - Fender Johnny Marr Jaguar, Metallic KO
10164 - Fender Kurt Cobain Mustang, Sonic Blue
8113 - Fender Modern Player Available To Order
9945 - Fender Modern Player Strat HSS, O. White
8224 - Fender Modern Player Telecaster, Honey Burst
8286 - Fender Modern Player Tele Thinline Delux
7784 - Fender Mustang Pawn Shop Special, Red
9089 - Fender Pawn Shop 51 Stratocaster, Black
9090 - Fender Pawn Shop 51 Stratocaster, Blonde
10149 - Fender Pink Paisley Telecaster, Used
5287 - Fender Road Worn 50s Strat in Black
8290 - Fender Road Worn 60's Strat, Sunburst
4229 - Fender Road Worn Player Strat, Sunburst
4232 - Fender Road Worn Player Tele, Black
9449 - Fender Select Tele USAViolin Burst
10101 - Fender Standard Strat, CAR, Secondhand
7954 - Fender Standard Strat, Copper Met Burst
4560 - Fender Standard Telecaster, Black
4748 - Fender Standard Tele, Brown Sunburst
10090 - Fender Telebration Mahogany Tele, Sburst
9911 - Fender USA75 Telebration, Natural
9507 - Fender USAHardtail Stratocaster 1977
8285 - Fret King Jerry Donahue, Natural
9137 - G&LASAT Classic Bluesboy Semi, Natural
9140 - G&LASAT Classic in Walnut
9136 - G&LLegacy in Black
9135 - G&LS500 in Blueburst
9150 - Gibson ES137 Custom, Triburst
8029 - Gibson ES175 1956 Original
9277 - Gibson ES330 VOS, Vintage Sunburst
10146 - Gibson ES335 Dot Plain Gloss, Sunburst
10273 - Gibson ES339 Antique Sunburst
9840 - Gibson Lee Roy Parnell Goldtop
8376 - Gibson Les Paul Classic 60s Trans Ebony
5317 - Gibson Les Paul Custom in Alpine White
7919 - Gibson Les Paul Custom in Wine Red
10197 - Gibson Les Paul Signature T, Trans Ebony
9444 - Gibson Les Paul Standard 2012 Goldtop
10116 - Gibson Les Paul Std 2013 Prem. Tea Burst
10117 - Gibson Les Paul Std 2013 Premi. Trans Amber
10144 - Gibson LP St Premium Plus, Desert Burst
10322 - Gibson Les Paul Stand., Heritage Cherry
9341 - Gibson Les Paul Studio, Radiant Red
5090 - Gibson Les Paul Studio Lefty, Wine Red
9557 - Gibson Les Paul Studio, Vintage Sunburst
10281 - Gibson Les Paul Trad., Caramel Burst
8202 - Gibson Nighthawk. Pelham Blue
5594 - Gibson SG Special Electric Guitar in White
10350 - Gibson SG Special Faded Cherry
10268 - Gretsch G5422TDCG Hollow Body ,White
9771 - Ibanez S470DXQM
9764 - Italia Electric Guitar, Pre-Owned
9161 - Jackson RR5 Japanese Ivory Pinstripe
4992 - Jackson JS30 Randy Rhoads, Black
4150 - Jackson SL3MG Soloist, Natural
9669 - Jackson Super Light Soloist SLSXMG GMG
0000 - Levin - 7 models in stock now
8051 - Lodestone Electric Artist, Trans Black
8052 - Lodestone Electric Artist in Sunburst
8048 - Lodestone Electric Artist, Trans Honey
8049 - Lodestone Electric Artist, Trans Red
8059 - Lodestone Electric Pro S, Chignal Blue
8065 - Lodestone Electric Pro S, Rodings White
8058 - Lodestone Electric Pro S, Tobacco Sburst
8066 - Lodestone Electric Pro S in Waltham Black
8055 - Lodestone Electric Pro, Chignal Blue
8056 - Lodestone Electric Pro, Rodings White
8053 - Lodestone Electric Pro, Roxwell Red
8057 - Lodestone Electric Pro, St James Silver
8054 - Lodestone Electric Pro, Tobacco Sunburst
8072 - Lodestone Electric Standard S, T. Sburst
8070 - Lodestone Electric Standard Trans Black
8071 - Lodestone Electric Standard S, White
8069 - Lodestone Electric Standard in White
8085 - Lodestone Pulse in Burr Maple Honeyburst
8086 - Lodestone Pulse, Matt Black
8084 - Lodestone Pulse in Metallic Gold
8087 - Lodestone Pulse, Tobacco Sunburst
7091 - MusicMan Luke HSS, Pearl Blue
4720 - MusicMan Silhouette Special, Candy Red
0000 - PRS - 12 Models in stock now
6123 - Patrick Eggle Double Cutaway in Blue
6121 - Patrick Eggle RSG Electric Guitar, Amber
9478 - Peavey AT200 Antares AutoTune Guitar
9450 - Peavey EVH Wolfgang USA-Made Goldtop
9001 - Peavey Rockmaster Captain America
9300 - Peerless Martin Taylor Virtuoso
4268 - Rickenbacker 330 12 String Semi, Jetglo
6951 - Rickenbacker 360 Semi, Fireglo
6952 - Rickenbacker 360 Semi, Jetglo
4270 - Rickenbacker 360 Semi, Mapleglo
10165 - Road Worn Player Tele, Candy Apple Red
8992 - Roland G5 Strat COSM Technology Black
8993 - Roland G5 Strat COSM Technology Sunburst
9857 - Roland G5AStrat Candy Apple Red
8990 - Roland GC1 Black GK-Ready Stratocaster
8991 - Roland GC1 Sunburst GK-Ready Strat
0000 - Squier - 6 models in stock now
0000 - Stagg - 3 models in stock now
9273 - Steinberger Spirit GT Pro
10131 - Traveller Speedster, Blue, Pre-Owned
9079 - Ventures VM100SB Bob Bogle Sig, Sunburst
9078 - Ventures VM65MBL Electric Guitar, Blue
4256 - Vintage AV2, Sunburst
9420 - Vox Apache I
9652 - Warwick Electric Guitar Accessory Pack
6982 - WashburnUSADD70MayaDanDonegan,Grey
4757 - Washburn N1 Vintage Nuno Bettencourt Nat
7074 - Washburn SI61 Obey Scott Ian Sig, Black
6991 - Washburn USACustom WI556, Metallic Red
6997 - Washburn V200 ProE in Black
7005 - Washburn WI100, Gunmetal Grey
7002 - Washburn WI100, Red
7009 - Washburn WI15 Idol Standard ,Black
8412 - Washburn WI18 Idol Quilted Trans Black
8411 - Washburn WI18 Idol Quilted Trans Red
7356 - Washburn WI420KB Idol, Black
8409 - Washburn WI-440F Idol Elect Flame Honey
8408 - Washburn WI-440F Idol Tobacco Sunburst
8406 - Washburn WI-460E Idol Electric, Black
8405 - Washburn WI-460E Idol Electric in White
6988 - Washburn WI50 in Black
6989 - Washburn WI50 Pro-E, Black
8404 - Washburn WI-63 SF Donegan Sig, Black
6995 - Washburn WV40VASIK Scott Ian Blood Splat
6996 - Washburn WV66ANC, Nick Catanese, Black
6898 - Washburn Wi14 Idol in Metallic Blue
6899 - Washburn Wi14 Idol in Wine Red
8230 - Washburn X10 Bass Guitar, Black
6895 - Washburn X100 in Metallic Grey
6900 - Washburn X200 Pro in Trans Black
6425 - Westcoast ST Junior in Black & Sunburst
6449 - Westcoast ST1 in Ivory, Red & Natural
8416 - Yamaha Pacifica 012 in Red Metallic
8414 - Yamaha Pacifica 012, Dark Blue Metallic
10234 - Yamaha Pacifica 012 in Black
8121 - Yamaha Pacifica 311H, Vintage White
8184 - Yamaha Pacifica 510V , Candy Apple Red
10319 - Yamaha Pacifica 611 VHFM
8124 - Yamaha Pacifica 611 Root Beer
Classical Guitars
Electric Guitars Electric Guitars
Acoustic & Electro Acoustics
Bass Guitars
8687 - Breedlove Passport Plus B350/CB4
10297 - Breedlove Solo BJ350/CMe4 Fretless Bass
10067 - Brian May Bass in Cherry with Gig Bag
4910 - Bridge Cetus Electric Double Bass
10108 - Cort A4 4 String Bass Guitar, Natural
10107 - Cort A4 Custom Z 4 String Bass Guitar
10109 - Cort A5 5 String Bass, Open Pore Natural
10105 - Cort A5 OPBC Bass Guitar
10110 - Cort B5 5 String Bass Guitar, OPN
10213 - Cort GB75WBL 5 String Bass, White Blonde
10242 - ESP LTD B204 SM, Natural, Pre-Owned
4882 - Fender USA62 Vintage Precision Sunburst
10166 - Fender 75 Jazz Bass in Natural
9083 - Fender Am Special Jazz Bass, Sunburst
9353 - Fender Am St Hand Stained Ash Jazz Bass
9231 - Fender Am Standard Jazz Bass, Sunburst
7943 - Fender Am Stan Precision Bass, Sunburst
9727 - Fender FSR Precision, Sea Foam Metallic
8113 - Fender Modern Player Available To Order
9367 - Fender Select Jazz Bass, Amber Burst
9284 - Fender Standard Jazz Bass, Arctic White
8287 - Fender Standard Jazz Bass, Brown S.burst
9909 - Fender Standard P Bass, Lake Placid Blue
10113 - G & L M2000 4 String Bass Guitar, Honeyburst
10112 - G & L M2500 5 String Bass, Honeyburst
9703 - G & L Tribute Series JB2, Natural
9138 - G&L L2000 Tribute Bass, 3-Tone Sunburst
9702 - G&L L2500 5 String Bass, Walnut
9593 - Gibson Firebird Studio Reverse 70s Bass
9575 - Gibson Grabber 3 '70s Tribute Honeyburst
10074 - Gretsch G6073 Electrotone Bass, Burgundy
0000 - Levin - 7 models in stock now
8073 - Lodestone Primal Artist
8075 - Lodestone Primal Instinct J Bass, Green
8079 - Lodestone Primal Instinct P Bass, Green
8080 - Lodestone Primal Instinct Pbass Sunburst
8081 - Lodestone Primal Pro in Chignal Blue
8082 - Lodestone Primal Pro 4, Tobacco Sunburst
8174 - Lodestone Primal Pro 5, Chignal Blue
4179 - Marleaux Consat Custom 5, Satin Black
10279 - Marleaux Consat Sig 4 String Bolt On
5713 - Marleaux M Bass Custom 5, Maple & Walnut
10278 - Marleaux Votan XS Deluxe, Black
10216 - MusicMan Sterling 4, Blue, Pre-Owned
4703 - MusicMan Stingray 2EQ, Blue Pearl
4781 - MusicMan Stingray 3EQ, True Gold
4920 - MusicMan Stingray 5, Black
8997 - Musicman Sterling SB14 Bass, Sunburst
5110 - NS Design NXT Electric Double Bass
9002 - Overwater Aspiration Deluxe Bass, Black
8435 - Overwater Aspiration Std 4, Black Cherry
7849 - Overwater Contemporary Jazz, Trans Blue
9009 - Overwater Contemporary 5-String Bass
9867 - Overwater Inspiration Jazz PJ 4 String
10102 - Overwater J Series Deluxe 4, Natural
7259 - Overwater Perception Std 5, Bubinga
10152 - Overwater Progress Deluxe, Pre-Owned
9418 - Rickenbacker Bass, Jetglo Rick Kemp
5121 - Rockbass Streamer LX5, Black
7204 - Squier Classic Vibe Precision 50s Blonde
9072 - Squier Vintage Modified 70's Jazz, Nat
9517 - Squier Vintage Modified Tele Bass, Black
9704 - Stagg BC300 Lefthanded 4 String, Nat
4417 - Steinberger Spirit XT2 4 String Bass
9428 - Tobias Toby Standard IV Bass Guitar, White
9653 - Warwick Bass Guitar Accessory Gig Pack
6447 - Westcoast BG2, Natural or Trans Red
6446 - Westcoast BG4 Neck Thru Body, Brown
6445 - Westcoast BG5 Fretless, Natural
6448 - Westcoast JB5, Trans Amber
8438 - Westcoast JP1 4 String Bass in Black
8437 - Westcoast JP1 4 String Bass in Trans Red
10120 - Yamaha BB1024X 4 String, Caramel Brown
4649 - Yamaha BB2024X, Vintage White
9350 - Yamaha BB424 Bass Guitar in Black
9351 - Yamaha BB425 5 String Bass Guitar, Black
9352 - Yamaha BB425 5 String Bass, Sunburst
9000 - Yamaha RBX170
10314 - Yamaha RBX170EW Bass
8999 - Yamaha RBX5A2 5 String Bass, Black
6360 - Yamaha SLB200 Silent Double Bass
4331 - Yamaha TRB1004J, Trans Black
10307 - Yamaha TRBX304 Bass
10308 - Yamaha TRBX305 Bass
10310 - Yamaha TRBX505 Bass
GUITAR & BASS MAG May 2013_Layout 1 copy 1 13/05/2013 19:49 Page 1
Many years ago, when I rst learned what the ES
part of the ES-335 stood for, the strangeness of the
label only added to the guitars allure. It was also
a surprise to nd out that it was part of a long and
distinguished line of ES instruments that Gibson
produced. The 335s place in guitar history has
long been assured, but this months cover story
goes a fair bit deeper than that. Not only do we
celebrate the ES-335s majesty, we also look into
the other members of the Electric Spanish family,
and discover why this model gained a level of
popularity the others never quite managed despite many of them boasting
much higher specs. Its a fascinating story thats well worth the reading for all
lovers of guitar history.
And when youre done with all that (or before entirely up to you), there
are reviews of gear from Gretsch, Marshall, Orange and Freshman (to name
but four) for your perusal. We also remember the genius of blues legend
Albert King, get the lowdown on a guitar-lovin individuals collection and
discover how to get inside the mind of Bruce Springsteen. Its all heady stuff
and we hope it provides enough guitar-shaped food for the soul to sustain
you until the next issue.
Finally, my more tech-minded colleagues have asked me to remind you
that you can get all this Guitar & Bass goodness
on your digital devices (including iPhones,
Kindles, iPads and the like). For more info,
including where to obtain the free app, go to
page 80 of this very issue. Enjoy

The Reign
Of Spain
Anthem Publishing, Station House,
Station Approach, o North Street,
Carshalton, SM5 2HW
Tel 020 8773 3865
Email guitarandbass@anthem-publishing.com
www.guitarmagazine.co.uk
EDITOR John Callaghan (020 3478 7549)
John.Callaghan@anthem-publishing.com
DEPUTY EDITOR Steve Bailey
Steven.Bailey@anthem-publishing.com
ART EDITOR Rob Bewick
Rob.Bewick@anthem-publishing.com
STAFF WRITER Rik Flynn
Richard.Flynn@anthem-publishing.com
CONTRIBUTING EDITOR Rick Batey
Rick.Batey@anthem-publishing.com
CONTRIBUTORS Sid Bishop, Martyn Casserly, Roger
Cooper, Phil Harris, Michael Heatley, Hayden Hewitt,
Matt Lamy, Marcus Leadley, Alun Lower, Gareth
Morgan, Lars Mullen, Douglas Noble, Richard Purvis,
Huw Price, Tim Slater, Michael Stephens
INSTRUMENT PHOTOGRAPHY Mike Prior, Claire Collins
SENIOR SALES EXECUTIVE Gemma Bown (07788 266847)
Gemma.Bown@anthem-publishing.com
AD PRODUCTION Craig Broadbridge
Craig.Broadbridge@anthem-publishing.com
MANAGING DIRECTOR Jon Bickley
Jon.Bickley@anthem-publishing.com
EDITORIAL DIRECTOR Paul Pettengale
Paul.Pettengale@anthem-publishing.com
ART DIRECTOR Jenny Cook
Jenny.Cook@anthem-publishing.com
ADVERTISING DIRECTOR Simon Lewis
Simon.Lewis@anthem-publishing.com
MARKETING ASSISTANT Anna Wilkie
Anna.Wilkie@anthem-publishing.com
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JULY 2013 Guitar & Bass 5
EDITORS LETTER Welcome
PLUS!
ESP Scott Gorham Orange Danny Bryant Peavey Marcus Miller Freshman and more
JULY 2013 Vol 24 No 10 4.25
ALBERT KING REMEMBERED



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Private Collection Home on the guitar range
Discover how it became the
king of Gibsons Electric Spanish dynasty
Semi-Acoustic
Superstar!
Gretsch and
Marshall tested!
PLAY
LIKE
Bruce
Springsteen
9 771755 338229
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6 Guitar & Bass JULY 2013
Albert King 30
With a pioneering style all his own, Albert
King forged a profoundly inuential legacy
for all the blues guitarists that followed
Scott Gorham 36
The birth of a newfangled vision from
Thin Lizzy in the form of All Hell Breaks Loose
and Black Star Riders
Danny Bryant 40
An enviable apprenticeship under Walter Trout
served Bryant well now hes suited and booted
for his new album Hurricane
Play like Springsteen 96
Douglas Noble examines Springsteens seminal
work Born In The USA and nds a simple
foundation and some truly classic songwriting
Play like Marcus Miller 105
Gareth Morgan gets behind the workings of
Millers technical third album The Sun Don't
Lie. Prepare for a four-string challenge.
Artists
Regulars READERS LETTERS 8 NEWS 10 TALES FROM THE ROAD 14 ALBUM REVIEWS 16 SUBSCRIPTION OFFER 102 READERS FREE ADS 128 SOUNDTRACK OF MY LIFE 130
Workshops
30
VIVA ES-PANIOLA!
18
ALBERT KING
Tribute to a master
From Gibsons rst Electric
Spanish, through to a timeless
classic, the ES range remains a
benchmark in guitar building
JULY2013 Vol 24 No10
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JULY 2013 Guitar & Bass 7
Gretsch G6137TCB Panther 46
Gretsch revamp a classic model with some neat
new upgrades that make it supremely playable
ESP LTD EC-256 MGO 50
A well-designed budget axe with a palette of
classic tones from ESP's little brother
Orange Custom Shop 50 head 54
Oranges denitive rock amp oers great
voicing and opens up the ner details
Marshall SL5
Slash Signature combo 58
A famously-endorsed amp that will deliver
both on stage and in the bedroom
Mesa Boogie Tone-Burst &
Throttle Box 62
Mesa Boogie enter the stomp box market with
two stylish, great-sounding pedalboard llers
Peavey Composer Parlour
Acoustic Guitar 64
Low-cost parlour acoustic that's perfect for
rst timers or as a studio pick-up-and-play
Freshman FA400D &
FA400GACE/F 68
Two ne acoustic from Freshman's Cedar Creek
range tted with Fishman electronics
Hofner Contemporary Series
500/5 President Bass 74
A retro-styled, big-bodied acoustic four-string
thats ideal for those rootsy grooves
PJB Double Four Combo 79
This highly portable noisebox may just be bass
perfection in a tidy little package
Darkglass Vintage
Micro Tubes pedal 81
A quality hand-made analogue delay unit
Rapid Reviews 82
A wireless set-up and new tremolo parts
Private Collection 86
Lars Mullen casts an eye over Tom Penks
impressive haul; including bargains, oddities,
double-necks and some more traditional fare
Regulars READERS LETTERS 8 NEWS 10 TALES FROM THE ROAD 14 ALBUM REVIEWS 16 SUBSCRIPTION OFFER 102 READERS FREE ADS 128 SOUNDTRACK OF MY LIFE 130
Gear
Vintage
46
50
68 74
54
GRETSCH
Classic model, new vision
ESP LTD
HOFNER
ORANGE
FRESHMAN
IN THIS ISSUE Contents
Cover Photo:
JULY2013 Vol 24 No10
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when you
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PAGE 102
Cover photos: Bruce Springsteen by Photo by S.Granitz/WireImage/Getty
and Albert King by Frans Schellekens/Getty
FOR THE LOVE OF PAUL
Im glad you gave Paul Kossoff the credit he
deserved in your cover feature (June 2013). He
was my hero growing up and I spent many, many
hours learning his parts rather than doing my
homework. Every weekend I could make it I would
head down to Denmark Street, and my admiration
for the man increased tenfold when he turned up
in the same shop as me on a
couple of occasions. Although
he might not have been
completely sober, he had a
good word for anybody who
wanted to talk to him, and he
would happily while away the
time trying out gear. The
opportunity to get to see the
man play close-up (at a time
when actually going to the
gigs was completely out of the
question) left me with memories I still cherish to
this day. I urge every guitar player to listen and
learn from Paul Kossoff it wont be time wasted.
Des Murday via email

A VERY HAPPY RETURN
Just wanted to add my experience regarding
stolen guitars after reading your feature in the
May issue. About 10 years ago I had my
house burgled and my 1987 Fender Tele
was stolen along with everything else. It
wasnt an expensive or a great guitar,
but it was my only guitar and the one Id
learned to play on. A couple of months
later, not being able to relax by bashing
out a few chords started to bug me so I
went into a guitar shop about an hours
drive from my house to pick out a new
one. Yes, youve guessed it my old
guitar was up on the wall (it had a couple
of dings in the paintwork that I remember
happening and still wince about to this day). I
pointed this out to the sales assistant, who called
over the manager. To begin with, he was polite but
suspicious. He called the member of staff who had
been working the day it had been bought and
found out that a middle-aged woman had brought
it in, claiming that her son, who was supposedly
overseas serving in the Army, had asked her to sell
if on his behalf. We all agreed it was a plausible
story, however false I was claiming it was. After a
civil conversation, the manager agreed that if I
could provide proof it was my guitar I could have it
back. I duly went home, got the receipt, the
insurance and police paperwork and some
photos of me with the guitar and went back. And,
true to his word, the manager handed the guitar
to me. He apologised for the trouble and advised
me to send the details around to all the local
guitar shops if it ever got stolen again. He also
Reverberations
Write to Guitar & Bass, Anthem Publishing, Station House, Station Approach, o North Street, Carshalton, SM5 2HW or e-mail us: guitarandbass@anthem-publishing.com
Please note, we reserve the right to edit where we feel it is appropriate, or to print extracts from longer correspondences
In 1993 I purchased a Gibson Les Paul Studio for 495.
It might be bog standard but it sounds great with two
balanced humbuckers. The neck is a bit clubby and it had a
reasonable action when new. However, later on I had a lot of
trouble with trying to keep it in tune and buzzing on the frets. In the
end I got fed up with it and went back to using my other guitars, rarely
using the Studio. After reading your action adjustment article in the June
2013 issue, I thought Id take a look. So I took off the truss rod cover plate
and to my horror found the adjusting nut so loose it was almost off the
truss rod. So I tightened it up checking the action as I went until the
nut was quite tight (had to back it off slightly to stop fret buzz). Now the
guitar stays in tune, the action is a lot better and the intonation is perfect.
Thanks for some good advice!
Colin Richards Windsor
G&B Good on you, sir. And thanks for sharing a story that
warms the cockles of our cockles. A lot of our workshop
ideas come from feedback from readers, as well as things
that happen to us during our own guitar-playing lives.
Recently we noticed that wed had a lot of conversations
with people regarding why they didnt play certain guitars in their collection any more. Issues
regarding intonation, action and tuning came up on many occasions. And if youve got at least one other guitar and its
working just fine the temptation is just to put the problem instrument away and forget all about it. However, as Huw showed
in his article and as Colin has wonderfully shown in his letter such problems can be fixed with a little time and patience.
So we encourage everyone who has a problem with a guitar to investigate the issues involved and see if there is a way to
solve it. Obviously its great if you turn it into a project and fix it yourself. However, there is no shame attached to sending
it on to a professional repairer to do the honours for you because you dont have the time, the tools or the inclination. The
workshops arent just there so that people can fix it themselves we hope they provide
an easy way for you to diagnose a problem with a guitar, as well as generally learning
how guitars (as well as amps and effects) actually work. You dont need to know
how gear works in order to enjoy it, but were of the mind that knowing how
things work can add to your playing pleasure no end.
Written aStar Letter?Contact Rosetti on 01376
550033 to claim your Fusion gigbagelectric,
acoustic or bass available!
STAR
LETTER
DOING MY NUT...
8 Guitar & Bass JULY 2013
A little truss rod
adjustment can make an
enormous dierence
kindly requested that I didnt tell anyone
what had happened as he didnt want a rush
of people less scrupulous than myself claiming
that a guitar had actually belonged to them when
it wasnt true. But your story prompted me to tell
you, just to prove that some shops do go about
things the right way even when it costs them. To
the shop and its staff (you know who you are),
thanks once again for your assistance.
Nigel Ravenscroft via email
G&B Were happy to raise a glass and toast all
concerned for doing the right thing. During
the course of putting the feature together we
were constantly reminded how shops were
often put in a difficult position. Of course its
no excuse to indulge in criminal behaviour but
no one likes losing money so well done once
again to that unnamed virtuous guitar retailer
and all who work for them
SETTING THE RECORD STRAIGHT
I am a regular reader of Guitar & Bass, usually
between songs at We Will Rock You, where I have
been the bassist in the band since the musical
opened in 2002. Prior to that, I played with
Whitesnake, Gary Moore, Black Sabbath, Brian
May etc, but in the 70s when I wasnt touring or
recording you could often nd me hanging around
in Top Gear in Denmark Street. Reading Sid
Bishops column each month is therefore very
nostalgic, but it was quite a shock nonetheless to
nd myself in a photo in the June issue in Sids
column. I wasnt employed there, so its incorrect
to call me a co-worker of Sids, but youd be
forgiven for thinking I was since I was there so
often. Maybe Neil was written on the back of the
photo? Its denitely me on the right of that photo
with my back to the camera I enclose a promo
shot of myself in Colosseum II from 1975, wearing
the same jacket (probably the only one I owned
back then!). [L-R: Jon Hiseman, Gary Moore, NM,
Mike Starrs, Don Airey]
Sid and the other guys were always very
friendly and easy-going, whilst still being very
knowledgeable about the guitars that passed
through the shop. Guilty admission: if anyone
owns a mid-70s Gibson double-neck that they
bought from Top Gear, its me who caused a ding
in the body near the bridge sorry!
Neil Murray via email
G&B Sorry for the confusion, Neil. Were more
than happy to right the wrong and publish the
Colosseum photo. We also admire a man
willing to own up to a ding, however belatedly.
Best of luck with everything, and we hope you
continue to enjoy the magazine.
F IS FOR I FLIPPIN DID IT!
Ill apologise now: its late, Ive have a few cans of
lager, and I just have to tell someone. Ive just
spent the past half an hour playing F without it
sounding bad. Might not mean much to you, but
its taken me the best part of six months to get it
sounding right without hurting my ngers, wrist
and hand. And Im quite pleased with myself.
Thats about it, really
Derek Troutman via email
G&B Congratulations, Derek. You dont add all
the context, e.g. your age or how long youve
been learning to play. However, we all know
its a great moment in any guitar players life
when they finally crack anything resembling a
decent-sounding F chord. I bet plenty of
people would take an ad out in the The Times
announcing it, if they could. Enjoy the F-world
as much as is humanly possible. We wont ask
about how youre getting on with B
Write to Guitar & Bass, Anthem Publishing, Station House, Station Approach, o North Street, Carshalton, SM5 2HW or e-mail us: guitarandbass@anthem-publishing.com
Please note, we reserve the right to edit where we feel it is appropriate, or to print extracts from longer correspondences
EMAILS, LETTERS, PHOTOS Reverberations
NOVEMBER 2012 Guitar & Bass 9
A L E GE ND
I S R E B OR N
THE ROTOSOUND RFB1
1960s FUZZ REISSUE
twitter.com/rotosound_uk
facebook.com/rotosound
WWW.ROTOSOUND.COM
WORLD FAMOUS MUSIC STRINGS
PROUDLY MADE IN ENGLAND FIND OUT MORE
P
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:

K
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B
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I LOVE I T!
Its very Tonebender-ish. Reminds me
a lot of my MKII but with more hair
and beef to it. I have a ton of fuzz
pedals (both vintage and new), and
the Rotosound has instantly become
one of my go-to fuzzs for sure!
RICHARD FORTUS - GUNS N ROSES

rf_fuzz_third.indd 1 16/05/2013 12:02


Colosseum circa 1975
with Top Gear regular
Neil Murray in the centre
10 Guitar & Bass JULY 2013
Woke up
NEWS
this mornin...
This month, Backbeat
Books releases Eric
Clapton FAQ: All Thats
Left To Know About
Slowhand (15.99). As
the title suggests, David
Bowlins new paperback
assimilates facts about
Eric Clapton from the
obvious and well known
info right through to
the truly obscure. The
tome also sheds light on
the myths and hearsay
that surround the
elusive guitar god. And
theres plenty of eye
candy on oer, including dozens of rare images.
Available from early June, mosey on down to www.
halleonardbooks.com for further info.
SLOW HANDBOOK
Custom Curves
Fenders Custom Shop reveal debonair new limited edition
Stratocaster, Jazzmaster and Cabronita models for spring 2013
W
e can always count on Fenders
Custom Shop to deliver dashing new
six-strings to add to our wishlists,
and as spring blooms, the company
has chosen to put aesthetics to the fore with a
clutch of sophisticated new offerings.
First up are two sleek new Jazzmasters that
are more than likely to seduce style-lovers to part
with their pennies. The Limited Jazzmaster Pro
maintains the classic off-set charm of the original
model but throws some neat modern features into
the bargain, including a back-friendly ash body, a
single custom-voiced humbucker, Greasebucket
tone control circuit and two-point synchronised
tremolo bridge. Its sibling, the Limited Custom
Deluxe Jazzmaster is just as eye-catching thanks
to a select okoume body with gorgeous ame
maple top, Honey Blonde nish and gold anodised
aluminium pickguard with matching gold hardware.
Other features include vintage-style oating
tremolo and single-coil pickups.
Imagine That
When Fargen Amplication revealed the rst two of
its John Lennon-inspired amps they certainly didnt
go unnoticed. This month sees the introduction of
the last of these boutique oerings the Imagine
Series. Theres a limited run of 51 only and all boast
high-spec build-quality. These Ben Fargen-built
amps feature a Decade switch that allows players
to toggle between the dierent tones used by
Lennon, from early Beatles 50s rock tones through
to 60s and 70s sounds. Other features include a
proprietary WGS Alnico JL-15 speaker and custom
ba ing. The amp ($5,995) joins the Artist Series
and JL-15 signature amps in the line. And theres
also a whisper that John Lennon-inspired pedals
may well follow. More info: www.fargenamps.com
The Cabronita family has also been extended,
with two new models that ensure design is at the
forefront. The Limited La Cabronita Luchador
Stratocaster is a novel take on a classic with
Telecaster headstock, single-ply parchment
pickguard, Greasebucket tone control circuit and
a single TV Jones PowerTron pickup that does all
the leg work. The Limited La Cabronita Gato Gordo
Jaguar is a fresh new prospect too and shares near
identical features to the Strat model but with an
extended 25.5" scale length. The last of the new
additions is the vintage-styled Limited Relic 1955
Precision Bass with unique Black over Three-color
Sunburst nitro nish, custom-wound stacked 51
Precision Bass pickup (with chrome cover), single-
ply parchment pickguard, vintage-style bridge with
two barrel steel saddles and chrome cover.
All these dashing new spring additions
come with a limited edition case, certicate of
authenticity, cable, plectrums and a handy cloth to
buff up your new acquisition. See www.fender.com
Fun On Your Tod
The high-gain Carl Martin TOD overdrive is the
latest addition to its Classic Series. The pedal was
rst released as the Limited Edition Dizzy Drive to
celebrate Danish band Dizzy Mizz LIzzys reunion
tour and to mimic guitarist Tim Christensens
gigantic Boss
Turbo Overdrive/
Marshall stack
tone. Having sold
out rapidly, Carl
decided to make
it available for
all. It comes in
Classic Yellow with
die-cast case, four
controls and a
footswitch (www.
carlmartin.com).
JULY 2013 Guitar & Bass 11
Calendar SHOWS, GIGS, FESTIVALS, WORKSHOPS
IN ASSOCIATION WITH
Bonnie Raitt On UK Tour
9-27 JUNE
Bonnie Raitts killer LP Slipstream (her 19th!) has
already sold over a quarter of a million copies. So
its only right that Raitt is now set to tour the UK
this June, beginning in Southend and closing at
Londons Royal Albert Hall.
WHERE? Venues across the UK
TICKETS See venues
CONTACT www.ticketmaster.co.uk
Gordon Giltrap & Woody Mann
13 JUNE
Highly acclaimed veteran guitarist Gordon Giltrap
takes to the stage alongside the equal talents of
New Yorks Woody Mann for what promises to be a
masterclass in the six-string. Hurry if you want to
get a ticket, theyre selling fast.
WHERE? Landmark Arts Centre, Teddington
TICKETS 17/15
CONTACT www.landmarkartscentre.org
Fleetwood Mac Reunion Tour
20 SEPTEMBER-3 OCTOBER
Buckingham and Nicks rejoin once more for a new
iTunes exclusive EP, the bands rst release since
2003s Say You Will, and an arena tour of the UK
and Ireland. Unmissable!
WHERE? Dublin O2 Arena (20 Sep), London O2 Arena
(24/25th Sep), Birmingham LG Arena (29th Sep),
Manchester Arena (1st Oct), Glasgow Hydro (3 Oct)
TICKETS See venues
CONTACT www.ticketmaster.co.uk
Spin Doctors Rare UK Show
25 SEPTEMBER
The Spin Doctors recently returned to their blues
roots with highly acclaimed new album If The River
Was Whiskey, now they have announced a one-o
London show thats sure to sell out.
WHERE? The Garage, Islington, London
TICKETS 22
CONTACT www.eventim.co.uk
True pieces of gutar history rarely surface these days. So when we heard news that master luthier Tom
Doyle, longtime condant of Les Paul, was ready to reveal the black sealed top Gretsch 6120 prototype
owned by none other than Chet Atkins we were all eyes and ears. This gorgeous guitar, made famous
when Atkins played it on Dark Eyes, marked the beginning of the grand relationship between Atkins and
Gretsch as well as leading on to the classic 6120 model itself. Gretschs Senior Product Manager Joe
Carducci inspected the guitar, calling it the holy grail for Gretsch guitars, and plans are now afoot to
manufacture a reproduction model to be added to Gretschs Chet Atkins Professional Collection. Head
to www.guitarmagazine.co.uk for a video of Carducci at Tom Doyles Custom Shop not to mention Chet
Atkins showing off this historical guitar during his stunning performance of Dark Eyes.
CHET ATKINS GRETSCH 6120
NEWS IN BRIEF
Jeff Hanneman (1964-2013)
Thrash metal pioneer
and founding member of
Slayer Je Hanneman has
died of liver failure aged
49. In 2011, the guitarist
contracted esh-eating
disease necrotising
fasciitis from a spider
bite. Hanneman started
Slayer with frontman
Kerry King in the
1980s. Slayer quickly become
torchbearers for their genre, and were considered
one of metals big four alongside the likes of
Anthrax and Megadeth.
Rare Beatles Guitar Auction
After a brief showing at the Staord
London Hotel on 8th May, this rare and
rather beautiful 1966 Vox prototype
electric played by John Lennon and
George Harrison during the Magical
Mystery Tour went under the hammer at
Juliens Auction House in New York on 19th
May. The guitar was built by Mike Bennett
with electronics by Dick Denney of Vox
guitars and has a unique scroll design,
with Vox Custom logo on the headstock,
24-fret rosewood ngerboard with
rectangular inlays, mahogany hollow
body and single f-hole. The complex
controls include six push buttons, mid
boost selector control, rotary controls
for Repeat speed, fuzz sustain, and a
volume battery and selector switch.
Lennon eventually gave it
to Magic Alex Mardas
as a birthday present.
A plaque xed to the
back of the guitar reads
To Magic Alex/ Alexi
thank you/ for been
[sic] a friend/ 2-5-1967
John. The auction
house estimate was
$200,000 $300,000
but the instrument
nally sold for
$408,000 (269,000).
The Lost Chord
This voicing of Em9 could also be thought of as
Gmaj7/E a Gmaj7 chord on the top ve strings
played over an open E bass note. Once youre
comfortable with this shape, try moving it up
and down the fretboard played against the
static open bottom E: many interesting chords
are possible using this technique.

10th
Em9
o
1
3
Les Pauls luthier and friend Tom Doyle has revealed the black Gretsch 6120
prototype once owned by legendary guitarist Chet Atkins
1 1
4
Satch Signature
Fans of the Silver Surfer have been waiting with
picks in hand for this new Ibanez Joe Satriani JS24P
signature electric. And were pretty sure theyll
be beaming now its nally available. This shred-
friendly guitar joins Ibanezs high-spec Prestige
line with features including an American basswood
body, three-piece Maple/Bubinga JS Premium neck
with rosewood fretboard and hand-rolled fret
edges, low-prole Edge tremolo system, US-made
DiMarzio signature pickups (The Chopper/MoJoe)
as well as a handy hi-pass lter on the volume pot
and a coil tap on the tone control. Itll certainly do
the job sonically and looks pretty damn sexy, too,
nished in a suitably sleek Candy Apple Red. Seek
out all the relevant info at www.ibanez.com
Luthier
Tom Doyle
Joe Carducci
measures up
Various colourful new upgraded models have been added to Squiers A nity line: including Stratocaster,
Stratocaster HSS, Telecaster, Precision bass PJ and Jazz Bass models. The updated models receive a cosmetic
lift to bring them up to Fender standard with two-colour headstock logo, new pickguards and custom colours
including classic Lake Placid Blue, Surf Green and Olympic White (as well as rarer hues such as Shell Pink
and Burgundy Mist). The Precision bass model now has a PJ conguration for added tonal options and the
Stratocaster HSS model goes glam with a single-ply platinum sparkle scratch plate. All models have rosewood
ngerboards. For more info: wwwfender.com
4
THE MUSIC PLACE, WREXHAM
NORTH WALES
CONTACT 01978 265308
www.musicplacewrexham.com
There has been a music shop on this site now
for approximately 32 years, says owner Paul
Sturman, I have been trading here under the
Music Place banner for 5 years and have built
up a ne reputation for quality instruments,
percussion, PA, and a large selection of
accessories and eects. This area has always been
exciting for musicians, and theres a good live
movement here, especially with younger players.
Layout
With just one snug room straight in from the
street, The Music Place manages to oer a
wide choice of percussion, eects, recording
equipment, ampliers and acoustic, electric and
bass guitars.
Range of new gear
These include a cool selection of acoustic,
electric and bass guitars from the likes of Fender,
Warwick, Aria, BC Rich, Parker Ovation Yamaha,
Washburn, Cort, Crafter, Dean, Hamer, Ibanez,
Jackson, Ovation, Stagg, Takamine, Tanglewood,
Vintage, Yamaha, Warwick and Washburn.
Amplication brands include Marshall, Fender
Laney, Vox and Yamaha.
Secondhand gear
We buy-in and also oer part-exchange, says
Paul, So theres often a good clean second hand
bargain to be found here. At the moment this
includes a Fender Road Worn Strat and a Fender
FSR Strat.
Best bargain in the shop
A used, but untouched looking, Dean Vendetta 4,
complete with Floyd Rose vibrato, was a bargain
for a speed player at 399. A JCM 900 Marshall
combo at 300 was also a nice package.
Highlight
The Music Place is actively working with local
bands, whilst oering a reliable backup service,
repairs and set ups. The stas knowledge is
impressive as well.
Conclusion
A well-stocked and notably happy shop with
some ne deals and a conscious eye for supplying
schools and musicians with a good choice of
aordable, high quality equipment.
12 Guitar & Bass SEPTEMBER 2012
VITAL STATISTICS
Layout 18/ 20
Sta knowledge 19/ 20
Sta helpfulness 19 / 20
Range of new gear 17/ 20
Range of secondhand gear 15/ 20
Parking Side Streets
SECRET
SHOPPA
AFFINITY AND BEYOND
Limited PRS Quilt 24
Paul Reed Smith has beautied its ever-popular
SE Custom 24 model with the eye-seducing
addition of a dashing new quilted veneer to the
bevelled maple top. This striking new facade
will be added to a mere 200 pieces, making the
new version somewhat of a collectors delight.
There are six new nish choices on oer: Whale
Blue, Tobacco Sunburst, Purple Burst, Cherry
Sunburst, Grey Black and Emerald Green. The
other features of the guitar remain the same:
mahogany body, Wide Thin maple neck, 24-
fret rosewood fretboard with Birds inlays,
PRS tremolo and SE HFS Treble /Vintage Bass
humbuckers. RRP? A gulp-inducing 775. For a
closer look, pay a visit to www.prsguitars.com
Roxy Music
Dweezil Zappa rst leaked info about Gibsons rather delectable
new Frank Zappa Roxy SG a while back and it certainly
drew the crowds when it was displayed at NAMM in January.
Now Gibson has nally unleashed it on the world. This heavily
modied animal is a reproduction of the early 60s SG Special
Zappa played during his legendary shows at the Roxy Theatre in
Hollywood right down to the ner details. The guitar features a
pair of uncovered and enhanced 57 Classic humbuckers with two
added mini toggle switches that either split the coils or put them
out of phase to access Zappas signature tones. The SG also boasts
a chunky Maestro-style vibrola with Lyre tailpiece for those wig-
out moments. A tasteful natural neck with white headstock and
faded nitrocellulose Cherry nish give it a truly unique look, too.
For more info: www.gibson.com
Woke up
this mornin...
NEWS
12 Guitar & Bass JULY 2013
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IN ASSOCIATION WITH
Woke up
NEWS
this mornin...
Strum Face
Tales from the road
We all love the odd bout of air guitar but, as Adi Vines
discovered to his horror, its all about perspective
F
estival season is almost upon us
again and a certain type of guitarist
will no doubt be looking forward
to the Oulu Music Video Festival in
Finland, as this is the home of the Air Guitar
World Championships. Justin Nordic Thunder
Howard will surely be looking to defend his
2012 title against stiff competition from around
the world and everyone, both competitors and
audience, can all bask in the competitions
utopian philosophy that wars would end and
all the bad things would go away if everyone
just played air guitar.
Its a nice thought but
not entirely accurate as
I have nearly brought
shame upon myself
because of air guitar
and a situation with my
local postman.
I must say, rstly,
at 48 years of age, air
guitar is not something
I do very often anymore
but occasionally, when in a good mood and if
the music is right, I might pick up the invisible
axe for a bar or so. Perhaps when waiting for
the kettle to boil, for example.
Anyway, the postman had a package that I
had to sign for and had likely been hammering
at the door for a while. I couldnt hear this as
I was in the kitchen making pancakes while
listening to Metallica; the postman could
probably hear all this noise too, which is why
he knew for certain that I was in. The solo
during Creeping Death is one of my favourite
Kirk Hammett moments and I was with him
all the way. It was only when I triumphantly
stepped back from the imaginary monitor that
I have in my kitchen that I noticed a gure
waving at me from the front garden.
You see, if you take a couple of steps to the
left from my front door and stand in between
the rose bush and the ower bed (say if, for
example, you wanted to see if there were any
lights on or anyone actually home) you then
get a great line of sight through the window,
across the living room and into the part of the
kitchen bordered on three sides by the oven,
sink and worktops. Or the stage thrust as I
like to call it.
After I had noticed the presence of a person
in my garden and hit standby (aka pressed
pause) then signed for my package without
meeting the postmans eye and retreated back
in doors, it occurred to
me, to my horror, that I
would have been almost-
but-not-quite side on to
him for the whole solo
and therefore he would
have not been able to see
my fretting hand at all
and would have only been
able to see the elbow and
arm of my picking hand-
which was waggling away
frantically at round about groin level as I tried
to match Hammett note for note.
It may be more an indicator of my dirty
mind, and certainly doesnt reect anything
that I know about my postman, but I was
certain that these actions could have been
misconstrued. This was worrying because I
live in a small town and you know what they
are like. People talk. I may have to put a notice
on the church message board explaining the
circumstances and assuring the good people
that Im not a depraved onanist. Although,
come to think of it, listening to that horrible
satanic heavy metal music is probably a bigger
crime round these parts anyway...
Adi Vines has worked with Radiohead, the
Sex Pistols, the Darkness, Razorlight and
others. See www.xselectronics.co.uk
I was in the kitchen
playing air guitar
to Metallicas
Creeping Death
when I noticed the
postman waving
FLOWER POWER
Its 1969 and Tampa Bay hippy garage outt Mercy
were top of the hit parade with the somewhat
obvious statement that Love Can Make You Happy.
Still, they were doing something right and sold
over one million copies of this blissful lament.
Kustom obviously wanted to get in on the love-fest
and here they go all out to peddle its wares to the
bell-bottomed ower power generation and we
believe this campaign met with some considerable
success. Sadly, Kustom boss Charles Ross had a
serious gambling problem and managed to lose
the entire company in a game of poker a few years
later. Lucky for him, he had a sideline in police
sirens and handheld radars that kept him o the
breadline as you do. Kustom now concentrates
on its ampliers, with endorsees including metal
band Trivium, Scotty Anderson, not forgetting
Beach Boy legend Brian Wilson.
WEVE BEEN AD...
Black Arts
Martin has announced three new
additions to its Performing Arts
series, all dressed in black, thanks
to the suave Jett Black HPL Textured
nish, fretboards and bridges in black
Richlite and black Stratbond Performing
Artist neck proles. The OMCPA5
(OM-14 fret cutaway), GPCPA5 (GPC-
14 fret cutaway) and DCPA5 (D-14
fret cutaway) are upgraded from the
Black X series and feature Martin
X bracing with solid Sitka
spruce 5/16" top bracing,
two-ring rosettes,
Performing Artist belly-
style bridge, solid square
taper headstocks, black
Corian nuts and chrome
tuners. All the models
come equipped
with Fishman F1
Analog electronics.
Johnny Cash would
have been proud.
Find more at www.
martinguitar.com
14 Guitar & Bass JULY 2013
PRS Guitars Europe
+44 1223 874301
info@prsguitarseurope.com
www.prsguitarseurope.com
Twitter @prsguitarseuro
Facebook prsguitarseurope
Lose Yourself.
The clearing up afer the night before. The emails. The gardening. It can all wait.
Life, in fact, can wait.
You know how a great acoustic guitar can take you away from it all. Find
out more about the SE Angelus and how you could win time in a professional
recording studio at www.prsguitarseurope.com.
angelus_A4.indd 1 21/05/2013 16:16
16 Guitar & Bass JULY 2013
Woke up
this mornin...
NEWS
Album reviews
Marcus Bonfanti
SHAKE THE WALLS
Cadiz
British Blues Award-winning songwriter Marcus
Bonfanti returns with a beefed-up manifesto
packed with rich and soulful pickings. Sly opener
Alley Cat sets it up via a hooky blues-rock ode to a
seductress, Stone Me Sober gets deep and dirty
with a spacious and
infectious gait. And the
chordal perfection that
powers My Baby Dont
Dance doffs a cap in
the direction of Keef.
All this, and Bonfantis
passionate vocals too.
Walter Trout
LUTHERS BLUES - A TRIBUTE TO LUTHER ALLISON
Provogue
One all-time great blues artist pays tribute to
another here as Trout takes on the charged Chicago
blues of the late Luther Allison. Cherry Red WIne
shoots from the hip: dishing up a new-found vocal
depth alongside the spontaneous quickre fretting
Trouts revered for. Its
a real Strat rework
display thats straight
from the gut of a master
of both form and
function. Fingers
crossed Trouts rst
covers LP isnt his last.
Beth Hart & Joe Bonamassa
SEESAW
Provogue
From the shrill brass stabs of big band
extravaganza Them There Eyes, its clear Joe, Beth
and producer Kevin Shirley are set to serve up
another aural adventure. This time, 11 classic
covers are the trios focus. Hart matches the sultry
tones of icons such as
Etta James, Billie
Holliday and Tina
Turner with little
trouble and Joe,
naturally, holds up his
end of the bargain on
the fretboard.
Skid Row
UNITED WORLD REBELLION: CHAPTER ONE
Mri Associated
After seven years away, the Skid Row crew
squeeze back into their leather kecks for the rst
of a trio of mini albums. Five new tracks further
their agenda with a loud chordal assault,
punctuated with boilerplate solo action. Respite
comes with acoustic
strum This Is Killing
Me whilst Get Up
mixes things up with
an alt(ish) rock groove
before Stitches brings
back the classic SR
sound with volume.
Status Quo
BULA QUO!
Fourth Chord
Preceding the lm of the same name, this double
album subverts the textbook Quo were used to
with a tropical twist here and there. Rossis voice is
in ne form as he joins the boogie woogie on
opener Looking Out For Caroline, single Bula Bula
Quo has our heroes
shufing to a jaunty
beat and Mystery Island
is a beachbound croon.
Disc two consists of
reworked and live takes
on the classics that Quo
lovers will welcome.
Ray Russell
NOW, MORE THAN EVER
Abstract Logix
Lightning jazz improv nestles up to the
machinations of rock on Russells strident new
endeavour. Whether immersed deep in
atmospherics or put frontncentre, Russells lick
library stands proud thanks to an inventive spirit,
matchless fret craft.
An awesome album
guestlist includes ace
sticksman Gary
Husband and bassists
Jimmy Johnson, Mo
Foster and Anthony
Jackson. Out-there!
SNAP JUDGEMENTS
The Jokers
ROCK N ROLL IS ALIVE
Cargo
This second serving
from the hard-touring
foursome is full of
sure-footed grit;
complete with crystal
clear ri ng and tight,
anthemic tendencies.
Hollis Brown
RIDE ON THE TRAIN
Alive Naturalsound
Mike Montali leads his
crew through dusky,
vibesome beginnings
with a soul-quenched
tilt. Natural, organic
blues-rock Americana
thats easy to love.
JJ Grey & Mofros
THIS RIVER
Alligator/Proper
This River stirs up deep
Southern soul, rock,
funk and rocknroll and
presents it with a
loose-and-live feel that
makes for irresistable
and relaxed listening.
Anvil
HOPE IN HELL
Steamhammer
After the 2008
rockumentary endeared
them to everyone,
Juggernaut Of Justice
re-animated their metal
magic once more. This
new LP ups the ante.
Derrin
Nauendorf
DISTANT EMPIRES
Rising Records
Five years in the
making, this new LP
captures Nauendorfs
rock-steady acoustic
strum perfectly with a
smoky blues ambience.
Mike Zito
& the Wheel
GONE TO TEXAS
Ruf
Easy-going Texan road
tunes taking in blues,
slide-fuelled country,
rock and sax-infused
lazy-day ballads.
Lone star magic.
Harry Manx
OM SUITE OHM
Dog My Cat
Manxs unique couping of east and west takes a
further leap forward here, thanks to his
exploratory way with a slide: his electric wails,
shivers, oats and generally eshes out the
central ethnic folk-blues strain. A novel take on A
Love Supreme
simmers to a hypnotic
refrain, Saya is a
smoked-out hippy
afternoon and the
hammond-backed
Carry My Tears is both
poetic and eloquent.
Bill Kirchen
SEEDS AND STEMS
Proper
Kirchen delivers another joyful dose of twang, this
time assimilating live favourites from nearly half a
century on the circuit. Together, these cuts embody
the man, his humour and his ample skills with a
Tele. Bill offers up jaunty rocknroll (Too Much
Fun), shufing ballad
(Down To Seeds And
Stems Again) and his
calling card hit Hot Rod
Lincoln (complete with
rocknroll history
montage), to keep our
spirits riding high.
Sparrow & the Workshop
MURDEROPOLIS
Toad
Sparrow & the Workshop have once again carved
out an album of lmic splendour thats both
ascerbic and wonderfully original. This alt-folk
trio mould elegant creations with cut-to-the-bone
lyrics and life-giving dynamics. Jill OSullivans
haunting voice weaves
its dark yet melodic
demeanor throughout,
and her comrades
help bash out a stormy
and infectious musical
storybook cover to
cover. Recommended.
JULY 2013 Guitar & Bass 19
COVER STORY
GIBSONS ES SERIES
Gibsons Electric Spanish range eventually led to one of
historys greatest guitars ever: the ES-335. Michael Stephens
discovers how Gibsons ES-335 melded the best of archtop
classicism with the new world of high-volume electric mayhem,
and how a modern classic came to be
ARMADA
Spanish
A
sk any guitarist to name the
most classic Gibson, and theyll
probably say the Les Paul.
Acoustic players will likely laud
the Jumbo series (be it a J-45
or J-200). In terms of longevity, however,
Gibsons ES range takes some beating. The
ES range encompasses so many different
models and styles, they dont always seem
like a family but they are.
ES, as youll know, denotes Electric
Spanish. Its now a somewhat archaic
name, but Gibson in the 1930s needed to
differentiate designs from their EH (Electric
Hawaiian) line of lap steel guitars, which
were still highly popular. Gibson werent
even the rst with the Electric Spanish name:
that was Rickenbacker, whose 1935 models
included the Model B Electric Spanish. But
ES would soon become associated with
Gibson. For nearly 80 years, Gibsons ES
range has been in constant production and
has inspired everything from the rst guitar
solos to blues legends to indie heroes. The
ultimate ES probably remains Gibsons ES-
335, a contender surely for the worlds
greatest-ever guitar. Heres the story of
Gibsons ES magic

20 Guitar & Bass JULY 2013


Variations on a theme: a rare
335 Stereo prototype and
ES-345s from 65, 67 and 1970
1936
Gibsons rst Electric
Spanish, the ES-150, is
launched and made famous
by Charlie Christian.
Production halted during
WWII and permanently
ceased in 1956
1949
The single-cutaway ES-175
introduced (two pickup models
follow in 1952) and is still made
to this day. Its gold-nish
version, the ES-295, is made
famous by Scotty Moore. Three-
pickup ES-5 also introduced
1956
Thinline Gibson ES-125T
debuts. Its still fully hollow
but proves versatile; George
Thorogood was known for
his playing on a 125TDC (TDC
stands for Thinline, Dual
Pickup, Cutaway)
1958
New double-cut design the
ES-335 (and ES-355 soft-
launched). Has wonder-
thin body and adds maple
centre block. Its the rst
signicant blend of jazz and
rocknroll guitars
AN
ELECTRO
SPANISH
TIMELINE
77 years of tone
The ES-150 changed all that. Gibson still
built for Montgomery Ward and Spiegel, but
their own-brand ES-150 was a cut above: it
had a solid spruce top, maple back and sides,
and an adjustable trussrod. In 36-37, Gibson
shipped 40 ES-150s a month heady stuff for
what some then thought of as a gimmick. An
electric guitar? Whoulda thunk it?
Count Basies guitarist Eddie Durham
recorded one of the earliest amplied guitar
solos, but it was when his friend and follower
Charlie Christian picked up an ES-150 that
showcase guitar soloing was truly born.
Durham later remarked, I never saw anyone
G
ibsons ES series began with
the ES-150 of 1936, generally
recognised as the worlds rst
successful electric guitar. The
ES-150s name like many
Gibson models that preceded and followed
simply denotes price:
in 1936, $150 bought you
the guitar, an amplier
and a cable. Gibson had
previously tted pickups
on acoustic guitars in 1935,
but the ES-150 was the
rst specically-designed
electric guitar to make a real impact.
Perhaps surprisingly, it was two retail
companies Montgomery Ward and Spiegel
May Stern who pushed Gibson to design
and build the ES-150. Early pickup-loaded
L-00 and L-1 models were selling so well that
the stores suggested Gibson should offer a
new proper electric model. Outside of the
blues, jazz bands were still where youd
mostly hear guitar, but mostly as comping
chording and as a backup instrument.
learn so fast, nor have I seen anyone rise to
the top so quickly.
By 1939, the prodigious Christian was
working with Benny Goodmans bands his
work, with an ES-150, on
Air Mail Special,
Honeysuckle Rose and in
particular the epic Solo
Flight ushered in the era
of the guitar solo. Before
long, stores were
advertising the ES-150
with the tag as featured by Charlie Christian.
Yet the ES-150 was still essentially a jazz
box. It had the outline and deep body of many
existing Gibson archtop acoustics, and no
cutaway. Still, at the time, it was something of
a revolution. Variations followed: the
similar-looking ES-125 was a student model,
but had a new pickup tted which we now call
the P90. The ES-250 (1938-40) was higher
specd, but didnt last long; the USA was still
recovering from the Great Depression, and
The ES-150 was essentially a jazz box with
the deep body of existing archtop acoustics,
but at the time it was a revolution
Below, the 54 Gibson catalogue shows an
ES-5 and an ES-350; bottom, a 63 Gibson yer
with the stop-tail ES-335, an ES-330TD and
the budget ES-125TC
JULY 2013 Guitar & Bass 21
$250 was the 2013 equivalent of $4000. The
ES-300 (produced from 40-52 in limited
numbers) was another variation, but odd;
early models had a heavily slanted pickup
which is interesting to guitar experts, yet
the same experts almost uniformly agree
that most ES-300 guitars sound poor.
Nevertheless, these early ES models
were fnely-built. Nashville guitar expert
and dealer George Gruhn tells Guitar &
Bass, The original Charlie Christian model
ES-150 guitar, built from 1936 through 39,
is a very fne instrument. The pre-war
ES-250 is also highly sought after,
and very rare. But the post-World
War II non-cutaway electrics, such
as the ES-125, while they play well
and sound good, tend to bring
relatively low prices. Most
players want a cutaway.
Indeed, WWII had a bigger
impact on guitar makers than
you may think. Timber was
highly valued and the best wood
was used by the US government
to build for the war effort. Gibson mainly
concentrated on their acoustics with the
limited supplies they had. It would be
peace time before Gibson really moved its
ES range forward.
Post-war revolution
The ES-175 debuted in 1949, and remains a
highly signifcant model in Gibson history.
Alongside the pricier ES-350, it was also the
frst Gibson electric to feature a Florentine
(sharp) cutaway. The same years ES-5 had a
round cutaway, and some had three
pickups: build-wise, though, it was
essentially a variation of the
carved-topped L-5 acoustic.
Although the ES-175s frst
incarnation had only a single P90
in the neck position, later models
(the ES-175D, from 53) came
with two pickups. The ES-175
employed a laminated top to
keep the price down so even
though it was still jazz sized,
the 175 was clearly pointing the
way to more affordable yet grandly specd
archtop electrics.
Fenders Broadcaster (later called the
Esquire and the Telecaster) also debuted in
49, and it remains fascinating how the two
guitar makers ethos contrasted. Fenders
model was genius design, for sure, but
arguably utilitarian and an easy build of slab
wood and wire. The ES-175 exuded Gibsons
archtop heritage craft and it looked stunning.
The ES-175 also eventually spawned a
variation in a fashy all-gold livery, the ES-295.
This one boasted a multi-bound maple top, a
white pickguard with etched fowers, pearl
parallelogram neck inlays and more. And one
happened to be in the hands, from 1953-55, of
a guitar player backing the hottest new artist
in rocknroll, Elvis Presley. Interesting fact?
Elviss Scotty Moore traded in his only-just-
bought Fender Telecaster for his famed
ES-295: It might have something to do with it
being a feminine shape, but I couldnt get on
with the Fender, Moore once recalled. So I
got a Gibson, a gold ES-295, and that was
the one I used on the frst things we cut.
1980
BB King Lucille launched
essentially an ES-355 but
with no f-holes and a TP-6
tailpiece. Two volume, two
tone knobs, a three-way
selector, Vari-tone, and both
stereo and mono jack outputs
2013
The ES-330 returns. The ES-330TD is
classic-correct with two P90 pickups and
a retro trapeze tailpiece. There is also
the ES-390 another hollowbody, but
with mini humbuckers. The ES-390 is
essentially a new guitar, but shows the
335 shape and template is adaptable
1959
Interim model the ES-345 also
launches with (like 1958s ES-355)
a Vari-tone control. A cherry red
fnish, probably the best-loved,
becomes available on 335s.
Fully-hollow Gibson ES-330 also
becomes available
cover story
GiBsons es series
Although slightly devalued by its Bigsby,
this famed blonde 335 (above) is from the
best year and has the most collectable
fnish of all. Below is a cherry red ES-355
from 1960 with the typical block
fngerboard markers, split-diamond
headstock inlay, gold hardware, extra
binding and a Vari-tone control
1964
Trini Lopez Standard arrives, a modded
ES-335 with old-school trapeze
tailpiece, diamond-slash f-holes and
inlays and a hockey-stick six-a-side
headstock. Discontinued in 1971.
Visually, it will be revised in the 2000s
as the Dave Grohl DG-335
The start of it
all: an ES-150
from 1937
COVER STORY
GIBSONS ES SERIES
22 Guitar & Bass JULY 2013
Is There An ES sound?
Gibsons ES models offer a woodier sound
than a straight solidbody, but theres pretty
much nothing they cant do. If you play in a
hardcore metal band, you can leave an ES in
the store but otherwise theyve been made
famous across a melange of great guitar music.
The rst Electric Spanish, the ES-150, is best
heard played by Charlie Christian. The Genius
Of The Electric Guitar (4CDs)
is a superb primer for early
guitar solos. Elvis Presleys
Sun Sessions showcases
Scotty Moores work on
various ESs, notably the
ES-295. As for other
deep-bodied ESs in a later, different context,
Yess Steve Howe recorded much on an ES-175:
take your pick from early-70s Yes albums. Hes
still playing it now: I consider it essential
because its got a big, fat sound and the chords
just sound wonderful.
For blues, head to BB
Kings post-1961 releases.
Live At The Regal has BB on a
355 and is a blues classic,
full stop. Freddie King: The
Ultimate Collection has some
of him playing a Les Paul,
but its mostly ES-345s.
For blues rock, head to Creams Farewell
Concert on DVD where youll see Eric Claptons
335 playing up-close. Ten Years Afters Alvin
Lee used his modded 335 throughout his
career: for its cover alone, try Saguitar.
The Beatles used Epiphone Casinos
rebranded ES-330s. They are all over The White
Album, particularly by
Lennon. U2s Edge favoured
Casinos and Sheratons in the
mid-2000s. U2 hits All
Because Of You, Miracle Drug
and Breathe are played on
these 330/335-alikes.
In the 80s, Johnny Marr
used a red ES-355 extensively: his 63 Epiphone
Casino is the main tremolo sound on How Soon
Is Now. Johnny later gave Bernard Butler his
sunburst 66 ES-335 12-string used to record
the Smiths Stop Me If You Think Youve Heard
This One Before. Butler rst used his red ES-355
for most of Suedes Dog Man Star album listen
to We Are The Pigs for great Bigsby wobbles.
Oasiss debut was mostly recorded on
overdriven 70s Epiphone
Casinos made in Japan: they
couldnt afford proper
Gibsons at the time. For the
last decade, Gallaghers main
guitars have been a 60s
cherry red ES-335 and a 355.
And, of course NGs
Supernova signature of the 90s was a modded
Epiphone Sheraton (akin to a 335) in
Manchester City blue. Dave Grohls DG-335 is a
hot-rodded version of the ES-335 variant, the
Trini Lopez, in custom colour Pelham Blue.
From BB to EC, Elvis to Alvin, Gallagher to
Grohl it seems the 335 design can sound like
anything any player wants.
The ES-175 can feed back and its bulky to
some, but it boasts the longest unbroken
production run of any electric guitar model
Alongside Elvis, Moore moved on to
other Gibson models soon enough
(notably the Super 400) but just the
image of Moore with an ES-295 seared
eyeballs: Brian Setzer of the Stray Cats
has referred to the ES-295 as the ultimate
rockabilly guitar.
The lowlier ES-175 has its own set of
fans, across all genres. In 1964, a
17-year-old guitarist named Steve Howe
walked into the Selmer music
store in London and bought a
Gibson ES-175. A hollowbody ES
was an unusual choice for a
future prog shredder, but Howe
has remained faithful to the
guitar that has supercharged
his career. The 175 is a
brilliant guitar, Howe says.
The parallelogram inlays
are beautiful, the whole
guitar is beautiful. Back in
the 1990s, even legendary
guitar-collector Howe was having
a clear-out. Ive bought a lot of guitars I
didnt need, Howe told G&B. Im selling
45 at the moment. But Ive kept my 63
ES-175, which was the rst Gibson I bought.
I played it continuously for 15 years.
The ES-175 remains a classic. Yes, it was
later eclipsed by other ES designs by Gibson,
but it remains hugely popular. Continuously,
from 1949 to 2013, the ES-175 has remained
in Gibsons extensive guitar range. It can
feed back, its bulky to some, but the
Gibson ES-175 boasts the longest
unbroken production run of any
electric guitar model.
Boom! The 335 era
By the mid-1950s, Gibsons ES
range was well-established and
selling well. Gibson had noted
Fenders success with the
Telecaster and had produced
its own solidbody, the now
legendary Les Paul Model (the
outline of the Les Paul was simply a
Trini Lopez with his Barney
Kessel Regular, an unusual
double-cutaway deep-bodied
member of the ES family

P
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o

b
y

G
A
B

A
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c
h
i
v
e
/
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e
d
f
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s
/
G
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t
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y
The ES-175s
ashy sister,
the ES-295
COVER STORY
GIBSONS ES SERIES

downsized copy of the ES-175). Yet early Les


Pauls of 52 werent initially massively popular
it seemed Gibson also needed to blend its
archtop heritage with the new demand for
more rocknroll guitars.
Gibson had already built slimline designs
the ES-350T and the ES-225T with a
shallower body, but these were still essentially
hollowbody jazz guitars. Gibson design
legend Ted McCarty recalled of the now
legendary ES-335: I came up with the idea of
putting a solid block of maple in an acoustic
model. It would get some of the same tone as
a regular solidbody, plus the instruments
hollow wings would vibrate and wed get a
combination of an electric solidbody and a
hollowbody guitar.
The ES-335 of 1958 was a breakthrough.
With its double Venetian cutaways it looked
less like a jazzers guitar but it clearly wasnt
a simple Fender, either. Heres a debate:
maybe Les Paul inuenced the ES-335 more
than he did the Gibson Les Paul? Les Paul
built his electric guitar prototype, the Log,
after-hours in the Epiphone guitar factory in
1940. It was a 4"x4" chunk of pine with
strings and a pickup. He sawed a conventional
hollow-body guitar in half and attached each
curved side to his Log to make it more
acceptable to a traditionalists eye. At the time,
Gibson rejected Les Pauls vision. But the idea
of a semi-acoustic solid block middle, with
f-holed side chambers maybe eventually
morphed into the ES-335?
The ES-335 (and 345 and 355) is now a bona
de guitar design classic. Its slim body made it
easier to play for most guitarists, and it also
happened to look stunning. BB King says, I
knew I liked the 335 from the rst time I played
one. The rst one I had was a brown sunburst,
and the main thing about that guitar was that
the neck was so thin and the body was so
shallow, so it was comfortable to play even
back then when I was somewhat slimmer than
I am now!
The 335 also benetted from Gibsons
mid-50s design innovations: Seth Lovers
ground-breaking humbucking pickups and
McCartys ABR-1 Tune-o-matic bridge. These
were key in giving the 335 its unique blend of
archtop classicism and cutting electric tones.
Early after launch, Gibson nicknamed it as
having a wonder-thin body. The eventual
17-degree headstock angle increased string
tension, too, giving a rmer feel and more
attack to notes. At about 7.5lbs, it was easy on
the shoulders. As a design, the Gibson ES-335
is arguably awless.
Also released in 1958 was a high-end
version, the ES-355, which came factory-
equipped with multiple binding, gold-plated
hardware, an ebony (not rosewood)
ngerboard, Vari-tone control, and an
optional Bigsby vibrato (for $355 as opposed
to $335). Only 10 were shipped in 58. The
Vari-tone is loved by some, dismissed by
others: it added various combinations of
This 60 ES-330 lacks the 335s
centre block; the neck meets
the body at a dierent point,
and the pickups are P90s.
Below is a 69 ES-335 with small
block markers and the Gibson
pickup covers of the period
This reissues specs
would be right for a
short period in 1960,
with a long pickguard
and mirror-top knobs
JULY 2013 Guitar & Bass 23
24 Guitar & Bass JULY 2013
ES-335s from 1959 are the most sought-after,
but any made prior to 1965 with the stop tail
and wider nut are collectible George Gruhn
Eric Clapton with his red 1964
ES-335 during the Blind Faith era

COVER STORY
GIBSONS ES SERIES
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coils and capacitors to the pickup circuitry of
the guitar to add more tonal options to the
sound, one with a distinct honk.
In 1959 the ES-355 was upgraded to stereo
wiring, and at the same time Gibson debuted
the stereo ES-345. This was an intermediate
model between the ES-335, and it also came
with the Vari-tone. IBB King calls the
Vari-tone the magic switch. ES-355 fan
Bernard Butler says positions 2 and 3 on a
Vari-tone are more Fender Strat or Jaguar-
like. Also in 59, there was also a fully-hollow
version, the ES-330 (later echoed by the
Gibson-built Epiphone Casino).
Early models, as seemingly with all guitars,
can differ. George Gruhn says, The ES-335,
ES-345, and ES-355 remain very sought after
by collectors as well as musicians. The
fully-hollow ES-330 is less sought after, but its
still a ne instrument.
To me, the true golden age most
sought-after of these guitars were those made
in 1959, with the jumbo-size frets and a good
neck set angle. Those from 1958 are still very
valuable, but have a shallow neck set angle
and dont play quite as well as the 59 model.
Those made from 1960 onward have a
somewhat slimmer contour neck and dont
bring as much money as the 59 model.
But any made prior to mid-65 with the 1
11/16" nut and a stop tailpiece are still
sought-after collectibles. One might consider
the golden age to be subdivided into the best
being from 1958-1961, when the ES-335 had
dot inlays and all the humbuckers had PAF
stickers but all are still quite collectible and
very ne instruments through mid-1965.
Variations on a theme
The ES-335 soon became the basis of other
models. An early 335-style signature was the
Trini Lopez, built from 1964. Lopez was a big
star back then, and had been playing a Gibson
Barney Kessel a double Florentine cutaway
akin to the ES-175. When approached by
Gibson, Lopez suggested diamond fret-
markers, diamond f-holes, the Firebird-style
hockey stick headstock and more. The Trini
Lopez is an ES-335 in all but name, and has its
own fans: Noel Gallagher has a mint 60s
tobacco-nish one. Gibsons DG-335 of the
2000s, a Dave Grohl signature, is essentially
a Trini Lopez revamped with hotter pickups.
Its now Grohls main guitar and they all
lead back to the original ES-335 design. Many
younger players like my guitar, says Lopez,
now 75. Maroon 5s guitarist plays my guitar,
the Edge plays my guitar, Paul McCartneys
guitarist plays my guitar, Dave Grohl, Lindsey
Buckingham of Fleetwood Mac played my
guitar, Stings guitar player plays my guitar.
The Edge auctioned his Trini Lopez for
$280,000. Its amazing.
The ES-335 design has certainly proved an
inspiration to many, and it remains massively
versatile. Jazz/fusion player Larry Carlton
who has added his guitar skills to artists
diverse as Steely Dan, Joni Mitchell, the
Crusaders and Michael Jackson is known as
Mr 335 and his own record label is 335
Hughes & Kettner ad 2013_Layout 1 15/05/2013 16:04 Page 1
JULY 2013 Guitar & Bass 27
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GIBSONS ES SERIES

Noel Gallagher with a


stage favourite, his
late-60s Gibson ES-345

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Records. I didnt own a 335 until 1969,
Carlton says. I had been playing a Les Paul or
an ES-175. As I got busier in the studio scene,
I really wanted to start carrying one guitar as
opposed to carrying three or four. And the 335
was the most versatile, and I was a very
versatile player. I could depend on that guitar
for the majority of sessions I was doing. Its a
great blues guitar, a great jazz guitar also, and
I played all of that. And its a great rocknroll
guitar if you crank it.
The 335 as indie icon
Looking back over more than ve decades,
335s to 355s can be found across all genres.
Blues legend Freddie King cut his classic
Hideaway on his ES-345. Eric Clapton played a
335 in Cream (see Famous Thinlines on page
28). The thinline is still a staple of many jazz
players, but the glorious design reaches
way beyond archtop excellence. Its
surely not what Gibson intended, but the
ES-335 has also become something of an
indie guitar icon. In the 1980s, the
Smiths Johnny Marr often played a
vintage cherry red ES-355, and that same
guitar caused some future stars to
embrace the design. Noel Gallagher claims
that after seeing the Smiths on Top Of The
Pops, he went out and bought a red 335 the
very next day. Thats what I want to look like!
My 1960s Gibson 355 thats the basis for
everything, Gallagher said in 2011. Ive got
so many guitars, and people just throw things
at me. But the guitars I bring on tour are
either 355s or 345s. Those are what I play.
Bernard Butler was another swayed by
Johnny Marrs use of a 355. Inuenced by his
teen hero, Butler bought his 64 Bigsby-tted
355 in New York on Suedes rst US tour.
Tellingly, the name of Butlers own studio
these days is Studio 355. Bigsby vibrato-
loaded 355s arent widely coveted, however.
George Gruhn says, All of the hollow and
semi-hollow models bring more money in a
non-tremolo [sic] version. Those with the
tremolo simply dont stay in tune as well.
Today, the ES-335-style endures as an indie
icon. The Cribs Ryan Jarman plays a Gibson
Memphis ES-335 Dot, while Vampire
Weekends Ezra Koenig favours the closely-
related Epiphone Sheraton II.
The 335 inuence
From 1936s ES-150 to the ES-335 is a big
journey, but it hasnt stopped. The 335 shape
is now part of guitar culture. Epiphone,
Gibsons sister brand, has its own variations.
The fully-hollow Casino (much like an
ES-330) was a favourite of the Beatles. John
Lennon played one regularly: when Paul
McCartney played Beatles guitar solos (Ticket
My 1960s 355 is the basis for everything. Ive
got so many guitars but the ones I bring on
tour are 355s or 345s Noel Gallagher
The Gibson ES-339:
all the tone with a
little less size
COVER STORY
GIBSONS ES SERIES
28 Guitar & Bass JULY 2013
There are no other
tools in my life so long-
serving Eric Clapton
Lost in space: Syd Barrett
with his Esquire on stage
with Pink Floyd
FAMOUS THINLINES THREE OF THE BEST
These three titans of blues and rock have all
made their 335s icons of the ES range
BB KINGS LUCILLE
BBs rst Lucille was actually a Gibson L-30. He
rescued it from a nightclub re in Twist,
Arkansas, and named it after a woman in the
club that other men were ghting over. As Kings
career ourished, he bought an ES-5, then one of
Gibsons ashiest and sonically most versatile
models with three P90 pickups. In 1951, King had
his major hit with a cover of Lowell Fulsons
Three OClock Blues and by this time he was
playing a Gibson ES-125. He then adopted a
Gibson Byrdland and an ES-175
before moving on again to ES-335s,
345s and 355s, the ultimate
Lucilles everyone now associates
with him. You can hear the honk
of the ES-355s Vari-tone switchs
capabilities on Kings 1969 classic
The Thrill Is Gone.
In 1980, Gibson and BB King rst
collaborated to create his own
exclusive Gibson Custom Lucille
model. As well as personalised pearl
inlays, BB requested that Gibson
remove the f-holes, to reduce
feedback; in earlier years
King would often stu his
regular ES-355s f-holes
with cloth to inhibit trouble
at high volume. The
Epiphone Lucille oers a
more aordable
option. Featuring a
laminated maple body
with glued-in maple
neck, it boasts a bound
rosewood ngerboard and multi-bound body and
headstock. With stereo and mono outputs plus
the six-way Vari-tone switch, its classic BB King,
but on a budget.
ERIC CLAPTONS CREAM ES-335
Clapton bought his cherry red Gibson dot neck
ES-335 in 1964 and used it throughout his career
until it was sold by him at auction in 2004. It
became known as the Cream guitar as during
his tenure with the band, a roadie stencilled the
word CREAM in large letters on its ightcase.
It was the second electric guitar I ever
bought, Clapton remembered. The Kay got me
into the Yardbirds, and then when we started
making money I found I had nothing else to
spend it on but guitars a cherry red Gibson
ES-335, which was the instrument of my dreams.
The Kay had been just a poor imitation.
I just was very focused on a guitar and would
play that exclusively for a year, two years and
then for some reason Id go somewhere else. The
only one I held on to was the ES-335; it was the
oldest guitar in my collection. Well, not the
oldest but the one I had the longest.
I think the cherry Gibson ES-335 was really
acceptable on every front. It was a rock guitar, a
blues guitar the real thing.
While with the Yardbirds, Claptons
bandmate Chris Dreja was more often seen
playing it: EC used it more frequently from
late 1968 and used it often during Creams
farewell tour of America. It also featured
prominently in Creams farewell concerts
at Londons Royal Albert Hall in
November 1968. Clapton used the
guitar when Cream recorded Badge and
other tracks on the bands Goodbye
album and during the lming of the
Rolling Stones Rock And Roll Circus in
December 1968, and also extensively while in
Blind Faith (1969). Clapton auctioned it in 2004
to raise funds for his addiction rehabilitation
facility, Crossroads Centre at Antigua. Its
$847,500 price paid by the US retailer Guitar
Center is the highest recorded for any ES-335.
ALVIN LEES BIG RED
The guitar most-associated with the late great
Alvin Lee was his modied cherry red 1959
Gibson ES-335. He had a single-coil pickup
installed for extra tonal options and it became
his trademark, particularly for its heavily
stickered body, after Ten Years Afters
barnstorming performance at Woodstock in
1969. Gibson have honoured Lees 335 legacy
with a signature replica.
To Ride, Drive My Car, Taxman) it was on a
Casino. The Edge of U2 likes a Casino, and
also its more 335-alike (solid-centre) Sheraton.
John Lee Hooker was a Sheraton player for
much of his later career. Epiphones Casinos
and Sheratons are all essentially 335-style
designs, but with subtle variations.
Gary Clark Jr, the most-lauded young blues
singer of 2013, prefers to play a genuine
ES-335 or his own custom nish Epi Casinos.
The Gibson ES-125 changed my world as far
as introducing me to the hollowbody sound,
says Clark. And then from there, I had my
eyeballs on Casinos until I nally got one. I
just recently got two Blak and Blu Casinos
which Im so stuck on at the moment. Theyre
all so amazing. Blak and Blu with a Bigsby!
Theyre a dream.
The ES-347 of the 1980s added a coil-tap
switch creating the option of a Beatles-esque
Casino-like tone. Todays ES-336 is a scaled-
down version. With a body 13" wide and 16"
long its easier on smaller frames but still
looks like a classic ES-335. The same goes for
the ES-390. Theres also the 339 (and the
posher 359). All differ in some respects, but if
you nd a regular ES-335 unwieldy, look at
these variations.
Signature spin-offs abound. For a unique
example, the Epiphone-branded Tom
Delonge (Blink-182) ES-333 has just one
pickup and one volume control it seems
under-specied and wrong, but its been
very popular. There was also a Gibson
Custom Inspired By ES-336 for Kiefer
Sutherland. Yep, the actor. Maybe it was only
in production for 24 hours?
But ultimately, there is no other semi-solid
guitar design that has spawned such a long
lineage as Gibsons ultimate Electro Spanish
guitar, the ES-335. Eric Clapton may have sold
his most famous one, but he still loves them.
The ES-335 is beautiful, and I loved it, says
Clapton. It was played regularly over the
years. It got on albums, it never really
changed. It never got old, it never wore down.
It never lost anything. Id play it now.
Anything thats been that long in my life
and is still functional there arent too many
things that can command that kind of respect.
Ive had no cars that long, for instance. There
are no other tools in my life that have been as
long-serving. After I sold the red ES-335, I
immediately bought a sunburst one. Its a
great guitar and its so loud. Id forgotten
how loud they were!
Eric Claptons own
cherry red ES-335
Guitar_Dec12.indd 43 19/10/2012 16:36
30 Guitar & Bass AUGUST 2012
Albert King with his famed
custom Flying V made by
luthier Dan Erlewine from
125 year-old black walnut
ALBERT KING
FEATURE
JULY 2013 Guitar & Bass 31
I
n April 2013, almost exactly two decades after his passing, Albert King made it to
the White House. Or rather his music did, when during a celebration of Memphis
musicians and the recordings made in that Tennessee town, Kings Born Under
A Bad Sign was performed for Barack Obama by Steve Cropper, producer of the
1967 original, with up-and-coming band the Alabama Shakes.
The testimony of another late, great, impresario and promoter Bill Graham, suggests
Albert would have enjoyed playing for the rst black US president. He wasnt just a
good guitar player, said Graham. He had a wonderful stage presence, he was very
congenial and warm, he was relaxed on stage, and he related to the public... Albert was
a guy who just went on stage and said, Lets play.
King was born Albert Nelson in April 1923 on a cotton plantation in Indianola,
Mississippi, one of 13 children. His father played guitar while the family sang gospel
songs at the local church in Forrest City, Arkansas, where he was raised. He taught
himself how to play guitar on an instrument he made himself from a cigar box and
initially accompanied gospel groups, most notably the Harmony Kings. Alberts
musical epiphany came when he encountered the music of Blind Lemon Jefferson and
Lonnie Johnson; from then on, he was solely a bluesman. Every bluesman worth their
salt needs a name to catch the publics imagination: King earned his from driving for a
plant-hire rm. From then on, he was The Velvet Bulldozer.
In 1950, King moved to Osceola in Arkansas and, after meeting local club owner
MC Reeder, was invited to join the house band, the In The Groove Boys, at the T-99
nightclub. He moved on to Gary, Indiana in 1953, joining a band that included Jimmy
Reed and John Brim but with a surfeit of guitarists in the band, he was relegated to
the drum stool. Around this time he adopted the surname King in honour of BB
King, whose Three OClock Blues had just become a huge hit. He also met Willie
Dixon, and the legendary Chess Records musician/producer pulled some strings to
get him an audition at Parrot Records in Chicago.
King passed the audition and, though only two of the numbers he recorded for
them Be On Your Merry Way/Bad Luck Blues were released at the time, others have
since turned up on compilations. The single was a minor regional hit, but didnt sell
well enough to earn him another session at Parrot, so King returned to Osceola and
the In The Groove Boys for the next two years.
It was in 1959 that King rst began playing the guitar that would be forever
associated with him: the futuristically shaped Gibson Flying V, introduced the
previous year. He named his instrument Lucy, probably in homage to BB Kings
Lucille. The guitar in question was right-handed, but Albert played it left-handed
with the strings set up as a right-hander would have had them. This was the rst of
three Flying Vs King owned in his lifetime, and it was apparently lost in a craps
(dice) game in the 60s. The guitar was then valued at $2,500, and the person who
bought it hung on to it for more than 20 years
before it resurfaced. (Originals are now worth
between $200,000 and $250,000.)
This year also brought another change of scene
as Albert moved to St Louis, Missouri and, by
1959, his popularity on the club circuit there led
to a recording contract. These recordings for
Bobbin Records, with a pianist and a small
Forceful, minimal and as imposing as the man himself, the
music of the great Albert King galvanised players from Eric
Clapton to Robert Cray. Michael Heatley pays tribute
In 1959 Albert King began
playing the futuristically
shaped Gibson Flying V
RoyalBlue

Guitars
Gibson or Erlewine
Flying V
Amps
Acoustic solid-state
amp, later a Roland
Jazz Chorus
Effects
Maestro chorus pedal
Gear
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FEATURE
32 Guitar & Bass JULY 2013
INTERVIEW
40 Guitar & Bass JULY 2013
many of his most famous songs in the late 60s, and it
is now owned by actor/musician Steven Seagal.
The year of 1966 saw Albert Kings biggest recording
break yet when he moved to Memphis and was signed
to Stax Records. The added bonus here, of course, was
the labels house band Booker T and the MGs, whose
backing gave Kings music a much more soulful sound.
At this time he recorded dozens of classic tracks
produced by MGs drummer Al Jackson Jr, including
Laundromat Blues and Crosscut Saw.
The Stax studio was situated in an old movie theatre
in South Memphis, the worst part of town. Legend has
it they had so many break-ins that they bolted the amps
and mic stands, drums and anything else that could be
stolen to the concrete oor. As a result, nothing was
ever moved and the sound didnt change, leading to a
consistency many more opulent studios envied.
Most famous of all Kings Stax cuts was Born Under
A Bad Sign, penned by Booker T. Jones and William
Bell. It also titled his rst album for the label (his
second overall), which was composed of singles
released between spring 1966 and summer 1967,
bolstered by new tracks.

horn section, sounded closer to jump blues than Delta


or Chicago blues. His rst minor hit, Im A Lonely Man,
was written by Little Milton, who was an A&R man for
the label, while another, Dont Throw Your Love On Me
So Strong, sold so well locally that legendary R&B
imprint King Records leased it and issued it nationally
in late 1961. It reached a respectable #14 on the
Billboard R&B charts, but subsequent releases by King
on King failed to live up to this early promise.
Albert left Bobbin Records a year later. A session
commissioned by King Records in 1963 produced more
pop-inuenced results than his previous work this
was, of course, the height of the Beatles-led British
Invasion but they didnt sell well. His next recordings
had the opposite problem: cut for the small Coun-Tree
imprint headed by jazz singer Leo Gooden, these
became so popular in St Louis that Gooden is alleged,
in a t of jealousy, to have red King from his label!
His prole must have risen over the preceding few
years because, having lost his original korina-bodied
Flying V, King then enjoyed a stroke of luck as Gibson
gave him a replacement when the model returned to
production in 1967. Albert used this to write and record
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Albert posing with his
original korina-bodied
1959 Flying V legend
has it that he lost the
guitar in a dice game
during the late 60s
ALBERT KING
FEATURE
JULY 2013 Guitar & Bass 33
INTERVIEW
40 Guitar & Bass JULY 2013
ERIC, GARY AND ALBERT
It was around this time that many guitarists in the
UK started to notice the big bluesman from the other
side of the pond. The worldwide success of the album
led to Albert King becoming a rock celebrity known to a
host of younger white musicians on both sides of the
Atlantic. In addition to the songs already mentioned,
The Hunter became a blues-rock classic covered by Free,
Blue Cheer and others.
Boosted by this new-found rock credibility, Albert
began playing at the Fillmore West in San Francisco,
where Bill Graham booked him for opening night in
February 1968 alongside John Mayall and Jimi Hendrix.
A live album he did there, Live Wire/Blues Power, had a
profound inuence on many guitarists including
Hendrix, Clapton, Stevie Ray Vaughan and Gary Moore.
Acolyte Mike Bloomeld said, Albert can take four
notes and write a volume.
He can say more with
fewer notes than anyone
Ive ever known.
In 1969, Albert
performed a concert with
the St Louis Symphony
Orchestra and
collaborated with Steve Cropper and Roebuck Pops
Staples on the blues covers album Jammed Together. He
toured America and Europe extensively during the early
70s, returned to the studio in 1971 to record an album,
Lovejoy, with a group of white rock singers, and released
an Elvis Presley tribute album, Albert King Does The
Kings Things. The following year he recorded what was
to be his last album for the Stax label, Ill Play The Blues
For You, on which he was backed by the Bar-Keys and
the Memphis Horns.
When Stax found itself in deep nancial trouble King
left the label and signed for Utopia, an offshoot of RCA
Records. His sound became much funkier, as was the
fashion, and he worked with Allen Toussaint and some
of the Meters after signing with Tomato Records in 1978.
After switching to Fantasy in 1983 he announced his
retirement he was by now in his sixties. However,
public demand saw him back on the road playing
concerts and festivals for the remainder of the decade.
An up-and-coming Robert Cray (whose song Phone
Booth he recorded) recalled touring with him in France
around this time: There was this red sunset behind
him, and he was on stage smoking his pipe. Just to see
him up there, tearing up As The Years Go Passing By
with that glow behind him, was incredible.
The early 70s had seen a third Flying V enter Kings
life. This was different in being both a left-handed
guitar and, effectively, a Gibson copy but a very
special one. Luthier Dan Erlewine built it from (at the
time) 125-year-old black walnut, inserting a maple strip
down the middle. Custom features included Kings
name inlaid in the fretboard and, inevitably, Lucy on
the headstock. The guitar was delivered in May 1972
and survived a dramatic
incident in the 80s when
Alberts equipment trailer
ended up in a creek after
being caught in a tornado;
Lucy spent 24 hours under
water and the glued joints
had to be painstakingly
repaired. Like Alberts two preceding Gibson-built
workhorses, it has now been acquired by Steven Seagal.
During the 80s, Kings work had reached a new
generation of young blues guitarists, most notably
Stevie Ray Vaughan. Albert knew him as Little Stevie,
and as the skinny kid he let sit in when he played
Austin blues club Antones when Vaughan was a
teenage unknown. The pair appeared together on
Canadian television show In Session in December 1983,
a performance issued on CD a decade and a half later.
Albert and Stevie performed together again in 1987 for
a BB King & Friends A Night of Red Hot Blues TV
special, duetting on Elmore James The Sky Is Crying.
Little has yet been noted about the amplication
Albert used. He was not fussy as long as his amp was
clean and very loud, and favoured solid-state rather than
valves for reliability. One observer recalled him
Albert can take four notes
and write a volume
Michael Bloomeld
Albert King always
carried a rearm, a
little black pistol worn
on his right hip. At
250lbs and packing,
this was one guitarist
you messed with at
your peril!
And another
thing...

Kings interaction with American guitarists like Robert Cray and Stevie Ray Vaughan has
been noted elsewhere in this feature but it was in Britain that he would make an
indelible mark before even setting foot on UK soil.
Eric Clapton, in particular, was such a devotee that he wanted to record a version of the
blues standard Lawdy Mama in Kings style for Creams second album, 1967s Disraeli
Gears. In the event, producer Felix Pappalardi rewrote the melody and lyrics with his
wife Gail Collins, the result being Strange Brew (the track, especially Claptons solo, still
bore Kings stamp, though). Cream then covered Born Under A Bad Sign on the half live/
half studio Wheels Of Fire double album, released in summer 1968. Although oered
there as a track on the studio disc, it was such an integral part of their live set that they
played it on their 2005 reunion dates.
Clapton then moved on to Derek and the Dominos, where his guitar partner Duane
Allman lifted the ri for Layla from Albert King but not from one of his guitar lines, but
rather a vocal line from the song As The Years Go Passing By. Listen and youll hear that
Duane sped up the seven-note melody from the line There is nothing I can do. Eric also
covered Crosscut Saw, the Delta blues attributed to Tommy McClennan that Albert
popularised in 1966, on 1983s Money And Cigarettes album.
Gary Moore, who unashamedly took his cues from Clapton, shared a stage with Albert
King, among other blues legends, in his Still Got The Blues period: a 1990 performance of
Oh Pretty Woman at the Hammersmith Odeon has notched up over 363,000 views on
YouTube, and shows o the Erlewine-made Lucy guitar to perfection.

ALBERT KING
FEATURE
34 Guitar & Bass JULY 2013
putting a guitar ight case in front of his amp on stage,
moving it aside like a studio bafe when he wanted
more volume.
The Velvet Bulldozer died suddenly in December
1992 of a heart attack, a few months short of his 70th
birthday. At his funeral, Joe Walsh played a slide-guitar
rendition of Amazing Grace in tribute while, in true
New Orleans jazz style, a procession was led down
Beale Street by the Memphis Horns playing When The
Saints Go Marching In. Albert was laid to rest in the
Paradise Gardens Cemetery in Edmondson, Arkansas,
not far from where he spent his childhood.
Albert King left a legacy in the shape of countless
guitarists who owe allegiance to the big man, often
without knowing it. The year of 2013 not only saw him
make the White House, he was also inducted into the
Rock and Roll Hall of Fame. The citation read, in part:
A huge man, weighing more than 250 pounds and
standing six-feet-four, King was a commanding
physical presence onstage. From Eric Clapton, Michael
Bloomeld and Johnny Winter, to Joe Walsh, Stevie Ray
Vaughan, Derek Trucks and beyond, the inuence of
Albert Kings husky vocals and his signature Gibson
Flying V guitar will live on forever.
Its often stated that the secret of Albert Kings technique
was that he was a left-hander playing a right-handed guitar.
While basically true, this statement needs a little unpicking
to discover its signicance.
A right-handed guitarist will push the treble strings up
towards the bass strings to bend them, as theres physically
more space available on the neck to do it. But if the very
same guitar is ipped around, still strung for a right-handed
guitarist, and played left-handed, bending the treble strings
towards the bass strings will involve a completely dierent
set of muscles in the (right) hand. It is a clenching action
rather than a straightening one, and a much more powerful
muscular movement a clenched st rather than an open
palm. With that in mind, its no wonder Alberts licks can
sound so aggressive and so distinctive. Robert Cray believed
nobody could pull strings like Albert King, with all his re
and passion. A big-statured person like Albert King played a
big-sounding guitar.
The other secret of Kings technique was that he
developed his own eccentric tuning when teaching himself to
play. This was a drop tuning (bass to treble): C F C F A D. His
string gauges were also non-standard: .009, .012, .024, .028,
.038, .050. The top two strings were light, the bottom three
medium, but it is the extreme thickness of the wound third
that immediately catches the eye. Alberts playing style
depended on huge nger strength which enabled him to bend
strings up three or more semitones, sometimes clean out of
the key in which he was playing. He was also a master of the
pre-bend, where a string is bent before playing, then
released after striking the string. This necessitates an
intimate knowledge of the instrument, knowing just how far
to bend the string before hearing the result. Talking of
striking the strings, it is sometimes forgotten that Albert
King never used a plectrum. Put all these unusual stylistic
techniques together and you have all the ingredients that
went into making a one-o phenomenon.
TUNING AND TECHNIQUE
ALBERT KING
Born Under A
Bad Sign
(1967)
The augmented singles
collection that proved
a blues primer for so
many would-be 12-bar
stars of the late 60s
and beyond
ALBERT KING, STEVE
CROPPER, POPS
STAPLES
Jammed
Together
(1969)
A ramble through
some blues classics
with Pops Staples and
Steve Cropper, pitching
Albert against two
very dierent blues
guitar voices
ALBERT KING
Im In A Phone
Booth Baby
(1984)
Released late in his
career on the Fantasy
label, this includes
contemporary
material penned by
Robert Cray and band
alongside some solid
blues classics
Listen up
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Albert King with the 60s
Flying V that graced his
famous Stax recordings such
as Born Under A Bad Sign
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SCOTT GORHAM
INTERVIEW
JULY 2013 Guitar & Bass 37
W
ith next year marking the 40th
anniversary of Scott Gorham as a
recording artist, you might expect to
nd him taking things easy; maybe
even settling down by the re, brandy in hand, to tell
the grandkids all about his glorious adventures as
the lead guitarist with rock royalty Thin Lizzy. Well,
it seems the pipe and slippers will have to wait a few
years more as Gorham instead embarks on a world tour
with his new band Black Star Riders to promote their
debut album All Hell Breaks Loose. Its a brave man who
leaves the certainty of a
vehicle like Thin Lizzy,
but Gorham is aware of
the risks, and embraces
them because he also sees
the potential.
A lot of people think
were crazy for doing
it, he admits, but there
comes a point where I dont care what kind of musician
you are, or what your body of work is you want to
create something new. You want to branch out. You
need to go down different paths. A lets see what we
can do type attitude, and I think wed just gotten to
that point. Ive done the Thin Lizzy thing so much now,
I still love doing it, but man I gotta see what we can
do on this side over here.
Lizzy traditionalists shouldnt feel too alarmed, as
the majority of Black Star Riders have actually been the
touring band for Thin Lizzy shows over the past couple
of years. Even the album itself was initially planned to
be another addition to the Lizzy canon, but as the time
drew near for recording to begin a few doubts began
creeping into Gorhams mind.
Wed been writing collectively and separately for
around four months, he sighs, but Id been just
feeling really uncomfortable for a while about doing
an album called Thin Lizzy when Phil Lynott was not
going to be there. My whole career, if you will, had been
with Phil under the name Thin Lizzy, and now we were
going to do it without him. It just didnt feel right.
After sharing his thoughts with Lizzy co-founder
and drummer Brian Downey, it seemed that Gorham
was not alone. The other members of the current Lizzy
lineup also agreed that they didnt want to record under
the current name, but that left them with a considerable
problem to solve. We all knew we were uncomfortable,
says Gorham. So if we werent going to do it as Thin
In October 2012 Thin Lizzy announced that they would be recording
and touring their new material under a fresh name. Scott Gorham
tells Martyn Casserly about the birth of Black Star Riders
Lizzy, what were we gonna do? We had a shitload of
songs, we really wanted to record them, we wanted to
turn it into an album. The management actually put
their foot down and said If youre not going to do this
as Thin Lizzy, then you need to stop Thin Lizzy and
start a new band.
That was kind of a crushing blow for me because it
was like Hey, this is my band, Ive been doing this my
whole life, and now youre telling me Ive gotta stop? I
said, I cant see stopping it altogether, but well stop for
the time being. The idea is maybe next year well come
out for a special show
or some short tours, but
always going back to BSR.
Thats the mainstay now.
With the turbulent
genesis of Black Star
Riders now complete,
the band headed into
the studio to begin a
breakneck recording schedule. We did 12 songs in 12
days, reveals Gorham with a laugh. Its the quickest
that any of us in the band has ever done an album.
When we found out we only had that amount of time, it
was like Holy shit! It gets your attention really quickly.
But if you have your stuff together, its not too
daunting. Weve been on the road with these guys for
a year and a half, nearly solidly. So to transfer
I was uncomfortable about
doing an album called Thin
Lizz y without Phil Lynott
The Boys Are
Out Of Town

Guitars
Gibson Les Paul
Axcess
Amps
100W Engl Ritchie
Blackmore heads,
4x12" cabs
Effects
Dunlop wah-wah,
Vintage chorus pedal,
Strymon El Capistan
Tape Echo pedal and a
nameless 10db
booster pedal
Gear
Black Star Riders: Marco Mendoza,
Jimmy DeGrasso, Scott Gorham,
Ricky Warwick, Damon Johnson
INTERVIEW
38 Guitar & Bass JULY 2013
SCOTT GORHAM
One of Gorhams most iconic guitars is the 57 Les Paul that he played
both in the studio and on tour with Thin Lizzy. Sadly, the old stalwart
spends most of its time these days locked in a vault. I wanted to take it
on the road, but you cant take those guitars out anymore, theyre just
too expensive, mourns Scott. Every once in a while I take it out of
storage, bring it home for a couple of days, slam it through the amp and
play it for a while... get the old feeling back from it. Then Ive got to
close the lid and take it back down to storage again. Thats such a pain
in the ass to do that I dont do that very often, not as often as Id like to.
The Old 57
Xxx x x x xx x x x
xx x x x x xx x x x
xx x xxxxxxxx
Xxx x x x xx x x x
xx x x x x xx x x x
xx x xxxxxxxx
the touring into the studio... we felt on
comfortable ground. The difference is you
do a gig and if you have a couple of little
mistakes its, like, Hey, were playing
another tomorrow night, so well get it
right then. Whereas this... you didnt
want to be the one that messed it up.
Working alongside super-producer
Kevin Shirley (Iron Maiden, Aerosmith,
Black Country Communion), Black Star
Riders emerged with an album that has
plenty of the Lizzy avour. From the Irish
folk/rock power ballad Kingdom Of The Lost
through the feelgood anthem of Someday
Salvation to the crunching Valley Of The
Stones, Gorhams guitars sound as good as
ever, with Damon Johnson joining him on
the signature twin leads that every Lizzy fan
will be expecting.
Playing with Damon is a really satisfying
partnership, says Gorham. Theres no
horrible egos. Ill have written a song and
Ill tell Damon to take the lead, because I
know what a good player he is. Hes done
the same with me. Theres no shoving
each other out of the way looking for the
spotlight theres always going to be enough
spotlight over the whole set. He practically grew up on
Thin Lizzy music. Hell say Check this out! and hell
play a solo that I did 35 years ago and had forgotten
about, and he knows it note for note! I have to ask him
to show me how he did it.
Gorham sports the same rig for the upcoming
tour as he used in the recording sessions: a couple of
Les Paul Axcess guitars, a few pedals, and the once
obligatory Marshall backline now replaced with Engls
a move that surprised many, not least Gorham himself.
We found ourselves playing with Deep Purple at
Wembley Arena. It was sold out, with about 14,000
people all getting ready
to come in, and we
only had 45 minutes to
soundcheck. My guitar
tech had fallen ill and
theyd brought in this
Italian guy. He was
setting out my stuff,
plugged it in, the amp
went pfff and the red light went out. I was like Oh,
shit. Okay, no problem, throw up the other amp. Pfff!
This guy didnt know anything about voltages, so he
ended up blowing all four of them!
On this tour Steve Morses guitar tech was the rep
for Engl, and for three weeks hed been trying to get me
to try them out. Now Im sitting there with four blown
amps, so I said okay, lets see what you got. He put up
one of the Engls on the 4x12", dialled it in, and said
Have fun. I hit a chord, and it sounded amazing! I
had 15 minutes before we were supposed to go on, and
by this point the Italian guy was telling me hed xed
my amps, but I thought, I think Im gonna go with the
Engls. Its probably one of the bravest things Ive ever
done: in front of a sold-out audience on a brand-new
rig Ive never even seen before. But I thought to myself,
if this amp can give me that much condence... where
do I sign? Ive been with
them now for about six
years, maybe a little more.
Theyre good people.
Gorhams ne
achievement of 40 years
in the industry is one that
sadly wasnt granted to his
close friend and bandmate
Phil Lynott, who succumbed to his drug addiction in
1986. However, Gorham feels very much part of his
ongoing legacy. I pretty much owe everything to Phil.
He was the guy who said I want you as my partner, I
want you in this band, theres something in you I really
see... lets go travel the world together.
Now, as he sets out on his latest adventure, Gorham
carries the same ambitions for the music that spurred
on the young, hopeful incarnations of himself and
Lynott all those years ago. Knowing youve put down
something thats hopefully really cool, he states, and
that other people are gonna think is really cool... thats
what this whole things about. Its what its always
been about hoping that somebody else out there is
gonna be digging it the same way that you dig it. And
hopefully they dig it even a little more.
The tech plugged in my stuff
and the amp went pfff and
the red light went out
BLACK STAR RIDERS
All Hell
Breaks Loose
(2013)
The debut album for
Scott Gorhams new
band, featuring plenty
of Lizzyesque material
which should make it
appeal greatly to
existing fans
THIN LIZZY
Live And
Dangerous
(1978)
The live part has
been brought into
question a few times
over the years, but
never the quality of
this double CD classic
SUPERTRAMP
Brother Where
You Bound
(1985)
Gorham makes a guest
appearance on the
title track, playing 16
minutes of prog-rock
with David Gilmour
amid readings from
Orwells 1984
Listen up
Scott Gorham, far right,
joined Thin Lizzy in 1974
Unit 2a Henley Business Park
Pirbright Road
Guildford
Surrey
GU3 2DX
Tel. 01483 238720
www.ariauk.com
info@ariauk.com
INTERVIEW
DANNY BRYANT
JULY 2013 Guitar & Bass 41
T
he blues world has seen many examples of older players mentoring
young prodigies and passing on the wisdom of their years: Danny
Gatton with Joe Bonamassa is one relatively recent relationship. For up-
and-coming British guitarist Danny Bryant, the man who helped to get
his mojo well and truly working was Walter Trout, some three decades his senior.
When I was about 14 my mum and dad had one of Walters albums I dont
think they had heard of him beforehand, but they picked it up. I was out shopping
with my mum in Cambridge and we saw a poster. I said, Can we go? So mum
and dad took me, and I wrote him a letter. When he got back from that tour he
called me up, and weve been friends ever since.
Danny liked the Americans way of doing things and, with 2500 shows already
under his belt, he has based his own career on a similar work ethic. Walters a
relentless tourer, always out on the road, which I think with blues is the way to do
it, he says. We dont get a lot of radio play, certainly not mainstream radio play,
and in this country its very hard to get on television shows like Jools Hollands
Later. So to spread the word, sell your albums and get a fanbase, its a case of
relentless touring thats how I make my living.
When it comes to image, the cover of Dannys new album Hurricane sees
him take a step away from the Trout/Gallagher school of workwear towards the
besuited Bonamassa look. Walters image is that hes cool and those are his street
clothes, but Im a big fan of old-school blues. My house is full of pictures of all
my old blues heroes and theyre all in suits and everything, but I never really had
the condence to do that. Then the whole Bonamassa thing with him dressing
up happened, and I didnt want to look like I was jumping on the bandwagon!
With his vocals as impassioned as his guitar playing,
hard-working bluesman Danny Bryant has produced
an album of rare power. Interview by Michael Heatley
Wind
Howlin

Guitars
A prototype for
Dannys forthcoming
signature model
Fret-King, another two
of the original (Corona
SP) models and a 2012
Les Paul goldtop
bought for the album
Amps
Two Marshall
TSL100s, a Silver
Jubilee and a
blackface Super
Reverb for studio
Pedals
Jim Dunlop Wah, Boss
DD3 Digital Delay and
a Uni-Vibe clone
Gear
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Dannys house is decorated with portraits of the blues greats, but one in particular a picture of the late, recently
departed Hubert Sumlin inspired the song Greenwood 31, titled after his place of birth, on the new album. Hubert
was the rst blues legend I ever met I played a festival with him when I was about 20, says Danny. I asked the
promoter if I could meet him and he said, Im not sure. After the gig he said, He heard you play, you can go in.
So I spent about an hour with him. He was a lovely guy and told me about touring with Howlin Wolf and Muddy
Waters; he even came out and looked at our van and my guitars. I took a picture of him and hes sitting there with his
pint of Guinness and this really cool suit on with this hat. I looked at it, and thats how I came up with the song.
Danny also bought an Epiphone like Sumlins and thereby hangs a tale. It amazed me, because hes famous for
playing these old goldtop Les Pauls, but on the day of that gig he had some 4000 custom-made PRS and an Epiphone
Les Paul, which he played most of the day. I was standing next to him at the end of the day and the tour manager said
Which one do you want to take on the bus and which ones do you want packed away? and he took the Epiphone in
the bus with him. It showed me that these old blues guys dont really care about makes or what somethings worth. If
its a good guitar, they love it.
Greenwood And Goldtops
INTERVIEW
DANNY BRYANT
42 Guitar & Bass JULY 2013
So I left it a bit longer, but then my
wife kicked me into smartening up.
I must admit I feel a lot better
dressing up, he continues. I dont
go for the full suit thing, but I wear a
smart jacket. You do feel a bit more
geared up for the show. A year or so
ago I wouldve just gone straight on
in the clothes I was wearing during
the day, but if youve got to make the
effort to get changed it mentally gets
you in stage mode. Its like Right,
Im wearing my stage stuff its
time to go.
Danny recently signed to the
German Jazzhaus label, reecting the
fact that the majority of his touring
takes place beyond these shores
(though UK dates are scheduled for
May/June). So are Brits considered
exotic in continental Europe?
I hadnt really thought of that.
Maybe its like when you have an
American act come to England.
Britain has its own blues history now,
with everything that happened in the
60s and all the great guys we had
over here. When we started touring
Europe I think blues was on a bit
of a decline in the UK, although I
dont think thats true any more
its well on the up. I think that in
Europe you either have to be English
or American, and their own acts
have a slighter harder time. It does
take up quite a lot of our
touring year; were lucky
to have a nice following
in Germany, Holland and
Switzerland.
The new album was
recorded in Cornwall
with producer Richard
Hammerton, who also
contributed keyboards. Our man credits Richard with
helping raise the bar vocally, an area that has taken
him more time and effort to perfect than the guitar.
Im condent at singing now, Danny admits, and its
something I enjoy almost as much as playing. When
it came to the vocals, the producer made me have two,
three takes on each song because we wanted to keep
that condence level up and not over-think things; I
think its come out quite well.
The album tracks Danny picks out as the key ones
are opener Prisoner Of The Blues Its my version
of White Room Im not saying its on a par, but its
me trying to do that and cut three, Cant Hold On,
because it shows that I love to write songs. Im a big
fan of listening to ballads and playing them myself, and
the solo in that is an example its not a ashy solo,
its one that means something within the song, which
is important to me, and thats something Ive only
learnt to do as Ive matured a little bit. A few years ago
I would have probably doubled the length of that solo
DANNY BRYANT
Just As I Am
(2010)
Features eight original
songs written by
Danny plus a spirited
cover of John Hiatts
Master Of Disaster
DANNY BRYANT
Night Life:
Live In Holland
(2012)
Released as both a
DVD and a CD, this
captured Danny where
hes traditionally the
most comfortable
on stage and with both
barrels blazing
DANNY BRYANT
Hurricane
(2013)
His seventh studio
album oers the most
complete picture yet of
a rising young talent,
with vocals and
songwriting hitting a
new peak
Listen up
Danny confesses to a
terrible taste in old
comedy, like On The
Buses and Steptoe &
Son, things like that;
Ive got a massive
collection of all that
old stu.
And another
thing...
and put as many notes in
as I could just for the
sake of it.
Dannys success is
very much a family affair:
dad Ken plays bass in his
three-piece Redeye Band,
mum Heather is his
manager, and wife Kirby is his guitar tech. Im on the
road a lot, so we wouldnt have much of a relationship if
I left her at home! Its quite unique if you were to start
doing it youd never tour with your mum and dad but
its been like this since we started, and its all I know.
The next decade will see Danny, whos 33 in July, lose
his young tag. What does he hope to gain in its stead?
I just hope that I can keep working, keep making a
living, he offers. Its never been a dramatic rise; its
always been very steady, seeing the crowds get a bit
bigger and the records selling a little bit more. And the
countries I play are expanding Ive just signed on with
a couple of new agencies that cover new territories. It
sounds a bit corny but I feel really grateful that I do it
for a living, that I get to tour and that I get to play for a
living and release music that people actually buy.
That was the aspiration as a kid I never had any
aspirations to be this big, famous musician. It would be
nice, but Im doing what Ive always wanted to do,
which is to be a working blues guitarist.
Blues was on a bit of a
decline in the UK, but now
its well on the up
Danny uses a blue
Fret-King Corona SP with
the trem blocked o
or two...
every
guitarist
needs a
12 string
Ph Philipp S., purchase e mman nag ageer r
Music Tech G&B.indd 1 16.05.2013 15:09:22 Music Tech G&B.indd 2 16.05.2013 15:09:47
Ph Philipp S., purchase e mman nag ageer r
Music Tech G&B.indd 1 16.05.2013 15:09:22 Music Tech G&B.indd 2 16.05.2013 15:09:47
REVIEW
ELECTRIC GUITAR
2830.80
JULY 2013 Guitar & Bass 47
GRETSCH
Diving back into the past and grabbing the chance to correct
some shortcomings, the Panther Center-Block is a traditional
Gretsch aimed at the modern age. Review by Huw Price
G6137TCB Panther
N
on-initiates may be inclined
to pigeonhole Gretsch guitars
as hot-rodded single-cutaway
jazz boxes geared towards
rockabilly revivalists and gothy 80s
types. However, despite outward
appearances the companys history
is peppered with innovative designs,
radical construction techniques and
unique features. Being Gretsch, they
didnt always get it right; it seems
unlikely that the Tone Twister vibrato
or the Floating Sound sustain enhancer
will be revived.
Speaking of sustain, throughout his
tenure as Gretschs prime endorsee,
Chet Atkins pleaded for more sustain
and less feedback. Gretsch tried
installing soundposts and devised at
least two variations on the trestle
bracing theme from 1958 onwards,
but music was getting louder and it
was becoming obvious that traditional
big-bodied hollow guitars couldnt cope.
Gibsons ES335 with its thin double-cut
hollow body and its spruce centre block
changed everything. It proved a roaring
success and even if Gretsch wanted to
ignore it, Chet wouldnt let them (in
fact, he had been requesting exactly the
same thing for years).
According to Gretsch the Panther is a
return to a theme, although its unclear
if theyre referring to an actual Gretsch
model or a design idea that was never
followed through. We can reveal that
the Panther has a solid spruce centre
block that goes from neck to tail with
a weight relief chamber behind the
bridge. Add to that a body depth of 1.75"
with a shorter-than-usual scale length
of 24.625 " and its pretty obvious which
market Gretsch is gunning for.
Even so, they havent sacriced that
essential Gretschiness. The ngerboard
extension still oats high above the
top to create the necessary clearance
for the High Sensitive FilterTron
pickups and a proper break-angle over
the bridge for the Bigsby. Better still,
Gretsch has opted for the old Brooklyn
formula of a three-ply top, back
The Panther has a solid spruce centre
block from neck to tail, with a weight
relief chamber behind the bridge

That all-important
centre block is just
visible through the f-hole
Grover Sta-Tite
machineheads and
thumbnail markers
FACTFILE
GRETSCH G6137TCB
PANTHER
DESCRIPTION: Semi-solid
guitar. Made in Japan
PRICE: 2830.80
BUILD: Three-ply maple body
with spruce centre block,
three-piece set maple neck,
22 frets, 12" radius
rosewood ngerboard,
Grover Sta-Tite tuners,
Adjusto-Matic bridge and
Bigsby vibrato
ELECTRICS: Two High
Sensitive FilterTron
pickups with master volume
and tone, individual volume
controls and three-way
pickup selector switch
LEFT-HANDERS: No
FINISH: White, black
SCALE LENGTH:
24.625"/626mm
NECK WIDTH:
Nut 42mm
12th fret 52mm
DEPTH OF NECK:
First fret 19mm
12th fret 22mm
STRING SPACING:
Nut 35mm
Bridge 50.5mm
ACTION AS SUPPLIED:
12th fret treble 1.5mm
12th fret bass 2mm
WEIGHT:4kg/8.8lbs
CONTACT: Fender GB&I
01342 331700
www.fender.com
REVIEW
ELECTRIC GUITAR
2830.80
48 Guitar & Bass JULY 2013
akin to morphing from a FilterTron to a
PAF than proper woman tone. Even so,
the dened voice of the pickups works
well with high gain because you can pile
on the dirt without losing clarity.
Power chords and low-register riffs
sound huge, especially in dropped
tunings. But the most remarkable
characteristic has to be the sustain;
the White Panther will hang on to any
note just as long as you want it to.
Grinding away on the bridge pickup
for the rhythm parts then ipping
over to the neck for solos is like going
from Malcolm Youngs tone to a pretty
convincing version of an Angus sound.
Verdict
Despite their charms Gretsch guitars are
seldom described as easy to play.
Theyre quirky, and fans tend to love
them despite those quirks rather than
because of them. The White Panther
irons out the quirks without losing that
essential Gretschiness. It delivers for
woody-toned picking as well as high
gain shredding, so it should appeal to
traditionalists and modern players alike.
Its also supremely playable and so
packed with sonic character that this
must be far closer to what Chet Atkins
had in mind. He probably would have
complained that the pickups were too
hot but were guessing he would have
approved of everything else.
bridge. Wed have preferred ebony
ourselves, but even so, its only an
aesthetic thing like wearing brown
shoes with a blue suit.
Other less conspicuous concessions
to modernity include Schaller strap
locks, a top-mounted jack socket and
an Adjusto-Matic bridge. The wooden
bridge base is pinned in place through
the top so it wont move about however
you play, and it extends beyond the
centre block in order to transfer
vibrations to the rest of the guitar.
Sound
Acoustic tones are bright, balanced
and encouraging, but the question has
to be whether the White Panther can
cope with high volume levels. In short,
it certainly can. Despite provocation
from cascading gain stages, wah pedals,
fuzzboxes and compressors the White
Panther behaved itself like a (country)
gentleman. Of course it does feed back,
but no more than any other semi-solid.
The pickups are high output by
FilterTron standards but theyre still
brighter than PAF-style humbuckers.
So long as your amp has enough
headroom in the preamp stage you
can dial up some classic Gretsch clean
tones. The bridge pickup chimes, the
neck pickup has a woody jazziness and
in combination the hint of phasey mid-
scoop is ideal for picking duties.
The White Panther can overdrive
valve amps with ease and you may wish
to roll back your treble settings a tad.
The onboard tone control has a slightly
limited range, so full roll-off is more
and sides so the thinner plates will
resonate more easily.
The open backed Grover Sta-Tite
tuners are a great choice. They look
fantastic, preclude neck heaviness
and keep the tuning just as stable as
any diecast tuners would. Believe it
or not, the control layout is simplied
by Gretsch standards: theres a tone
control rather than a mud switch and
a master volume below the cutaway as
well as individual volume controls.
If youre used to Gretsches youll
appreciate the master volume and
its convenient location. If youre not,
you can simply ignore it and use the
individual controls. Its also worth
noting that these modern Gretsch knobs
feel very different to the vintage variety.
The knurled texture is far rougher, so
much so that you dont need to grip
them. You can actually move them with
the tip of one nger.
As for the neck prole, it feels
very similar to this reviewers
1963 Tennessean. Its a supremely
comfortable C prole that deepens ever
so slightly as you move up the neck. Its
not chunky, but we wouldnt describe
it as slim. In fact the only criticism
we could level regarding the White
Panthers construction is the rosewood
used for the bound ngerboard and
Gretsches are quirky, but the White
Panther irons out those quirks without
losing that essential Gretschiness
Gretsch has pinned the
oating Adjusto-Matic
bridge to the body
High-output FilterTrons
but this is one Gretsch
that can handle them
TOTAL
92%
FINAL SCORE
GRETSCH PANTHER CENTER-BLOCK
Build quality 19 / 20
Playability 19 / 20
Sound 18 / 20
Value for money 17 / 20
Looks 19/ 20
Like this?
Try this...
Gibson
Chris Cornell ES335
This ES335 features a
Bigsby and Jason Lollar
Lollartron pickups his
take on the FilterTron
theme. The Gibson factory
uses a Plek machine on the
frets so itll be smooth
RRP: 2099
Duesenberg
Starplayer TV Vintage
Featuring an arched
laminated spruce top with
amed maple back and
sustain centre block, maple
neck, rosewood fretboard.
The neck has a dual-action
truss rod and the pickups
include a Duesenberg DP90
and a humbucker
RRP: 1214
56 RATHBONE PLACE, OFF OXFORD STREET, LONDON W1T 1JT.
TEL: 0207 636 1481 FAX: 0207 580 6272 E-MAIL: info@ivormairants.co.uk
FULL RANGE OF GUITARS AND ACCESSORIES FROM:
LONDONS PREMIER SPECIALIST GUITAR STORE
IVOR MAIRANTS
MUSICENTRE
Since 1962
www.ivormairants.co.uk
A Great Selection
of Vintage and
Preowned Guitars!
Including:
64 Gibson ES345
92 Epiphone Emperor
78 Ibanez Artist
83 Yamaha SA2000
serious guitars
Collings guitars are
known the world over for
their amazing build quality,
beauty, tone and playability.
Consistency and meticulous attention
to detail set them apart from the rest.
You owe it to yourself to try one!
Ivor Mairants_collings13_Layout 1 19/12/2012 15:30 Page 1
www.forsyths.co.uk/guitars
More than 150 Years of expertise in musical instrument retail. Spacious city centre
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Forsyth Brothers Ltd, 126 Deansgate, Manchester M3 2GR
0161 834 3281 ext. 606 guitars@forsyths.co.uk www.forsyths.co.uk
Manchester 1857
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Call: 0161 834 3281 extension 606
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Guitarist369_Guitar and bass February 2013.qxd 08/05/2013 09:46 Page 1
REVIEW
ELECTRIC GUITAR
359
JULY 2013 Guitar & Bass 51
LTD
Theres a lot of competition at the budget end of the buying spectrum,
especially when youre looking at classic designs. Marcus Leadley
samples a ne contender for you hard-earned cash
EC-256 MGO
B
ack in 1996, Japanese
guitar maker ESP decided to
expand in a big way into the
lower-cost end of the electric
market. The company already had a
prole as a supplier of serious thrash
metal ordnance to the glitterati of the
day bands such as Anthrax, Megadeth,
Metallica and Slayer so a new brand,
LTD, was launched as the home for
these new, price-friendly models.
As well as some seriously pointy
high-powered guitars theres now a
good selection of models that display
all the heritage aspects of classic
electric guitar-making of the type
pioneered by the likes of Gibson
and Fender. The EC-256 is one such
instrument. There are approximately
30 avours of EC electric guitar in all,
spread across ten models with prices
ranging from around 200 to 800,
but they all riff on the same basic
body shape. The EC-256 slides into
the mid-price bracket and combines
a classic goldtop-style nish with
set-neck construction and some
raunchy humbuckers. And theres a
coil tap option to give you single-coil
sounds as well. Its a hard offer to fault
when the RRP is only 359, especially
when a street price deal may shave
another 60 off.
While the EC-256s shape leans
heavily on the Les Paul theme, all the
curves are appropriately different. In
particular the sharpness of the lower
forward cutaway adds a very LTD
touch, which echoes the sway of the
headstock and the distinctive position
markers on the neck. Body, neck and
headstock are bound, which adds
a nicely nished, retro feel, and the
rich brown of the natural mahogany
completes the look of a well turned-out
package. The top is a sparkle nish
rather than a at gold and theres a
reddish/amber tint, so theres none of
the picture-frame gaudiness you
The EC-256 combines a classic nish
with set-neck construction, raunchy
humbuckers and a coil tap option
The lower cutaway
has a distinctly
un-Gibson prole
Pinstripe binding
adds class to the
asymmetric
headstock
FACTFILE
LTD EC-256 MGO
DESCRIPTION:
Solidbody electric guitar.
Made in China.
PRICE: 359
BUILD: Two-piece mahogany
body, three-piece mahogany
glued-in neck. Bound
rosewood ngerboard with
22 medium-gauge frets and
LTD inlays (model number
inlayed at 12th fret). Cream/
black multi-ply body and
headstock binding, cream
neck binding. Chrome
stoptail and tune-o-matic
bridge, ESP-branded tuners.
Gold speed knobs
ELECTRICS: Two ESP LH-150
humbuckers with coil tap
on master tone control
push/pull pot. Independent
volume controls and
three-way pickup selector
LEFT-HANDERS: Not for this
model, but there are six
left-handed options in the
EC range
FINISH: Metallic gold (MGO);
wide range of other nishes
throughout the range
SCALE LENGTH:
629mm/24.75
NECK WIDTH:
Nut 42.2mm
12 fret: 53mm
DEPTH OF NECK:
First fret 19.5
12th fret 22.2
STRING SPACING:
Nut 34.2mm
Bridge 49.2mm
ACTION AS SUPPLIED:
12th fret treble 1.8mm
12th fret bass 2.2mm
WEIGHT: 3.3kg/7.25lbs
CONTACT: Selectron UK
01795 419460
www.espguitars.co.uk
REVIEW
ELECTRIC GUITAR
359
52 Guitar & Bass JULY 2013
mayhem moments. The EC-256 is
a good platform on which to build
effected sounds as the basic output
is suitably hi- in the rst place. This
means you can really hop genres and
eras, which makes this a great guitar for
a player who appreciates playing a wide
range of material.
Verdict
A well turned-out, handsome electric
guitar offering a good range of sounds.
The simple but effective pickup
conguration with the coil tap means
you have an approximation of most
classic tones at your disposal. This
would be a great instrument for a
beginner, or someone looking for a
second guitar to help move their playing
onto a new level. At the same time, the
EC-256 punches well above the weight
of its comparatively modest price tag
so the more experienced player will
nd this a practical everyday gigging
instrument. It would be an ideal go-to
for those occasions when you need a
guitar that wont complain about a bit
of rough handling or set you to fretting
needlessly when you have to leave it in
the boot of your car or locked in a van
for a while.
coil tap. Its a great, simple solution; the
guitar will deliver six distinctly different
sounds without any confusion.
Sounds
With the coil tap facility you have the
ideal solution for delivering the full
range of clean and distorted sounds.
Voicing a bridge humbucker for a great
rock tone can leave the midrange a
little lacking and boxy-sounding for
clean playing. However, a single-coil
at the bridge will give all the wiry twang
you need. This is exactly how it works
here, and you can switch with ease.
Generally speaking the humbucker
voices are rich and open. Twin-pickup
and neck sounds are great clean;
country, jazz, reggae and 70s pop
chords all sound authentic, and melodic
playing is well articulated.
Gradually wind up the gain and the
EC-256 easily performs classic blues and
punk before grasping rock and metal
in style. Here, the bridge voice comes
into its own and soloing is a joyous
experience. There is a slight, but
inevitable, drop in volume when you
switch to single-coil operation from
humbucker, so some sort of volume
boost pedal on the oor will prove a
valuable addition to your kitbag. The
tone is great and the sharper, more
cutting sound offers both clarity when
you need it and added grit for those
can get with a simple gold paint.
This nish is applied directly to the
mahogany; theres no maple cap,
which is yet another break with the
more traditional LP build.
The three-piece mahogany neck
sports a 22-fret rosewood ngerboard.
As is quite often the case with LTD
guitars, this is buffed to a shine.
The board is relatively at and the
well-dressed medium-gauge frets
make for a fast and accurate playing
surface. The position inlays are quite
stylish, but Im not sure if I like the
idea of using the model number as
the 12th-fret indicator.
Overall, the acoustic tone and feel
are snappy and bright - classically
LTD, in fact. However, the 24.75 scale
length is classically Gibson, so theres
a looseness that lets you dig into
the strings and bend with ease. The
hardware choice is straightforward:
individual ESP-branded tuners,
standard stoptail and tune-o-matic
bridge. As a result the tuning seems to
be very stable.
A pair of ESP LH-150 humbuckers
provides the oomph for the EC-256.
Theres a three-way selector on the
upper bout and volume controls for
each unit. The single tone control
is a push/pull pot for activating the
The sharper, more cutting single-coil tone
offers both clarity when you need it and
added grit for those mayhem moments
The classic tune-o-matic and
stoptail combo is good for
both tuning and tone
Neck and headstock boast
a rich mahogany nish;
tuners are Schaller-esque TOTAL
87%
FINAL SCORE
LTD EC-256 MGO
Build quality 17 / 20
Playability 18 / 20
Sound 17 / 20
Value for money 18 / 20
Looks 17/ 20
Like this?
Try this...
Epiphone
Les Paul Studio
Set-neck basic LP model
with all-mahogany
construction and a pair
of humbuckers
RRP: 339.76
Aria
PE Royale
A classic LP-inspired guitar
with humbuckers and a
quilted maple veneer top
RRP: 349
PRS
SE Mark Tremonti
Solid mahogany body,
set neck and a rosewood
ngerboard.
PRS humbuckers
RRP: 599
7
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FENDER.COM/PAWN-SHOP
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2013 FMIC. Fender

, Pawn Shop

, Mustang

, Super-Sonic

and the distinctive headstock designs commonly


found on these guitars are trademarks of Fender Musical Instruments Corporation. All Rights reserved.
N
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Facebook.com/fendergbi
Twitter.com/fendergbi
Pawn Shop Guitars GBI 297 x 210 3mm UK.indd 1 17/01/2013 12:25
REVIEW
GUITAR AMP
1699
JULY 2013 Guitar & Bass 55
ORANGE
Following on from the Retro 50, this lovingly-assembled
half-ton stonker aims to be the best-sounding Orange head
you can lay your mitts on. Review by Richard Purvis
Custom Shop 50 head
Y
es, its that easyJet colour
scheme once again but
doggone it, if Orange keeps
releasing way cool stuff, well
make no apology for reviewing it and
theres an especially good reason for
the presence of this amp on the pages
of G&B. Weve been happy enough with
the PCB-based amps being pumped out
of the companys Far Eastern facilities
in recent years, but the Custom Shop
50 is a different kind of fruit altogether.
This, at last, is an Orange for the purist.
Its completely hand-wired no
digital gimmickry, no printed circuitry,
no genetically modied vegetable
extracts or articial sweeteners and
just as signicantly, its made right
here in the UK. Now, you may not give
a ying fuzzbox where your kit comes
from, but there are various politico-
economic and environmental reasons
why you perhaps should, if you can
afford that luxury and lets be honest,
if youre considering spending over
a grand and a half on an amplier,
you probably can. Plus theres the all-
important prestige factor
Like most of its outsourced cousins
this is a big old chunk, made to
withstand serious gigging, minor
road accidents and the occasional
hurricane. The graphics-only control
panel has enormous knobs for Master
volume, Presence and Gain plus three
normal-sized ones for the EQ section.
And enormous really does mean
enormous you could tie a silk ribbon
around one and wear it as a hat. Below
the single input is a place to plug in a
footswitch (which is not included); this
is described on the website as a sustain
boost but on the amp itself as EQ lift.
Weve seen amps with an option of
bypassing the tonestack to provide a
gain boost; this seems the most likely
explanation of both wordings.
The only feature worth noting on the
back is a switch that toggles between
Class AB operation, rated at 50W, and
the less efcient Class A, rated at 30W.
Such denitions are usually vague
The Custom Shop 50 is completely
handwired with no digital gimmickry,
and its made right here in the UK

Plenty of speaker outs, plus a


50W/30W switch for a more jangly
sound and slightly less power
FACTFILE
ORANGE CUSTOM
SHOP 50
DESCRIPTION: Handwired
50W head, switchable to
30W, with 2 x ECC83 and 2 x
EL34 valves. Made in the UK
PRICE: 1699
CONTROL PANEL: On/O and
Play/Standby switches;
Volume, Presence, Treble,
Middle, Bass and Gain;
inputs for guitar and boost
footswitch (not included)
BACK PANEL 2 x 8ohm and 1
x 16ohm outputs, 50W/30W
switch (class AB or A)
DIMENSIONS 55cm wide,
27cm high, 24cm deep
WEIGHT 19kg/41lbs
CONTACT: Orange Amps
020 8905 2828
www.orangeamps.com
REVIEW
GUITAR AMP
1699
56 Guitar & Bass JULY 2013
The EQ section does as its told a
little more mid-scooping would have
been welcome but, if you accept that
the fundamental voice of the amp is
just about perfect, then this is as much
tweaking as you need. Activating the
boost, meanwhile, adds a surprisingly
generous stful of gain; sure enough,
the EQ controls stop working.
That just leaves the 50W/30W switch
at the back. The rst thing to note
here is that switching down to 30W
makes very little difference, if any, to
the perceived volume of whats coming
out of the cab. In fact it can even seem
louder at the lower wattage, thanks to
the addition of a little harmonic richness
and sparkle, and theres noticeably
more background noise. The overdrive
in Class A is more zzy, in a way that can
make the AB side sound ever so slightly
at when you switch back. A is best for
chime, AB is best for tight rifng but
what a treat to have the choice.
Verdict
Orange is calling this the denitive
British rock amp, and if you wanted to
argue then you might be struggling for
hard evidence. Is it much, much better
than the less expensive models in the
range? No, not really, but there is a
genuine raising of Oranges bar here,
and its all about subtlety. The Custom
Shop 50 doesnt offer a wide palette of
sounds to choose from; it has one
authoritatively glorious voice, and the
controls provide an array of highly
rened adjustments to its accent.
The underside of the chassis is more
impressive. Theres just one small turret
board in the corner and the rest of
the space is taken up by very carefully
arranged wires, many of them bent at
precise right angles where they need to
avoid running too close to other wires
or components. It looks suitably modern
and boutique; all in all, the Custom Shop
50 stands well apart from Oranges
standard production models.
In use
Using an outsize 2x12" with a closed
back and a pair of Celestion Vintage
30s, well start by dialling up the Master
volume with everything else at 12
oclock and the rear switch set to full
output. An SG with humbuckers seems
like an ideal partner for this one.
It sounds, in a word, Orange: big, loud
and solid, with a strong, oaky clonk in
the midrange and plenty of clarity at the
top. To nd the clean stuff, as so often
with this rock-leaning brand, you have
to turn the preamp gain somewhere
close to off; but 50W does give you
enough headroom to punch out some
pretty loud chords with only a hint
of overdrive creeping in. By 10 or 11
oclock on the dial youre out of clean
territory for good, and anything past
noon is properly, deliciously saturated.
Inevitably it sounds best with Master
volume at full, but the Presence control
makes a good job of replacing some of
the edge thats lost when youre forced
by angry neighbours, sobbing family
members or most likely a live engineer
to keep things down a bit. Cleverly,
the Presence somehow never sounds
too sharp at the top of the dial nor too
mufed at the bottom.
at best but, in terms of overdriven
character, this should give the amp a
certain amount of Marshall thump or
Vox chime exibility.
A painted metal grille protects
the valves at the back and, with that
removed, unscrewing the four feet
allows the amp chassis to be slid out of
the chunky shell either front or back.
Its an arrangement that scores highly
for simplicity; the one drawback is that
it can be quite tricky to line the two
parts up again when you want to put
the screws back in. Once the chassis
is out, sturdy metal bars at either end
(similar to the ones on the front panel)
allow it to be placed upside-down
without any risk of knocking the tubes.
There are only four of these: a pair of
Ruby EL34s in the output stage and two
PM-branded units at the preamp end.
Theyre actually marked E83CC, and
its not a printing error the National
Valve Museum describes this model as
a special quality ECC83. It is, of course,
interchangeable with any standard
preamp valve.
The Orange Custom Shop 50 sounds
big, loud and solid, with a strong, oaky
midrange clonk and plenty of clarity
Whopping knobs for Master,
Presence and Gain plus a
three-band EQ TOTAL
89%
FINAL SCORE
ORANGE CUSTOM SHOP 50 HEAD
Build quality 20 / 20
Versatility 16 / 20
Sound 19 / 20
Value for money 15 / 20
Looks 19 / 20
Like this?
Try this...
MATAMP
GT40
Carrying a name that has a
lot of shared history with
Orange, this is a head with
the same switchable
50W/30W output as the
Custom Shop 50
RRP:1099
MJW
Electra Grind 50W
Also available as a
30-watter for 100 less,
and as a Twang version
with 6L6s instead of EL34s
RRP:1075
MARSHALL
1959HW
There isnt a 50W amp in
Marshalls current
Handwired range, but you
could always buy this 100W
beast and ask everyone to
stand a bit further away
RRP:1700
REVIEW
GUITAR AMP
589
JULY 2013 Guitar & Bass 59
MARSHALL
Small is beautiful? Phooey, say Marshall and the guy in the top hat,
putting their heads together to cook up a practice amp that sticks
up two ngers in the face of portability. Review by Huw Price
SL5 Slash Signature combo
U
ntil recently most peoples
idea of a practice amp would
be something small, light and
low in volume, but things are
changing. We reviewed Tony Iommis
Laney practice amp, and it turned out
to be a 15W bruiser that would be loud
enough for many of us to gig with. The
SL5 from Marshalls Signature Series
certainly ticks the low-wattage box with
5 Watt and 1 Watt settings, but its got
a 12" Celestion Vintage 30 and weighs
in at a hefty 20.5kg. Not that were
complaining; the problem with small-
box amps is that many sound small and
boxy. For practicing, most of us want
the best possible tone at low volume, so
low-wattage amps in full-sized cabinets
usually deliver good results.
The SL5 was conceived and designed
closely with Slash, and Marshall says
Slash was intimately involved at every
stage. Its tempting to picture Slash
sitting in Milton Keynes with Marshalls
technicians, soldering iron at the ready
and taking his turn to put the kettle on.
Slash himself says its just not always
possible or practical to have a Marshall
half stack let alone a full stack in
your bedroom. Many will empathise,
having endured arguments on that very
theme. It seems touching that global
superstars are not exempt. So here it is:
a portable tube amp that promises the
essence of Marshalls monster AFD100
in a smaller package.
The SL5 is an all-valve combo
featuring three preamp valves and
a single EL34 running in Class A (we
should point out that all single-ended
amps run in Class A). Its common
practice to select an EL84 or 6V6 output
valve when a designer is shooting for
around 5W, so its interesting that
Marshall opted for an EL34 the valve
that has become almost synonymous
with the Marshall sound.
The SL5 has no shortage of features.
There are two channels clean and
overdrive and the clean channel gets
its own Volume control. The overdrive
channel has Gain and Volume and both
channels share the tone controls. Its
the classic Marshall array with Treble,
Middle, Bass and Presence.
Unusually, perhaps, the SL5 is also
equipped with digital reverb, and
there are two inputs. The high
Slash was intimately involved with the
SL5 and its tempting to imagine him in
Milton Keynes, putting the kettle on

An added speaker out


gives the option to
connect an 8 Ohm load
FACTFILE
MARSHALL SL5
DESCRIPTION: Twin channel
switchable 5W/1W valve
combo with 12" Celestion
Vintage 30, reverb and
footswitch. Made in China
PRICE: 589
CONTROLS: Volume (clean),
Gain & Volume (overdrive),
Treble, Middle Bass, Reverb
and Presence
VALVES 1 x EL34, 3 x ECC83
DIMENSIONS 19.5" wide x
11.5" deep x 20" high
WEIGHT 20.5kg/45lbs
CONTACT: Marshall
01908 375411
www.marshallamps.com
REVIEW
GUITAR AMP
589
60 Guitar & Bass JULY 2013
Marshall amps have been around
long enough for the term classic
Marshall sound to mean different
things to different generations. The SL5
is less about the 70s and more about
the 80s and beyond. Its a crunchy,
grinding plug-and-play rock amp that
works brilliantly with humbuckers for
rhythm and lead alike. Bright single coil
pickups may need quite a bit of treble
rolled off on the overdrive channel, but
theres still great tone to be had with a
bit of tweaking.
Verdict
The SL5 justies its practice tag on low
wattage alone, because in all other
respects its a regular guitar amp. It also
costs a lot for a 5W amp in fact you
could buy various giggable 15W or 20W
combos for the same or even less
money, and on that basis buying a
power break for your regular amp may
be a more cost-effective option. Having
said that, the generously-proportioned
closed back cabinet does wonders for
the sound. Better still, rock players will
nd everything they could ask for in a
low-wattage Marshall valve amp, and
the tone is good enough for the studio
as well as the bedroom. So long as you
dont need an amp you can lug around
on public transport, its ideal.
The reverb control enhances the
slightly uninspiring clean channel and
adds a bluesy vibe to mildly overdriven
sounds, but were not convinced that
reverb is appropriate for high-gain
guitar tones. It tends to muddy the issue
when avoiding muddiness is the priority.
Sheer volume often hides a multitude
of sins or, in the case of heavy guitar
amps, nasty harmonic distortions, but
the SL5 doesnt display any fuzziness
or odd beating overtones and chord
inversions ring true and clear even with
the gain cranked up. We also like the
way that the SL5 cleans up from the
guitar volume; it retains a sparkling
clarity and you can use the guitars
volume as a virtual gain control.
To explore the SL5s full palette you
must investigate both inputs. Hitting
the overdrive channel from the low
sensitivity input opens up the lower
gain range. Similarly, feeding the clean
channel from the high sensitivity input
livens things up and the sound even
takes on a throaty overdrive when the
volume is maxed out.
Many amps seem to lose bass and
clarity when theyre switched to low
power mode. Not so the SL5: the tone
remains remarkably consistent, which
suggests that theres more going on
than simple pentode/triode switching.
Theres still enough volume available
to drown out an acoustic guitar, but
its denitely more neighbour friendly
than the surprisingly loud 5W setting.
sensitivity input is suggested for low
output guitars and the low sensitivity
input is for normal output guitars.
The high sensitivity input provides an
extra 6dB of gain and regardless of your
pickups, its useful if you wish to drive
the amp harder.
On the back panel theres a switch
to set the power level to 5W or 1W; the
SL5 must be in standby mode to do
this. A jack socket is provided for the
footswitch, which overrides the front
panel to swap channels and activate the
reverb. There are two speaker outputs,
8 and 16 Ohm, but they can only be used
one at a time. The onboard speaker
connects to the 16 Ohm socket.
Sounds
Since this is Slashs amp we reached
straight for a 50s LP replica. One strum
and there were smiles of recognition
all round. The SL5 is like a bonsai
Marshall small but perfectly formed.
The two channels are very different,
with the clean channel having plenty of
headroom and a warm, fulsome tone.
The overdrive channel is voiced with
denitive Marshall bite, and even with
the gain down low the sound is never
entirely clean. Turn the gain up a couple
of notches and the SL5 bursts into life.
From here things move progressively
from heavy rock to blistering gain,
and the middle control exerts a strong
inuence on the character of the tone.
The SL5 is a bonsai Marshall with warm
cleans and an overdrive side that can
move from heavy rock to blistering gain
A dual footswitch allows you to
switch channels and turn the
reverb on and o
The EL34 output valve is an
unusual choice for a
single-ended amp design TOTAL
87%
FINAL SCORE
MARSHALL SL5
Build quality 17 / 20
Playability 17 / 20
Sound 18 / 20
Value for money 17 / 20
Looks 18 / 20
Like this?
Try this...
Laney
L5T112 Lionheart
An all-valve 1x12" 5W
combo with a Celestion
Heritage G12H speaker, two
channels and a Class A
output stage with a EL84
valve. Controls include
Clean Volume, Drive, Drive
Volume, 3-band EQ, Reverb,
Tone, and Bright switch. A
footswitch and a cover
come included
RRP: 574
Blackstar
HT-5C
A 5W 1x12" combo with a
Blackbird 50 speaker, one
ECC83 and one 12BH7, two
channels (clean/overdrive),
and controls for Volume,
Treble, Middle, and Bass;
clean channel has controls
for Volume and Tone.
Speaker emulation (1x12"
or 4x12"), headphone
output, FX loop, speaker
output, and MP3/Line In
RRP: 341
62 Guitar & Bass JULY 2013
MESA/BOOGIE
Tone-Burst & Throttle Box
T
his years NAMM show saw
the launch of a new series
of stompboxes from amp
specialists Mesa/Boogie. It
isnt the frst time this California-based
company has taken to the foor, but
previous foot pedals have been on
the pretty sizeable side, whereas this
latest line keeps the measurements
much more compact. Unsurprisingly
aimed at the rock guitar market, the
range currently comprises a quartet of
models, with the majority frmly focused
on delivering distortion and overdrive.
All four share the same space-
friendly size, with dimensions
conveniently adopting the footprint
of an average compact effects pedal.
The rectangular shape may be pretty
standard but the styling is typically
Mesa/Boogie, being classy in an
understated kind of way. The innards
are encased in a sturdy and seemingly
bombproof metal box, with each model
identifed by a differing and durable-
looking crackle fnish. This is contrasted
by a fascia panel thats attractively
executed in etched black aluminium.
Theres certainly nothing girlie about
the end results, which are in keeping
with Mesa/Boogies macho image.
Even the pedals names are predictably
FACTFILE
Tone-BursT
DEsCrIpTIoN:
Boost/overdrive pedal.
Made in the USA
prICE: 169
CoNTroLs: Level, Gain,
Bass, Treble
CoNTACT: Westside
Distribution
0141 248 4812
www.mesaboogie.com
Like this?
Try this...
Fulltone
Fat-Boost FB-3
An equally compact and
similarly-equipped
alternative that supplies up
to 35dB of undistorted gain
rrp: 143
Xotic
rC Booster
Another compact booster
boasting four active
controls and 20dB of
additional output
rrp: 200
Best-known for high quality amps, Mesa/Boogie
has decided the time is right to enter the compact
stompbox arena and the results are guaranteed to
grab your attention. review by Roger Cooper
review
JULY 2013 Guitar & Bass 63
EffEcts pEdaLs
169 & 189
butch, with the flux-drive and Grid
slammer partnered by the equally
evocatively named tone-Burst and
throttle Box, the latter pair being put
through their paces this month.
Tone-Burst
clad in a dark red casing, the tone-
Burst totes a quartet of controls. these
are topped by vintage-style, rib-sided,
black plastic knobs, with a white line
and dot on each providing easily seen
position references. spacing is close but
still convenient and the controls stay
suffciently clear of the traditional-type
metal on/off footswitch, while a red
LEd visually indicates operation of the
latter. a Level pot determines output
volume, while Gain governs the amount
of overdrive. the self-descriptive Bass
and treble controls are centre-detented
and active, delivering appropriately
augmented departures from their fat
response settings.
the jack sockets are side-mounted
and follow the established signal path
logic of right in and left out. power
is supplied by the usual 9v battery,
which is accessed by removing the four
screws that secure the baseplate. this
isnt the speediest or most convenient
method of course, but it seems to suit
the no-nonsense image of these pedals.
the obvious alternative is to employ a
suitable mains supply adaptor and the
usual input for this purpose is provided
in the front of the casing. the absence
of any grippy material on the baseplate
makes it easier to mount the pedal on a
board by whatever method chosen, but
for free-standing use a set of small, self-
adhesive feet is included to help keep it
anchored in position.
Sounds
Unlike its stablemates, the tone-Burst
is essentially a boost box that delivers
up to 20dB of extra output. this stays
suitably clean and can be employed
either for similarly unsullied solo work,
or to make an already overdriven
amp work harder. advancing the Gain
control adds some obvious grit to the
sonic proceedings, but this is more for
dirtying up aural edges and stops well
short of fat-out flth.
the EQ section certainly lives up
to the tone-Burst title, providing the
potential for anything from subtle
FACTFiLe
ThroTTle Box
dEscription:
Overdrive/distortion pedal.
Made in the USA
pricE: 189
controLs: Level, Gain, Mid
Cut, Tone, Lo/Hi gain switch,
internal Boost switch
contact: Westside
Distribution
0141 248 4812
www.mesaboogie.com
that adds all the requisite thud and
punch, going from typically scooped to
an edgy, upfront midrange. the throttle
Box can also be reined in enough to
provide a passably rough and ready,
contemporary blues performance, but
this means all that extra hooligan gain is
then left going to waste.
Verdict
the modern pedal market is pretty
crowded, especially where distortion
and overdrive effects are concerned, but
Mesa/Boogie obviously thinks theres
room for a few more. on the evidence of
these two the company could be right,
as they certainly deliver sound-wise,
courtesy of usefully effective and
wide-ranging controls, while build
quality is up to the equally high standard
expected of Mesa/Boogie products. the
tone-Burst does exactly what it says on
the classy-looking can, while its partner
is very much like a Boogie in a box. the
asking prices arent cheap, but theyre
less than those charged for many more
amateurish boutique-style stompboxes,
and the money buys Mesa/Boogie-style
professional performance plus looks to
match, which could prove to be a
winning combination.
totaL
87%
final score
tHrottLE BoX
Build quality 18 / 20
Playability 17 / 20
Sound 18 / 20
Value for money 16 / 20
Looks 18/ 20
totaL
84%
final score
tonE-BUrst
Build quality 18 / 20
Playability 16 / 20
Sound 18 / 20
Value for money 15 / 20
Looks 17/ 20
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Try this...
Bogner
Uberschall
Comprehensive controls
plus a boost function
provide big performance,
but this stompbox also
takes up more real estate
rrp: 199
Mxr
fullbore Metal distortion
The name says it all, with
sounds to match supplied by
controls that usefully
include a midrange sweep
rrp: 139
enhancement to larger-than-life
alterations. the trick is to fnd the right
blend and balance of all four pots that
best suit personal sound and playing
style. this may take a little time, but the
end results justify the effort involved
and can make it tempting to leave the
pedal in permanent operation.
Throttle Box
the all-black throttle Box also employs
the services of four controls but adds
a small, two-way toggle switch in the
centre. the pot count again includes
Level and Gain, which function as on
the tone-Burst, although parameters
are more extreme. the EQ side is also
covered by two controls, but these
arent centre-detented and they
perform different duties. Mid cut does
exactly that, progressively reducing
midrange response, while tone most
obviously affects treble content. the
mid-placed mini-switch selects either
Lo or Hi settings, which affect gain via
differing degrees of signal saturation.
apart from a yellow LEd all else
seems pretty much the same as on
the tone-Burst, but the throttle Box
actually incorporates an extra facility
courtesy of an internal, circuit board-
mounted Boost switch. this affects the
amount of gain and low end available,
allowing signifcant additional tweaking
to suit personal taste and playing style.
Sounds
the throttle Box resides at the opposite
of the sonic spectrum to the tone-
Burst, as the latter is decidedly shy and
retiring in comparison. forget about
subtle dirty work, because virtually
from zero the throttle Box lives up to its
name in terms of delivering increasingly
ample amounts of over-the-top
distortion. these are tailor-made for
anything from classic rock to modern
metal, ably assisted by a tonal range
The Throttle Box delivers over the top
distortion suitable for anything from
classic rock to modern metal
REVIEW
ACOUSTIC GUITAR
135
JULY 2013 Guitar & Bass 65
PEAVEY
Fancy a parlour guitar with a little more oomph that could
also be a holiday buddy, but dont want to sell a kidney?
Peavey takes on the challenge. Review by Martin Wheeler
Composer Parlour
Acoustic Guitar
A
lthough its a traditional
wooden acoustic instrument,
the genesis of the Composer
can be traced back to 2010
when Peavey bought Composite
Acoustics, a company specialising in
carbon bre and graphite instrument
building. The rst post-CA Peavey
instruments were designed with
features gleaned from the feedback of
original Composite Acoustics players.
The resulting top-end guitars were well-
received, and it seems that some of the
design ethos has trickled down to this
entry-level Composer.
Peavey is aiming to offer a parlour-
size musical instrument made for
guitarists who want the tone and
craftsmanship of a full-size instrument
with the comfort and playability of a
parlour guitar. Theyve also tagged it
as a travel guitar, and a quick glance at
the price may lead you to suspect that
serious corners have been cut. Happily
this doesnt seem to be the case, but
one suspects that theyve had a close
look over the shoulders down at their
new CA division for inspiration and have
done more than ape the aesthetics of
the pricier carbon bre instruments.
In doing so theyve made a very astute
choice: copying the solid, neutral tonal
characteristics of carbon bre on a
shoestring budget by using tough but
tonally inert laminates and plywood is a
logical, clever step, as is combing these
materials with a fairy dust sprinkling of
CA design to improve acoustic tone.
Weight and playability are big factors
in any travel instrument so the body
outline owes more than a passing
resemblance to the Peavey Composite
Cargo guitar but in a slimmed down,
sleeker form. Also inspired by the
classic tightly-waisted parlour but with
an added Florentine cutaway, it looks
great to us and also affords excellent,
effortless upper fret access.
The most obvious deviation from
the norm is the soundhole position in
fact there are two, and neither are in
the usual central position in front
Some of the design ethos of the high-
end Composite Acoustics has trickled
down to the entry-level Composer

Teapdrop
soundhole on
the upper bout
The nut is
slightly narrow
for a parlour,
but the neck is
playable
FACTFILE
PEAVEY COMPOSER
PARLOUR
ACOUSTIC GUITAR
DESCRIPTION:
Parlour-sized steel string
acoustic. Made in China
PRICE: 135
BUILD: Laminated spruce
top, Indonesian agathis
plywood sides and back with
18-fret bound Indonesian
rosewood ngerboard.
Malaysian nato neck,
Indonesian rosewood
bridge, chrome tuners
OPTIONS: Sunburst nish at
same cost
LEFT-HANDERS:No
FINISH: Satin
SCALE LENGTH:
628mm/24.75"
NECK WIDTH:
Nut 45mm
12th fret 52.6mm
DEPTH OF NECK:
First fret 22mm
Ninth fret 25.2mm
STRING SPACING:
Nut 34mm
Bridge 52mm
WEIGHT: 3kg/1.34Ib
CONTACT: www.peavey.com
REVIEW
ACOUSTIC GUITAR
135
66 Guitar & Bass JULY 2013
Verdict
So what is this guitar? Peavey calls it
both a parlour and a travel guitar, but
its neither. Its too big to be a travel
guitar, especially if compared to the
specialist folding and mini-me guitars
out there, and it wouldnt t in the
overhead locker on a plane and its
not a true parlour either. Peavey set
themselves a tough target: build a small
guitar but make it sound and feel more
like a full-size acoustic oh, and make it
super-affordable. Its a bold attempt to
offer something unusual but functional
by using budget materials in an
innovative way, and all for little money.
Mostly, theyve succeeded. The
cost-effective materials offer strength;
therell always be a certain aura
associated with them, but to create a
strong soundbox and then use clever
design to produce a deeper bass than
might otherwise be possible is a neat
trick. About all, Peavey should be
congratulated for keeping the money
down. It would make an excellent rst
steel-string for the kids or a knockabout
for the living room or home studio. Its
small and light enough to carry around
easily, and if it did get damaged it could
be easily replaced. Perhaps not quite
the unique selling point Peavey were
aiming for but it may be a deciding
factor for the cash-strapped guitarist at
home or abroad.
binding, dots and nish are all excellent
at this price range; the fret tops would
benet greatly from a polish, but thats
easy enough to do post-purchase.
Sounds
Laminated spruce and plywood wouldnt
ordinarily be at the top of a building
specication list of great tone woods,
and on a regular-shaped acoustic wed
be quite sure of what to expect. In the
context of the Composer, however, the
resultant tone is surprisingly pleasant.
Single-note runs particularly display a
sweetness and almost fragile quality,
with surprisingly swelling sustain.
Theres some twang in there if you go
looking for it, and upper fret access past
the 12th fret neck join makes melodic
excursions absolutely effortless.
With a 24.75" scale length the playing
feel is familiar enough and ngering
down at the nut feels no more cramped
than on a standard dreadnought.
Fingerpickers and fans of the wider
parlour-style nut and string spacing
may nd it a bit of a squeeze, but there
is an overall chiming clarity that the
price really belies.
Despite the soundhole placement
this guitar lacks true solid bass end
response and its never going to be
the loudest acoustic strummer out
there. Without A/B testing the same
design with a traditional soundhole its
impossible to say exactly what impact
the design has but the lack of brittle top
end or harsh wound strings suggest that
theres denitely something to it.
of the bridge. Theres the large curved
opening on the bass side top, and also
a teardrop hole positioned on the side
on the bass side, to be exact, on the
lower bout. The look is unusual but the
presence and placement are primarily
designed to offer more volume, and
also a better tonal balance across the
frequency range from the smaller
bodied guitar than a regular soundhole.
The laminated spruce top measures in
at 5.6mm thick which is at the chunky
end of accepted top building thickness,
so here one assumes its there to add
strength over resonance.
The nish is all satin natural for
the top and just a wee shade away from
being black on the back, sides and neck
between the front and back binding.
A decent-looking piece of rosewood
makes up the bridge and the regular
bridge pin stringing and angled saddle
are once again pure trad.
The soundhole placements afford a
good view of the internals and although
theres little to trouble NASA here, all
the glue lines are clean and the bracings
sanded to a more than acceptable form.
The tidy-looking neck is carved from
nato (a vaguely mahogany-related
variant) and the fairly deep neck
section adds a sense of solidity to what
is otherwise standard fare. Fretting,
The Composer would make a great rst
steel-string for the kids or a knockabout
for the living room or home studio
The side port is unusually
positioned on the lower
bout, not the upper
Deep cutaway makes
upper-fret noodling a breeze TOTAL
86%
FINAL SCORE
PEAVEY COMPOSER PARLOUR ACOUSTIC
Build quality 17 / 20
Playability 17 / 20
Sound 16 / 20
Value for money 18 / 20
Looks 18/ 20
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Try this...
Fender
CP-100
Laminated spruce and
mahogany construction
with rosewood bridge and a
neat sunburst nish
RRP: 178
Alvarez
AP70
Slim-necked parlour in
spruce top and rosewood
with an 18-fret bound
rosewood ngerboard.
Rosewood bi-level bridge,
bone nut and saddle,
chrome open gear tuners
and twin strap buttons
RRP: 335
Emerald
X5-OS
Higher up the market and
featuring a carbon bre
build including a hollow
neck for ultra lightweight
resonance and a B-Band
pickup system
RRP: 599
REVIEW
ACOUSTIC GUITAR
799.95
JULY 2013 Guitar & Bass 69
FRESHMAN
With solid Englemann tops, solid rosewood back and sides, cutaway
options and Fishman electrics, these Cedar Creek guitars from Freshman
look to have what it takes. Review by Huw Price
FA400D & FA400GACE/F
A
lthough both these guitars
form part of Freshmans
Cedar Creek series, neither
one has a cedar top. Both
have solid Engelmann spruce tops with
a pale and almost creamy sheen; theyre
AAA-grade, so wed have to conclude
that the grading scheme that Freshman
employs involves tap tone as well as
appearance. The Grand Auditorium has
straight but widely-spaced grain with
an even colour, while the dreadnought
has tighter grain and the shade varies
noticeably each side of the centre joint.
Both are attractive but we dont think
the slightly opaque gloss nish does the
spruce many favours.
In contrast the back and sides look
gorgeous. Both guitars are graced
with solid Indian rosewood of a deep
chocolaty brown with subtle shades
of purple, and it contrasts really well
against the pale Canadian maple
binding on the front and back.
The necks are three-piece mahogany
with a stacked heel and a scarfe-
jointed headstock. You might expect
the proles to be identical, but the
Grand Auditorium has a slim, almost
electric neck prole while the deeper
C prole gives the dreadnought a
more traditional acoustic feel. Both
necks are treated to 20-fret rosewood
ngerboards with black bound edges
and pearl dots. Pearl logos grace the
rosewood peghead overlay and gold-
plated Grover tuners with lightweight
black buttons complete the look.
Some modern Grovers are sloppy and
vague but these are smooth and precise
and allow you to tune up or down with
ease and accuracy.
The nish may be glossy but the
adornment ends there; Freshmans
styling is neat, understated and bling-
free, with only a few bands of mahogany
forming the rosette. The crimson hue
of the pickguards does look a bit plums
and custard against the colour of these
tops and if youre used to the Martin
look then they might appear to be at a
bit of an odd angle.
Besides the shape, size and
After one strum you know its a solid
wood guitar; the FA400D is loud and
punchy with deep bass and a crisp treble

Classic-looking
headstock and
smooth Grover
tuners
The electro
GACE/F has a
sweet cutaway
FACTFILE
FRESHMAN
FA400D
DESCRIPTION: Dreadnought
acoustic. Made in China
PRICE:799.95 inc. hard case
BUILD: Solid Engelmann
spruce top, solid rosewood
back and sides, 20-fret set
mahogany neck, rosewood
ngerboard and bridge,
compensated saddle,
Grover diecast tuners
ELECTRICS:None
LEFT-HANDERS: No
FINISH: Natural gloss
SCALE LENGTH:
650mm/25.625"
NECK WIDTH:
Nut 43mm
12th fret 53mm
DEPTH OF NECK:
First fret 18mm
Ninth fret 21mm
STRING SPACING:
Nut 35mm
Bridge 52mm
ACTION AS SUPPLIED:
12th fret treble 2.5mm
12th fret bass 3mm
WEIGHT: 2.1kg/4.6lbs
CONTACT: Access All Areas
01355 228028
www.freshmanguitars.net
TOTAL
87%
FINAL SCORE
FRESHMAN FA400D
Build Quality 18 / 20
Playability 17 / 20
Sound 18 / 20
Value for money 16 / 20
Looks 18 / 20
Like this?
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Eastman
E8D
All-solid sitka/rosewood
dreadnought with bone
saddle and nut,and a nitro
nish. Case included
RRP: 759
Cort
Earth 1200NT
Another all-solid sitka/
rosewood dreadnought but
with a shorter 643mm
scale, abalone inlays and
gold-plated Grover tuners
RRP: 630
Blueridge
BR-160NA
Lots of glam with solid
spruce and rosewood,
herringbone, split diamond
inlays, bone saddle and
nut, Dalmatian pickguard,
open-gear tuners
RRP: 652
neck prole both guitars are more or
less identical, but the F in the Grand
Auditoriums model designation
refers to a Fishman Presys Blend
REVIEW
ELECTRO-ACOUSTIC GUITAR
999.95
70 Guitar & Bass JULY 2013
name brands, yet both these guitars
offer really good value for money and
we cant really quibble about the
quality. The Grand Auditorium is a ne
acoustic instrument and the pickup
system does it justice. As for the
GA400D, its one of the most enjoyable
dreadnoughts weve seen in a while and
it comes highly recommended.
body creates a very different
character. Rather than the
dreadnoughts muscular exuberance,
the FA400GACE/F has a dynamic
thump and a crisper, more dened
sound. Its a guitar for the dedicated
ngerpicker rather than the strong
armed-strummer. The mids sound
more balanced with the highs and
lows, and impressive string-to-string
balance makes it forgiving to play. The
FA400GACE/F does have a slightly
stiffer feel than the dreadnought and
it isnt quite as responsive to a gentle
touch, but wed expect that to improve
after a playing-in period.
We ran the pickup system into a
studio monitor setup. The microphone
alone sounds fairly bright and bass
light, but it does add some airy detail to
the dry pickup tone. It also makes the
system more susceptible to feedback
and can accentuate noises that are
transmitted through the body. In
contrast the undersaddle pickup is
mellow and full-bodied. With the tone
controls, notch lter and blender
its possible to dial in a vast range
of tones and deal with feedback
issues, to some extent. Were
pleased to report that the
Presys system produces an
impressively acoustic sound,
but the GA400GACE/Fs solid
body resonance probably
means its more compatible
with solo or small ensemble work
than full-on rock bands.
One thing we noticed by accident was
that the placement of the control panel
affected the sound from a players
perspective. All around the edges
theres a gap that directs sound up
towards the player to create a brighter,
more open tone. Place your hand over
the unit, and the tone mellows out.
Verdict
Some minor tweaks would lift these
guitars into a higher league. The
pickguard colour is a matter of taste
and you wont be able to do anything
about the nish build-up around the
ngerboard tongue, but wed suggest
that these guitars would look and sound
even better with real bone for the
saddle and nut. Despite a steadily
climbing reputation Freshman hasnt
yet acquired the glamour of some big
pickup system thats side-mounted
on the upper bout. The control panel
has a built-in tuner, a master volume
and Bass, Middle and Treble EQ
controls, plus a phase switch, a notch
lter and a mic blend control that
balances an internal microphone with
the undersaddle piezo pickup. The
unit unclips on one side and swings
outwards to provide battery access.
FA400D
One strum and you will be in no doubt
that youre playing a solid wood guitar.
The FA400D is loud and punchy, deep
in the bass and crisp in the treble. The
bass notes dont quite have the snap
and focus of a good OM or 000 but you
can feel it in your chest and it provides
a low, almost humming drone that
underpins open tuning adventures to
delicious effect. The dynamic response
is superb; play gently and the GA400D
responds with a delicate but complex
whisper, then add some power and it
starts to roar. This may be a brand-new
spruce guitar, but already the treble is
showing a degree of sweetness that will
only improve with age.
The tonal range is excellent too.
Play near the neck and the GA400D
sounds sweet and fulsome; move your
picking hand towards the bridge and
the GA400D responds with a glistening
sprang. In fact the contrast is so
pronounced, its akin to changing pickup
settings on a Telecaster.
FA400GACE/F
Despite the identical materials and
build spec, the Grand Auditorium
The FA400GACE/F has a crisper, more
dened sound; its a guitar for the
ngerpicker rather than the strummer
FACTFILE
FRESHMAN
FA400GACE/F
DESCRIPTION: Grand
Auditorium acoustic guitar.
Made in China
PRICE:999.95 inc. hard case
BUILD: Solid Engelmann
spruce top, solid rosewood
back and sides, 20-fret set
mahogany neck, rosewood
ngerboard and bridge,
compensated saddle,
Grover diecast tuners
ELECTRICS: Fishman Presys
Blend system
LEFT-HANDERS: No
FINISH: Natural gloss
SCALE LENGTH:
650mm/25.6"
NECK WIDTH:
Nut 42mm
12th fret 53mm
DEPTH OF NECK:
First fret 17mm
Ninth fret 19mm
STRING SPACING:
Nut 35mm
Bridge 52mm
ACTION AS SUPPLIED:
12th fret treble 2mm
12th fret bass 3mm
WEIGHT: 2.1kg/4.62lbs
CONTACT: Access All Areas
01355 228028
www.freshmanguitars.net
TOTAL
85%
FINAL SCORE
FA400GACE/F
Build quality 18 / 20
Playability 17 / 20
Sound 16 / 20
Value for money 16 / 20
Looks 18 / 20
Like this?
Try this...
PRS
SE Angelus Custom Piezo
Mr Smiths acoustic oering
has a solid sitka top,
laminated rosewood sides,
solid rosewood back,
mahogany neck, ebony
fretboard, bird inlays, ebony
bridge, bone saddle, bone
nut, PRS piezo pickup, PRS
SE tuners. Comes with case
RRP: 898.95
Takamine
TAN45C
Described as a NEX shape
with cutaway, this solid
cedar-topped guitar has a
solid Indian rosewood back,
a CTP2 preamp with an
integrated tuner, and a case
RRP: 875
Furch
G-22 SR
A grand auditorium with a
solid spruce top, solid
rosewood back and sides,
mahogany neck, ebony
fretboard, bridge and
headstock and a natural
high polish nish.
Price includes case
RRP: 1086
Fishmans Presys
panel comes with
tuner, a full EQ and
feedback-killing tricks
EHX_Multi_GB_July2013.indd 1-2 5/20/13 3:03 PM
EHX_Multi_GB_July2013.indd 1-2 5/20/13 3:03 PM
JULY 2013 Guitar & Bass 75
HOFNER
Its time to don a leather jacket, quiff up your hair, shorten
your strap to chin-tickling length, plug into the bands shared
Vox AC30 and party like its 1963. Review by Gareth Morgan
Contemporary Series
500/5 President Bass
A
lthough Hofner has been
making guitars since the
1930s, the company will
always be best known as
the one who made instruments played
by the Beatles. For some this conjures
up images of the Club 40 or President
guitars played by Lennon and Harrison,
but most especially members of
the Bass Players Union instantly
think of the little Violin bass that Paul
McCartney bought in a Hamburg music
shop sometime around May of 1961.
But theres more Hofner/Beatles
history than just that, for the man
holding down the bass job before
McCartneys enforced switch was Stuart
Sutcliffe, and his choice of Hofner bass
was a little different he chose the
single-cutaway acoustic archtop model
known at the time simply as the Hofner
Electric Bass. Although Sutcliffe didnt
endure as a bassist, the bass carried
on, renamed as the President in 1963
with the same shape and basic layout
(although with rotary controls on some
models and different pickups).
Fast forward 50 years, and Hofner
has re-elected the President as
part of their Chinese-manufactured
Contemporary Series. First, note that
the President is a true hollowbody
with no centre-block light, but big.
The top is spruce, punctured by a pair
of f-holes, and the back and sides are
sumptuous ame maple, with the back
being a two-piece affair. All the edges,
including the f-holes, are bound in
either creamy white or a black/white
multi-ply combination, and the old-
school Hofner logo sits in its rightful
place above the neck. Hofner has
chosen not to t a pickguard, a feature
present on both early Electric Bass and
President models; it half-obscured the
lower f-hole and, to be honest, its no
loss. The neck is attached to the body
via the set-in method (a mortis-and-
tenon or dovetail joint secured using
appropriate adhesive) and the heel is
capped with synthetic cream pearl. The
maple neck has a central beech stringer
running from tip of headstock to heel of
maple and its slim C contour is really
comfortable under the hand,
The Beatles Stuart Sutcliffe played a
Hofner Electric Bass, the model which
was later renamed the President Bass

Rectangular
pearloid tuner
buttons are a
great touch
Fully bound body
with laminated
maple back and sides
FACTFILE
HOFNER
CONTEMPORARY
SERIES 500/5
PRESIDENT BASS
DESCRIPTION: Hollowbody
bass. Made in China
PRICE: 659
BUILD: Spruce top, ame
maple sides and two-piece
ame maple back, all fully
bound. Set three-piece
maple neck with beech
insert and cream binding
with 22 medium nickel frets
(plus zero fret) on a
rosewood ngerboard.
Wilkinson tuners with pearl
buttons, Hofner ebony
bridge and nickel tailpiece.
Chrome/nickel hardware
ELECTRICS: Passive with two
Hofner Staple Black Bar
pickups. Two volume
controls, Bass on/o,
Treble on/o and
Rhythm/Solo switches
LEFT HANDER: No
FINISHES: Sunburst only
RANGE OPTIONS: None
SCALE LENGTH:
760mm/30"
NECK WIDTH:
Nut 42mm
12th fret 48mm
DEPTH OF NECK:
First fret 19mm
12th fret 22mm
STRING SPACING:
Nut 12mm
Bridge 1mm
ACTION AS SUPPLIED:
12th fret treble 2mm
12th fret bass 3.5mm
WEIGHT: 3.51/7.74lbs
CONTACT: Barnes & Mullins
www.bandm.co.uk
REVIEW
BASS GUITAR
659
REVIEW
BASS GUITAR
659
76 Guitar & Bass JULY 2013
President plays well all over the neck,
and notes in the higher registers have a
sweet and singing quality.
Switch to the centre/bridge pickup
and this Hofner sounds a lot spikier.
The bass end becomes tighter and the
focus of the midrange shifts towards
the high side, giving the E, A and D a
brighter punch thatll push you further
forwards in the mix. Its the nearest
that the President can get to sounding
modern. The G string has a bit of a nasal
edge, but the treble response is still
nice and even, if not as sweet. All the
same, upper-fretboard melodics are still
rewarding pastimes.
Incidentally, selecting the Rhythm
simply knocks the volume down with no
discernible change in tone great for
any gigs where you get to play lead on
top of the band: use the Rhythm setting,
and just ick the switch to Solo.
Verdict
Sometimes you only really have to look
at a bass to know exactly how its going
to sound. Thats the case with this
Hofner; that big body, those retro looks
the President is all about the thud and
the groove. Once youve got used to the
physical issues involved in playing it,
theres a lot of fun to be had. The only
issue is the price, especially as you can
get a good quality acoustic bass for
about half this money, but come on is
there any acoustic bass out there that
looks even half as cool?

Double-Plate Flick-Action Console. Its
essentially an oblong plastic plate with a
tortoiseshell face that houses a volume
for each pickup and three switches
two for turning pickups on or off (Bass
on/off, Treble on/off) and Rhythm/Solo
where selecting rhythm provided a 70
per cent reduction in the set volume. It
still appears to work in the same way.
Sounds
When you sit down to play the President
the only thing about it that feels big is
the body. The neck is very much on the
narrow side; add the 760mm/30" scale
and its a real joy to play, weighing next
to nothing and balancing beautifully
on your lap. It just takes a bit of time to
get used to fact that the comfortable
playing position involves positioning
your right elbow a couple of inches
forwards of your chest.
Acoustically its excellent, with plenty
of projection and an honest, earthy
tone with a pleasing thud and evenness
across the fretboard. Plugging in, the
D and especially the G strings acquire
a slight nasal tinge which actually do
help give a little more shape to the note.
The midrange is smooth and solid with
a weighty punch, while the bottom end
is big and warm, giving a real feeling of
air being shifted when you play in the
low register. Overall, it sounds just the
ticket for laidback pop or blues.
If you love the Hofners acoustic
tone, then the best way to replicate
that plugged-in is to solo the neck
pickup, giving a light, woody sound with
a distinct acoustic archtop rasp and a
denite roots, folk and jazz feel. The
almost as if to balance the problems
caused by the bulk of its body. The
headstock is bound in cream with a
repro of the original oral logo and a set
of appropriately diminutive Wilkinson
tuners with pearl buttons. A three-ply
plastic nut organises the string-spacing
over the zero fret, and the rosewood
ngerboard carries 22 frets. Theres a
triumvirate of dots at the 12th fret and
were glad Hofner didnt make it three
dots at each point, a fussy feature youll
nd on original President basses.
Hofner has employed a traditional
oating ebony bridge complete with
the typical fretwire saddles plus a
nickel trapeze tailpiece. Needless to say,
intonation adjustments are not easy and
youd be wise to seek the services of a
trained eye if the set-up goes skew-
whiff on you.
The President comes tted with
a pair of Hofner Staple Black Bar
pickups, in similar manner to the
late 50s/early 60s Electric Bass,
either the one or two pickup version
(the President model from 1963 had
chunkier chrome toaster units with
the bridge pickup just in front of the
bridge itself). Here you effectively get
one in the neck position and it couldnt
physically be any closer to the neck
and one placed in the centre. Presidents
from the 60s had four rotary controls
but this Contemporary version bears
a Type 2 control panel, described in
original Hofner sales literature as the
The Presidents neck pickup has a light,
woody sound with a distinct archtop
rasp and a roots, folk and jazz feel
The saddles are simple fretwire
sections sitting in grooves cut
into the top of the bridge
Two volumes, a Rhythm/Solo
level preset, and pickup-on
switches - but no tone controls
TOTAL
84%
FINAL SCORE
HOFNER PRESIDENT BASS
Build quality 18 / 20
Playability 16 / 20
Sound 16 / 20
Value for money 16 / 20
Looks 18 / 20
Like this?
Try this...
Ibanez
Artcore AGB200
Sweet semi-hollow
twin-humbucker bass with
a short 30" scale and a
snip at less than 300
RRP: 299
Epiphone
Jack Casady Bass
Replica of the 70s Les Paul
Signature bass, looking a
bit like an oset EB-2, with
a single humbucker and
clad in gold all over
RRP: 899
Hagstrm
Viking
Looking 60s to the max,
this semi-hollow
double-cutaway thinline
number has a six-position
rotary and oers single coil
and humbucking modes
RRP: 566
Distributed in the UK & Ireland by Source www.sourcedistribution.co.uk T: 020 8962 5080
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of stompboxes equally at home on stage or in the studio.
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review
JULY 2013 Guitar & Bass 79
Setting a new mark in the more decibels per kilogram arms race, this tiny 70W
combo packs some staggeringly grown-up tone. Review by Gareth Morgan
Double Four bass combo
totaL
93%
final score
PJB DoUBLe FoUR ComBo
Build quality 19 / 20
Playability 16 / 20
Sound 20 / 20
Value for money 18 / 20
Looks 20 / 20
RaLFR facility will reproduce its
like having a concealed extension cab.
Boosting mid makes things punchy
and refreshingly un-nasal, and pushing
treble gets you cut and bite without
increases in fret or fnger noise.
elsewhere, the aux section with its
level control works really well, giving a
clean reproduction of backing tracks in
whatever form you choose.
Verdict
the fact that a combo as small as this
can give you a clean, fully realised
sound with real depth is brilliant; but
the output level and quality of tone
make it a quite simply amazing little
unit. the RRP looks high but actually,
when you compare it to similarly specd
competition, its very reasonable and
while it doesnt come loaded with
effects, the Double Fours combination
of tonal quality and portability is
unbeatable. Buy one now!
T
he modern trend for down-
sizing and weight reduction
in bass amps is something
that should be applauded by
bass players of all generations and all
stylistic leanings and Phil Jones Bass,
alongside the likes of markbass, Genz
Benz and euphonic audio, has been
at the forefront of such developments
with its Briefcase and Bass Cub models.
PJBs Double Four combo is the latest
addition to this excellent line.
Built at PJBs own factory in China,
the Double Four is, in combo terms,
tiny, standing 170mm high, 281mm
wide and 204mm deep or, in other
words, about half the size of a compact
microwave oven. Cushioned by a choice
of two sets of rubber feet (you can
stand it up like a computer tower),
the cabinet is constructed from mDF,
used for its extra density and reduced
resonance compared to plywood. Its
coated in a hard epoxy coating (red,
white or, for 20 less, black) and this,
together with two PJB Neo Power type C
4 neodymium speakers, is the key to a
paltry payload of 4.02kg (8.86lbs). each
speaker is powered by its own highly
effcient Pulse Width modulation (PWm)
amplifer, a low-operating-temperature
system that helps maintain a tight,
punchy sound without muddiness or
boom. Behind them PJB has ftted a
Rectangular auxiliary Low Frequency
Radiator (RaLFR) which only deals in
the lowest frequencies and cuts the load
on the 4 units, therefore improving
effciency and power handling. It also
all amounts to a cone area greater than
that of an 8 driver.
as well as a three-band eQ offering
up to 18dB cut/boost, the control panel
features a chrome selector switch for
active/passive and global mute and an
aux section with mini-jack in and level
control for all your play-a-long needs.
You also get a headphone mini-jack
socket and a Line out jack socket.
Sounds
If youre harbouring any preconceptions
about the quality or size of tone youll
get from this little belter, cast them
adrift right now. and if youre expecting
ear-splitting volume and earth-shaking
bass response, forget that too. But do
expect a fully realised reproduction
of your basss sound with the same
qualities youd expect from a bigger
amp. active bass players may not need
recourse to the eQ so the key is a little
care in setting the input level: fick
it to High and start somewhere near
9 oclock and, verily, your tone will be
clean and natural-sounding, right down
to the B string if ftted. the quality of
sound is quite simply amazing.
If you do involve the eQ youll be
staggered at how much low end that
Like this?
Try this...
Markbass
micromark 50W combo
Incredible power-to-size
ratio and sounds superb
RRP: 369
Roland
Cube-60XL Bass
60W combo with eight amp
models and seven COSM
efects, plus a phrase looper
and power squeezer,
three-band EQ and tuner
RRP: 420
Line 6
LowDown Studio 110
For 239 you get 75W
output, four amp models
and four programmable
memories, synth bass and
compression
RRP: 239
PJB
BaSS amP
399
FACTFiLe
DOUBLE FOUR
DeSCRIPtIoN: Single
channel, 70W 2x4 digital
combo with two PJB Neo
Power Type C speakers, each
with one PWM amplifer, in
an internally braced and
acoustically damped 12mm
MDF cabinet. Made in China
PRICe: 399
CoNtRoLS: Input Level,
Bass, Mid and Treble,
Master Volume and Aux
Input Level controls.
Three-way selector switch
(Mute/Low/High), Aux In
and Headphone mini-jack
sockets, Input and Line Out
jack sockets
DImeNSIoNS: 170mm high,
281mm wide, 204mm deep
WeIGHt: 4kg/8.9lbs
oPtIoNS: Red at same price,
standard black at 379
CoNtaCt: Synergy
Distribution 0121 270 6485
synergydistribution.co.uk
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review
JULY 2013 Guitar & Bass 81
GUITAR effecT
195
spiteful your tone. Whether the era
control actually recreates some of the
greatest landmarks in rock and roll bass
history is not the point. What matters
in practice is that it enables fne-tuning
of your distorted sound, one happy
consequence of this being greater
variation. As with the B3K, the RRP is
on the high side but remember this is
high-quality hand-made kit and right up
there with the best available.
Y
ou may be familiar with the
name of Darkglass from the
excellent Microtubes B3K
cMOS Bass Overdrive pedal,
which ran the reviewing gauntlet in our
August 2012 issue (Vol 23/11). We liked
it enough to give it a special mention
in Decembers awards extravaganza
and now Douglas castros line of
designed-in-finland/hand-built-in-USA
pedals have been augmented by the
Microtubes Vintage, an overdrive and
tube amp emulator.
At 60mm wide, 112mm high and
35mm deep on mini rubber feet, the
Vintage is a little smaller than standard
stompbox size and weighs a negligible
250 grams (0.53lbs). The box is a simple,
unadorned metal affair with a brushed-
effect face, and side-mounted input and
output jack sockets are accompanied by
the 9V Dc input. Note that you have to
run this pedal off an appropriate power
supply but one is not provided for
ecological reasons, Darkglass no longer
offers the facility of battery power with
any of its pedals.
The Microtubes Vintage is designed
as a distortion pedal and as a way of
recreating the characteristics of various
tube amps from the 60s to the present.
It does this courtesy of the era control, a
neat little feature that, very simply put,
allows you to select from a wide range
of frequency settings that dictate the
overall colour of the sound.
The other three controls work as
youd expect: use Level to set the
output level and to match volumes
between pedal on and off (or to set
up a bias as required); the Blend dial
allows you to choose your preferred
mix of distorted and clean signals;
Drive lets you crank the gain to your
chosen point of intensity.
Sounds
The big plus with Darkglass pedals is
the intrinsic quality of the distortion
produced its undeniably a class
apart. check it out in all controls
at 12 oclock mode and you get a
rich, chocolatey snarl replete with
fzzing harmonics and devoid of any
signifcant leeching of the bass end.
combining the Drive and era controls
uncorks a selection of nuanced
variations, and the addition of Blend
means you can set up a pretty volcanic
tone (with Drive somewhere near
fully clockwise) and have it subtly
shadow your clean sound. With
the era control similarly clockwise,
this option is useful for simulating
a contemporary buzz-saw synth bass
sound (unusual but works a treat).
Moving era fully anti-clockwise
focuses the distortion at the booty end
and a little tweaking of Drive rapidly
conjures up images of Jack Bruces
cooking Marshall. Winding it clockwise
introduces more midrange into the
mix, providing better individual note
clarity with more punch and impact,
while retaining plenty of low-frequency
content its a warm and crunchy
option that brings to mind Bootsy
collins lead sound, should you feel the
need. Approaching fully clockwise, the
bias moves towards higher frequencies
so these variations are unsurprisingly
brighter, slightly more metallic and
more violently aggressive. Metal
fans will love this and any purveyors
of tapping will have loads of fun
simply widdling.
Verdict
excellent. The basic quality of distortion
is top-notch and low frequencies are
joyously retained no matter how
Darkglass
This hand-built stomper promises high-quality grit and more versatility
than a garage full of vintage bass amps. Review by Gareth Morgan
Microtubes vintage
bass overdrive
TOTAL
84%
final score
DARKGLASS VINTAGe MIcROTUBeS
Build quality 19 / 20
Usability 17 / 20
Sound 17 / 20
Value for money 15 / 20
Looks 16 / 20
like this?
Try this...
Darkglass
Microtubes B3K
Warm but aggressive and
nasty, and doesnt suck the
bass life out of your tone.
Simply one of the best
overdrives out there
RRP: 240
MXR
Bass Blow Torch
A highly controllable and
seriously versatile pedal
with its three-band EQ and
blend control
RRP: 129
Electro-Harmonix
Bass Big Muff Pi
Also features a blend
control and is excellent
value for money.
RRP: 70 approx
FaCTFile
MICROTUBES
VINTAGE
DeScRIPTION: Dedicated
bass guitar overdrive pedal.
Handmade in USA
PRIce: 195
cONTROLS: Level, Blend, Era
and Drive controls, in and
out jack sockets. True
bypass, 9V p/s operation
only (not included)
DIMeNSIONS: 60mm wide x
112mm high x 35mm deep
cONTAcT: Bass Direct
01926 886433
www.bassdirect.co.uk
RAPID REVIEWS
82 Guitar & Bass JULY 2013
K
iller Guitar Components is a family-run
company providing hand-made kit
designed for upgrading stock factory
parts. The company specialises in trem
bridge parts and were checking out a milled bridge
block and spring claw along with some Raw Vintage
springs that are designed to replicate the tension,
tone and feel of vintage Fender springs.
Opting to try the springs rst, we simply
swapped them with the modern repros on
one of our Strats. The Killer springs provide
less tension so the claw needed tightening
up after installation.
We hadnt expected quite such a big tonal
difference, but with the Killer springs our Strat
sounded brighter and more transparent. It was
also smoother and tonal differences between the
S
onys new wireless system is optimised
for guitar and bass players, offering
high-quality 24-bit/48KHz linear PCM
digital transmission, an eight-position
cable tone generator plus 9V, 12V and battery
power options. Audio outputs include two
unbalanced jacks for amp and tuner plus XLR
for balanced connection to mixers. Six channels
operate in wide and narrow RF modes.
Frequency range is quoted as 10Hz-22kHz
using Sonys own RF technology and codec; the
DWZ-B30GB is said to deliver reliable and secure
transmission even in the vicinity of wi- and
wireless microphones. The 2.4GHz frequency
band is used for transmission, so it can be used
licence/cost-free in most countries.
We performed some AB tests switching back and
forth between a short, high-quality guitar cable and
the DWZ-B30GB. Levels were consistent and we
couldnt discern any signicant differences in tone.
pickups became more pronounced, with the
unwound strings having improved denition.
The brass bridge block and claw were next
and again the difference was obvious. While the
springs got an unequivocal thumbs-up, the
block was a more qualied success.
The Killer block and claw beef up the tone
and smooth out the transient response. If your
Strat has a glassy edge that youd like to tame
without swapping pickups, the Killer block and
claw could be the way to go. However, fans of
vintage Strat cut and twang might nd the results
a tad muted.
Verdict
Its remarkable just how much difference these
parts made to the tone and feel of our test
guitar. The build quality really cant be faulted
and we appreciated the claws no-solder
ground connector and the extra long bridge
plate screws. KGCs website offers various
packages for vintage and modern Fenders
and Floyd Rose trems, ranging from individual
items to full upgrade kits.
If you are in the habit of using a long cable
between your guitar and pedals or amp input,
you may not be aware of the degree of treble
roll-off caused by the capacitance of the cable.
Hitting your amp with a full-frequency signal
may sound unnaturally bright and harsh, so the
cable simulation feature works very well with a
nicely progressive feel. After this encouraging
start we went walkabout to test the limits of the
units range. We found it started cutting out from
distances over 30ft.
Verdict
The DWZ-B30GB provides excellent sound quality
and its easy to use. The plastic receiver box feels
Strat springs, block and claw
PRICE:$21.95 (springs), $79.95 (block),
$44.95 (claw & screws)
CONTACT: 001 978 473 1323 (USA)
or 01206 382224
www.killerguitarcomponents.com
Guitar wireless system
RRP:394
CONTACT: www.sony.co.uk
SONY
DWZ-B30GB
TOTAL
84%
SONY DWZ-B30GB
Build quality 16 / 20
Ease of use 18/ 20
Sound 16/ 20
Value for money 16/ 20
Features 18 / 20
FINAL SCORE
KGC
Tremolo parts
a bit lightweight but the transmitters metal case
reassures. The signal strength should be more than
adequate for pub and club gigs so long as you have
no plans to go crowd-surng in the gods.
TOTAL
89%
KGC TREMOLO PARTS
Build quality 19/ 20
Playability 18/ 20
Sound 18/ 20
Value for money 17/ 20
Vibe 17 / 20
FINAL SCORE
The IDs sounds are inspiring
and very impressive
Guitarist April 2013
Blackstar promises to rip up the rulebook and
deliver a performance that packs a punch
Total Guitar March 2013
Top-notch tone and
effects quality
Guitarist April 2013
The TVP section is
particularly powerful
Guitar World March 2013
Top-notch tone and effects quality, with power response usually only available from valves... you must try it!
HEARING IS BELIEVING
ID:100TVP ID:260TVP ID:60TVP ID:100TVP
DPS workings.indd 24 10/05/2013 12:11
Impressive tube-like response
Guitar Player April 2013
Get into a store and try one
www.blackstaramps.com
Top-notch tone and effects quality, with power response usually only available from valves... you must try it!
Nick Guppy, Guitarist Magazine
HEARING IS BELIEVING
ID:260TVP
DPS workings.indd 25 10/05/2013 12:11
The IDs sounds are inspiring
and very impressive
Guitarist April 2013
Blackstar promises to rip up the rulebook and
deliver a performance that packs a punch
Total Guitar March 2013
Top-notch tone and
effects quality
Guitarist April 2013
The TVP section is
particularly powerful
Guitar World March 2013
Top-notch tone and effects quality, with power response usually only available from valves... you must try it!
HEARING IS BELIEVING
ID:100TVP ID:260TVP ID:60TVP ID:100TVP
DPS workings.indd 24 10/05/2013 12:11
Impressive tube-like response
Guitar Player April 2013
Get into a store and try one
www.blackstaramps.com
Top-notch tone and effects quality, with power response usually only available from valves... you must try it!
Nick Guppy, Guitarist Magazine
HEARING IS BELIEVING
ID:260TVP
DPS workings.indd 25 10/05/2013 12:11
86 Guitar & Bass JULY 2013
started gradually, but about 10 years ago he
began taking the matter more seriously. Some
of his instruments are working tools, others
are kept at home, but all are played regularly.
Im from the generation who fell in love
with the early guitar sounds of the 60s,
explains Tom. For me at rst it was all about
the Shadows and the Burns models. Even
now, when I see one, its a bit like driving
through bonre smoke you know when you
start to remember your childhood? Its the
same when I see a Burns Marvin!
When we were kids my pal Bill and I
would spend hours looking through the
window of our local guitar shop at a Burns
Black Bison bass, which of course was way
out of our price range. Around the same time,
about 1964, Rice Krispies ran a competition
to win a Burns I think it was a short -scale
Jazz model. I went around visiting everyone
in our street asking them to buy some packets
so I could have the entry forms. I think people
must have overdosed on the stuff! I sent in
so many forms, but I didnt win I wonder
if anyone knows who did! Luckily enough,
one of our teachers at Darland School in
Rossett, a certain Mrs Wynn-Jones, took an
interest in our quest for guitar playing and we
formed a guitar club that met after school on
Wednesdays. Like a lot of lads from that club,
Bill and I went on to play in various bands
around the Wrexham area.
These days I have two modern Burns
models, a sunburst Marquee and a red
Marvin, which I picked up for just 539. I
love a good bargain. Ive never really bought
a guitar and gone away feeling Id spent too
much all my guitars have been crazy deals.
Some of the most expensive ones include
this G&L Comanche, which was reduced
from 1099 to 799 at Purple Turtle
Music in Salford because of a defect in the
A
sk Tom Penk how he came
to acquire so many tasty
instruments and the answer
is simple: I just like guitars!
Its a passion that has thrown
a wide and eclectic net, capturing not just
electrics but also basses and acoustics,
ranging from archaic to modern, and
originating from all over the world. Some
are one-offs, others are regular production
models; some were big purchases, others
were real bargains. All of them, however,
have been immaculately kept, and keen-eyed
readers may notice the original hang-tags
swinging in the breeze and even the presence
of protective plastic on the pickguards. These
instruments are as clean as the day they were
made and thats the way Tom likes it.
Though a guitarist at heart, Tom spent a
good deal of time playing bass in a North
Wales band called Cleeshay. His collection
Tom Penk loves guitars and also loves a haggle, so hes
managed to gather a wide range of instruments for very
little outlay. Lars Mullen joins him on a trip to the park
Good Deal
HUNTING
Two Burns
guitars a
Marvin and
a Marquee
PRIVATE COLLECTION
JULY 2013 Guitar & Bass 87
move this one on as it sounds good
and plays really well. Its the kind of
thing that fuels the budget-versus-
expensive argument.
Up in price slightly is this SDGR
bass in metallic red, a double-octave
lined fretless from the lower-priced
Ibanez stable. Again, its a fantastic
bass for the money, and really smart
in a red sparkle nish. It helped me
get through my Pino Palladino phase!
The black six-string bass is
another SDGR, and Ive tted it with
a Roland GR33 MIDI unit. It cost
699 and its very versatile, but up at
the top of the ngerboard its pretty
wide more like a landing strip!
The blue bass next to it is a
Tanglewood Curbow. Its more
plastic than it is wood, with a shiny,
slippery phenolic ngerboard. Its
a great player, and the mini-toggle
slap switch enhances the high end
to great effect. This one is a little
unusual, as Curbows are usually
badged with the Cort logo. For 199,
its a nice bass for the money. Its
really light and I can easily play a two-
hour set with it without back strain.
In complete contrast I have a pair of
Ibanez Studio Series basses, one four-string
and one eight-string, both from around
1980 and they must be the heaviest
instruments Ive ever played! The eight-string
weighs well over 23lbs thats touching on
nish thats almost impossible to spot. The
Magnetic Field Design Z-Coil pickups are
excellent, and as well as the ve-way selector
theres a mini-toggle switch giving extra
pickup permutations including bridge, neck
and all on together. I also have a G&L ASAT
Bluesboy, #2 of a run of just 50, complete
with a certicate signed by Leo Fenders wife
Phyllis. It also has the G&L Magnetic Field
Pickups I think they need a pretty powerful
amp to get the best out of them.
To my mind G&L and Music Man have a
lot of similarities when it comes to quality,
playability and sound. Ive got several Music
Man basses which I used with the band. I
bought the natural-nish four-string StingRay
from a friend about 10 years ago, and at just
500 it was an amazing deal.
I always wanted a ve-string bass,
especially one with a maple ngerboard and
a blue nish, and I ended up with one in a
colour called blue mist, the same as on the
Steve Morse guitar. Im told the maple/blue
mist combination is quite unusual for a bass;
the only other one I have seen was used by the
guy in the James Last Orchestra. For several
years this was my go-to bass. I paid about
1019 for it some 10 years ago, which is the
most Ive ever spent on a bass.
From the other end of the price scale,
Tom holds up a gold sparkle four-string
Wesley bass. It has bit of a Fender look, he
considers. I bought this for just 42,and I
use it as a bass to grab for learning on the go,
if you know what I mean. Ive no intention to
I love a good bargain. Ive never really bought a
guitar and gone away feeling Id spent too much
all my guitars have been crazy deals
11kg. Heavy, yes, but they do sound amazing.
The treble just barks, and the low end is just
so solid in the mix its really thunderous.
Theyve got ebony ngerboards, mahogany/
maple body construction and hefty brass
hardware. I bought the four-string for about
350 about 20 years ago simply because I
thought it looked like a pretty bass. I dithered
far too long on the eight-string version at a
guitar show way up in the north of England,
and got home really wishing that Id bought
it. I rang the guy up and to my surprise he
lived in the same town as me, so I nipped
over and did a deal with a Marshall
head and some pedals.
The guitar is a ST105 Studio Series
six-string which my wife spotted in
Mid Wales Music; I got it for 349.
The pickups arent original, probably
DiMarzios, but it completes a nice
woody-looking trio. Id like to make it
a quartet by adding the fretless eight-
string bass, if anyone has one!
A large percentage of Toms guitars
are made by Ibanez, a brand that he
rates very highly. I think they offer a
lot for the price, he explains. I tend
to lean towards mid-price brands that
have high-end appointments, and if
theyre unusual, thats all the better.
Ive had some fantastic bargains
over the years from The Music Place
in Wrexham, and one of them was
my semi-acoustic Ibanez Artcore
AG86TRD, which cost just 399. Its
hard to nd a small, thin semi for that
kind of money without a solid centre
block, and the three-piece neck adds
stability and sustain. I think the
G&L ASAT
Bluesboy and a
G&L Comanche
Two Music Man StingRay
basses one four-string
and one ve-string
Aordable
basses from
Wesley and
SDGR
bubinga body looks wonderful through the
trans-red nish, and the medium output
humbuckers are jazzy but also offer some
scope for rock and blues. Thinking about it,
Ive never come across a bad Ibanez pickup.
Up until buying this model, I didnt have
what I would describe as a jazz guitar.
In a similar vein, this Ibanez AW103BW-
ABR is an astounding semi-acoustic, and its
still got the tags even though Ive had it for 10
years. Its not been gigged, but it gets played
a lot at home. Gold hardware, tuner tailpiece,
ebony controls, all for 300 great for blues
and jazz. The solidbody next to it is an Ibanez
SZ320-GDT. I regard it as my Ibanez goldtop,
and I tted a pair of Seymour Duncan
Designed humbuckers. I got 20 per cent off
because of a defect in the nish. Can I nd it?
No, so I reckon I got a good deal!
Well take a swerve into the acoustic world
for a moment. Well, this Ibanez Montage is
more a hybrid electro-acoustic, says Tom. I
love the quilted maple, the dramatic Venetian
cutaway and the soundholes that look like
an upside-down exclamation mark. Its got
an undersaddle pickup, a mixable mini
humbucker and a 3-band EQ, so for variety it
takes some beating.
I also have a maple-bodied Ibanez electro-
acoustic from the Exotic Wood Series, again
with that severe cutaway. Theres nothing
subtle about this one its built for volume.
Whether plugged in or not, chords sound
huge and solos seem to hang in the air.
To me a good electro-acoustic should
sound pretty similar unplugged and
electried, and this little 12-string Cort is
excellent in all departments, with a big
12-string chime thats good through a
big clean amp or a PA.
This Faith Venus electro-acoustic
was advertised on eBay, but actually
came from Cash Converters. They
retail for way over 500, but theres not
a mark on it and it came with a hard
case, all for 249. Ive played this one
pretty extensively and its just starting
to mellow down nicely. I can tell its
going to get really tuneful with age.
For me, an oddball acoustic bass
thats beautifully built ticks all the
boxes. I bought this arch-topped
Washburn AB40 from Back Alley Music
in Chester. Washburn still make a bass
with the same model number but as far
as I can tell the current one only has the
undersaddle pickup, not the magnetic
pickup. I had a similar one from a
different brand that would feed back
like a banshee, but this one is solid as a rock
even up at full tilt. I like the oddball saw-cut
soundhole. The maple construction gives
quite a modern, cutting kind of sound, but
with the blend facility I can get a really good
low end Beatlesy thud as well.
The Yamaha APX6NA is a decent nylon-
strung electro-acoustic. I had been dabbling
with Spanish and classical styles on steel-
string acoustics, but it has to be nylon if you
want any sort of authenticity. This is a good
recording guitar it seems to be perfectly
balanced straight into the desk without any
EQ trimming. I bought it new, but when
I played back some demos I could hear a
clicking sound, and it seemed to happen
each time I put any pressure on the bridge.
Yamaha identied the problem as a piece of
alien material that had got into the slot when
they channelled the bridge out for the piezo.
They sent a new piezo unit for free, and so
they get high marks from me for service!
My other ngerpicking guitar is a Farida
parlour. Ive never been a great ngerstylist,
but these two guitars have made the whole
process a lot easier. This actual guitar
was once played in New Yorks Carnegie
Hall by a classically-trained Chinese
player, who later put it up on eBay. I
won it at 200, and we did the deal in
Heald Green Station in Manchester.
Ive tted a Dean Markley ProMag Plus,
which suits it well. I had to slightly
deepen the slots in the wood of the
pickup to t the smaller soundhole, but
maybe the tight t adds to the sustain.
Were delving back into the heavy side
for our next two guitars a pair of Ibanez
shredders. Most Ibanez rock guitars
have ebony or rosewood ngerboards,
but this 82 Ibanez DG770EX is a little
special, with the maple ngerboard
and coloured position markers, Tom
enthuses. The Wizard neck is very thin
and built for speed, and the pickups
These Ibanez basses are the heaviest Ive ever
played. The eight-string weighs over 23lbs
88 Guitar & Bass JULY 2013
Fender Fat Tele and a
Roger Gi n custom
From around 1980,
a four-string bass,
eight-string bass
and a guitar
from the Ibanez
Studio Series
PRIVATE COLLECTION
Left, an Ibanez AW103BW-ABR;
right, an Ibanez SZ230-GDT
Tom with his Ibanez
Artcore AG86TRD
An SDGR
six-string
bass and a
Tanglewood
Curbow
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90 Guitar & Bass JULY 2013
could almost melt the front end of any amp.
Its got a cool metallic raspberry nish and a
double-locking Lo-Pro vibrato. A real rocker!
The black Ibanez next to it is an SAS36FM, a
great player, with an Ibanez True Duo Bucker
pickup at the bridge.
A double-neck guitar has always been high
on Toms wish-list, and now hes got a brace
of them. This through-neck Cort dates from
around 1974 and it weighs well over 20lbs,
he laughs. It has a limit for me of about half
a dozen songs, then I have to swap guitars!
Its made of mahogany and maple, with
brass hardware, and the sound is right on the
button. The active circuits are switchable back
to passive if required. I bought this from a
psychiatrist who was moving to New Zealand.
The other double-neck is by OLP. My wife
bought this for me. Its got humbuckers and
a sunburst photo nish quilted maple top.
It does a pretty good job on both necks, but I
have to put a hair band on the neck Im not
using as somehow the other side seems to
resonate in sympathy. I think its probably just
a simple screening problem.
Tom owns Ovations of both the acoustic
and electric variety. These solidbody Ovation
Preachers are getting collectable now, he
considers. Theyre pretty rare although I
did see the guy who wears the eye patch, Ray
Sawyer in Doctor Hook and the Medicine
Show, playing one live the other week.
Theres something very retro and cool
here, with a dark sunburst over Honduran
mahogany, a two-ply scratchplate and those
great-looking pickup covers. Its also stereo,
offering individual outputs for each pickup or
normal mono mode. The bridge has a lot of
mass, so its got great sustain, but the trade-
off once again is the weight its not a light
guitar. This was another great deal, arriving
from Ireland for just 400.
This medium-bowl Ovation Adamas Elite
was owned perhaps I should say held by
a girl singer in a touring country and western
band. It was more a prop as she couldnt play,
but you could say its done a hell a lot of gigs!
Our next two electrics might share a similar
shape but theyre coming from very different
directions. First is a kooky-pickguard offering
from Italia. I suppose in reality this Modulo
is just another Strat-themed guitar, but I
really like the slant that Italia have on iconic
guitar shapes it just shows you what a little
imagination can do, Tom praises. Of course,
this one comes from the brilliant mind of
Trevor Wilkinson. At the time I was just after
any kind of guitar with a P90 pickup, but
then I saw this one which also had the whacky
vibe about it, and bought it without trying it.
Its the only P90-loaded guitar I have and Im
pleased with it in more ways than one. Its a
great stage guitar under the lights, too.
I like pretty, colourful guitars but I also
really like to see the wood, so I was ecstatic
when I spotted this Tone King electric in Mid
Wales Music in Hereford about ve years
ago. It was handbuilt by a local luthier who
has been very creative in producing a really
unusual Strat-based guitar. He certainly
had an eye for the looks, using red for the
headstock, pickups and controls, offset with
gold hardware against the natural-nished
wood, which I think is walnut. The rear of the
body is also red, and the colour just nudges
out to the forearm chamfer and cutaways.
In a way I feel theres some essence of
Rickenbacker here with the reversed crescent
soundhole and the tiered area on the lower
bout housing the controls and selector
switch. Im not sure what pickups he
The Ibanez Montage is an electro with a
humbucker, so for variety it takes some beating

A Faith Venus and a


Washburn AB40 bass
Stereo Ovation Preacher
and an Adamas Elite
Far left, Ibanez Montage
(control close up below);
centre, an Ibanez Exotic Wood
electro, and a Cort 12-string
An Ibanez
SAS36FM and
an 82 DG770EX
A nylon-strung
Yamaha APX6NA
and a Farida parlour
ON SALE NOW!
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PRIVATE COLLECTION
used; theyre quite powerful and have plenty
of tone, so I reckon theyre either DiMarzios
or Seymour Duncans.
I have another OLP; these guitars are
exceptional value, especially if you can strike
a good deal. Its a natural-nished baritone,
tuned A to A. I bought it because I had read
how good baritones were for low-end power
chords, so I thought Id give one a try. I
wouldnt say it was an everyday guitar, but I
do nd it inspirational for songwriting.
Another value-for-money guitar is this
Sterling X40, from Music Mans budget
brand. There are some really nice touches
here, including locking tuners and a very
comfortable neck a renowned feature from
Music Man. Though its only a mid-priced
guitar, the pickups perform exceptionally well.
This red Squier Strat was a cool deal from
eBay for just 200. I was told this one is
a transitional model from 92, made with
Japanese parts but assembled in the USA. I
think the previous owner must have been a
Clapton fan as the vibrato is screwed down
tight to the body. After 21 years its sounding
really sweet. And I do like this limited-run
Fender Telecaster in see-through red, with a
pair of Seymour Duncan humbuckers, plus
a bound rosewood ngerboard and abalone
inlays. They really pushed the boat out with
this one. It does sound more like a Gibson
than a Fender, but thats okay with me.
Back at home Ive also got a couple of
guitars which are particularly well-made
even though theyre very inexpensive. One
is a Chinese copy of a certain famous US
brand I found on eBay, done with amazing
detail. It didnt have any bids so I went to see
it in the esh and I was astonished at how
good it looked with a spalted maple top and
gold hardware. Its frightening how good the
construction was, from the bindings to the
bird inlays and all for 250. It plays really
well; sure, the pickups arent the real thing,
but if needed, I could always install a pair of
better humbuckers. Ive also got an Alden,
a bit like a triple-humbucker Les Paul,
again with a really nice spalted maple top
and gold hardware, and really quite nicely
made. Some people might think these kind
of guitars are a bit naughty, but they offer
a chance for youngsters and collectors like
myself to own a cool guitar at a low price. I
paid 250 for each of them.
The last two guitars well view from Toms
collection before the sun nally set over
the park sum up his canny approach to
choosing guitars. The Vintage Lemon Drop
is a great replica of an iconic guitar. Its got a
distressed nish and it sounds stunning. Its
very authentic as well, with the neck pickup
installed back to front. This was secondhand,
for just 169. A good deal, or what?
And nally, the Yamaha Pacica 12-string.
The trouble with electric 12s is that theyre
often pretty expensive, but this is a special
guitar; it plays well and sounds great, it has
gold hardware and a pearloid scratchplate and
all the trimmings and all for 299.
I just love guitars, and I love playing. In
my time Ive played in clubs, marquees, on
barges, boats and even on Thomas the tank
engine! I miss gigging, but I dont miss the
late nights, the long journeys or the early
mornings home the memories are best.
I still have all my guitars. True, I could go
out and play with backing tapes; some do,
some dont... I wont. I could smoke or go
down the pub every night and have nothing to
show for it, but Id rather put that money
down on a cool guitar.
A Vintage Lemon Drop and a
12-string Yamaha Paci ca
(headstock detail left)
92 Guitar & Bass JULY 2013
OLP baritone and
a Sterling X40
Squier Strat and a Fender
Telecaster with humbuckers
Italia Modulo
and a custom-
built Tone
King electric
Hefty double-necks
from Cort and OLP
*Also available at Barnes & Noble USA and import stockists worldwide
Available in WH Smith and all good newsagents
*
or online at www.vintagerockmag.com
FROM THE MAKERS OF CLASSIC POP MAGAZINE
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Music Tech G&B.indd 3 16.05.2013 15:08:59
Music is Our Passion
www.thomann.de
Music Tech G&B.indd 4 16.05.2013 15:09:00
Music Tech G&B.indd 3 16.05.2013 15:08:59
Music is Our Passion
www.thomann.de
Music Tech G&B.indd 4 16.05.2013 15:09:00
96 Guitar & Bass JULY 2013
B
ruce Springsteens seventh
album, Born In The USA, couldnt
have been more different to its
predecessor, the dark, stripped-
down Nebraska. It was lavish, modern,
radio-friendly and uplifting, packed with
strong songs and even one carefully-honed
hit single, and it would bring the New Jersey
songwriter his breakthrough from critical
success to mainstream stardom.
Springsteen wrote many of the songs on
Born In The USA on acoustic before opening
up the arrangements to the E Street Band.
Recording engineer Toby Scott recalled: In
those days, Bruce had a particular way of
teaching the band a song. He wouldnt play it
for them from the beginning to the end; he
would show them the different parts, but not
necessarily in the order that they appeared.
This encouraged spontaneity; the musicians
also played live together in the studio.
The title track was one of those songs.
After Bruce had played a guitar line, it was
adapted into a keyboard riff. It absolutely
grabbed us, drummer Max Weinberg
recalled. We played it again and got an even
better groove on it. At the end, as we were
stopping, Bruce gave me the high sign to do
all these wild lls, and we went back into the
song. I remember that night as the greatest
single experience Ive ever had recording. It
set the tone for the whole record.
Thanks to this way of working the songs
on Born In The USA have a real freshness,
yet theyre layered with processed keyboards
and an explosive snare drum sound (listen
to the snare at the start of Born In The
USA and Darlington County). Nevertheless,
Springsteen wanted his songs to stand
on the strength of the characters, not the
production. So even something like Glory
Days, which I thought was a good dance
record, I sang it on acoustic guitar and tried
to make sure that the people in the song were
solidly there, he pointed out. The positive
vibe extended to the choices of keys: of the
12 songs on Born In The USA, the most
common key is A major, shared by four
songs. Only two songs are in a minor key:
Cover Me is in B minor, while Downbound
Train is in G minor (but played in the
fretboard key of E minor with a capo at the
third fret). Curiously, both Im Goin Down
one of the A major songs and Cover Me
sound sharper than concert pitch.
Behind one of the highest-rated albums of all time lie some simple musical building
blocks. Douglas Noble takes Bruce Springsteens classic set apart, song by song
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Born In The US
JULY 2013 Guitar & Bass 97
Heres a rhythm part similar to the start of
Glory Days. Were using the A5 and A6 chords
from Ex 1 in bar 1, then shifting them a string
higher to create D5 and D6 for bar 2. Each bar
ends with a two- or one-note link that leads
into the next bar. This rhythm part is a stock
blues accompaniment, although in blues it
would usually be played with a shu e or
triplet feel; here we are playing straight 8s.

2

RHYTHM GUITAR PART 4/4 TIME
Brought to you in association with

1

A5, A6, F#M AND C#M/G# CHORDS
Much of the harmonic backdrop on this album
such as the songs Born In The USA, Glory Days
and Cover Me uses chords I, IV and V. The
rst line shows a progression using chords I
and IV in the key of A, similar to the basic
underpinning of Born In The USA (see Ex 6).
The second line shows a progression using
chords I, IV and V. Its similar to the verse
progression of My Hometown although you can
hear very similar patterns on songs like No
Surrender and Darlington County.
Interestingly, although the verse of the studio
version of No Surrender is based on an F/C/
Bb/F/C progression, live performances have
this second C chord changed to Am.

3

PROGRESSIONS USING I, IV, V 4/4 TIME
A 5 chord is one that consists solely of the
root/rst note and the fth of a scale, so it is
neither major nor minor, as its the third that
determines whether a chord is major or minor.
In blues, 5 chords are often used in
conjunction with 6 chords, in this context a 6
chord being one that consists of root/rst note
and the sixth note of the scale. Here weve got
two note versions of A5 and A6. F#m is the
basic open Em shape barred at the second fret,
and C#m/G# is the basic open Am chord
barred at the fourth fret, but with the rst
nger also holding down the bottom string at
the fourth fret so, this is a C#m chord played
over a G# bass note.
x o x xo x
A5
3
x o x x x
A6
3
x
F#m C#m/G#
1
3
2
3
1
4
1 1 1 1 1 1
1 1 1 1 1 1
2nd
4th
4
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Im Goin Down adds another chord to the I, IV
and V progressions explored in Exercise 3,
with its use of the implied chord VIm. We say
implied because the fuller chord would be
VIm (or F#m) since its in the key of A major,
but the rhythm guitar chords are played as
stripped-down 5 chords. This exercise shows a
similar progression. Notice the accents on
certain chords, the arrowhead signs; these
give the part character and forward
momentum. Im Goin Down repeats the same
four-bar progression all the way through the
song. Im On Fire also uses these chords, but in
the key of E major and using fuller versions of
the chords so, it uses E, A, B and C#m. In Im
On Fire Springsteen often plays these chords
as arpeggios, ngering the full chord shapes
but only plucking individual strings.

4

STOCK PROGRESSION USING I, IV, V, VIM 4/4 TIME
The intro of Born In The USA is a keyboard
version of the chorus melody. As in the intro
and in the chorus, the same basic melody is
played and sung over a chord progression that
changes from I to IV. This is represented in this
exercise. Theres a two-note motif on the top
two strings played initially over a B bass note
in bars 1 and 2, then over an open E note in
bars 3 and 4. For maximum eectiveness,
make sure the B bass note in bars 1 and 2 is
allowed to ring on; try holding it down with
the rst nger.

6

REPEATING MOTIF 4/4 TIME
Theres one particular move which youll often
nd Springsteen making changing from the
tonic major chord to chord VIm at the start of
the bridge, or middle 8. This I-VIm change
can be heard in Dancing In The Dark at 1:50,
My Hometown at 2:04 and Working On The
Highway at 1:45. Our fth exercise shows such
a change in the key of A major. The rst two
bars represent the end of the second chorus,
and bars 3 and 4 represent the start of the
middle 8. The F#m chord shape is shown in
Exercise 1.

5

TRANSITIONS TO CHORD VIM 4/4 TIME
Brought to you in association with
3
x x x
C/E
3
x o o x x x
C5/G
2
10th
x x o x
G/D
1 1 1 1 1 1
12th 12th
1 1
An inversion is a chord in which the
lowest note is not the root note of the
chord. Here weve got G/D, which is a
G chord with D at the bottom
(normally it would be G); C/E, which
is a C chord with an E note at the
bottom; and C5/G, which is rather a
complicated way to describe an
inverted two-note power chord
shape.

7

INVERSIONS
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100 Guitar & Bass JULY 2013
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The intro of Darlington County features a
guitar ri worthy of Keith Richards, and we
can get there by using the chords from
Exercise 7. Finger the G/D shape from Ex 7,
pluck strings ve, four and three, then
immediately hammer-on with ngers three
and one to the C/E shape. Then, lift ngers
two and three and pluck the G/D chord again.
This is followed by a slide from nowhere to
the 12th fret of the fth string; try playing the
fth string at the 14th fret with the third
nger, then as soon as this note is struck slide
down two frets to the 12th fret. Keith Richards
is fond of the C/E to G/D chord change on
strings ve, four and three, although he usual
plays these changes in open G the fth string
is a G so these two chords can be played as C/G
and G, adding body and depth to the voicings.

8

DARLINGTON COUNTY INTRO 4/4 TIME
All the previous progressions and ris,
encompassing 10 of the 12 songs on Born In The
USA, are diatonic that is, they do not contain
any notes outside the key. Bobby Jean is
interesting, though: its the only song on Born
In The USA that makes prominent use of a
chromatic harmony or chord a chord that is
not normally part of the key. This chord is B7,
used in the key of A major, and the diatonic
equivalent would be Bm. Widely believed to be
about the sudden and painful departure of
Steve Van Zandt from the E Street Band, it has
been suggested that this use of a major chord
instead of minor hints at reconciliation.
The main progression of Bobby Jean uses an
inversion created between accompaniment
and bass. After the A chord the basic tonality
of the accompaniment is C#m, but the bass
makes a classic downwards semitone
movement to G#, so the overall eect is
C#m/G# (Springsteen also uses this
progression in the pre-chorus of Born To Run).
This exercise echoes the repeating progression
of Bobby Jean; see Exercise 1 for the ngering
of C#m/G#. Finger the chord shapes notated
and let the notes overlap, picking the notes as
indicated to get a feel for this progression.

9

CHROMATIC CHORD AND INVERSION 4/4 TIME
Brought to you in association with

10

LEAD LICKS 4/4 TIME
I got signed in the pack of the new Dylans
but I could turn around, kickstart my
Telecaster and burn the house down. It was my
ace in the hole, Springsteen once told Rolling
Stone magazine. Cover Me has a great example
of the man doing just that. He starts the solo
at 1:37 with tremolo-picked octaves, similar to
the rst line below. Finger the notes, then
strum the strings as quickly as possible.
Springsteen also plays the intro melody of No
Surrender in tremolo-picked octaves.
At 1:47 he uses some pinch harmonics, as
shown in line two, bar 1. Fret the third string
at the ninth fret, then, with a tiny part of the
plectrum showing between thumb and index
nger, dig in with the pick and the eshy part
of the thumb immediately behind the plectrum
should set o the pinch harmonic. Slightly
later, at 1:53, Springsteen plays an ascending
gure based on the B pentatonic minor scale
using hammer-ons, similar to line 2, bar 2. He
ends the solo at 1:57 with a trill a rapid
alternation between F and G, similar to line 2,
bar 3. Feel free to experiment with this
Springsteen starts with slurs, then plucks
every second note, and does not stick to strict
semiquaver movement.
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JULY 2013 Guitar & Bass 105
BASS TECHNIQUES
WORKSHOP
T
he name Marcus Miller rst started
appearing on records in the mid-70s by
jazz/funk greats such as alto saxophonist
David Sanborn and the Return To Forever alumni,
drummer Lenny White. By the time Miller released
The Sun Dont Lie in 1993 hed recorded, written
and produced for Sanborn and jazz trumpet great
Miles Davis, and played bass invariably slapped
via his thumb on hundreds of records by artists
including the late, great Luther Vandross, Carly
Simon, Bryan Ferry and Bill Withers.
The Sun Dont Lie was Millers third solo offering.
You can pretty much discount the rst two,
Suddenly (1983) and 1984s self-titled album, as
plucky rst attempts, burdened by the poor quality
of the songs, with too much of Millers singing and
not enough bass playing. The Sun Dont Lie was a
completely different animal; Millers condence in
his own ability had never been higher, especially
after his work with Miles Davis had been so well
received, and he had a concept, a composing
methodology if you like, that hed developed for
Davis and was now using for his own solo career.
I began to hit on a sound kind of based on
fourths, he explained. It was different from the
way [pianist] McCoy [Tyner] and those guys used
it, but it was still based on fourths. It gave me a
different lean. Ever since then, Ive been rening it.
Miles used to use those fourths. He had a
keyboard usually set up on the stage, and when
he wasnt playing trumpet, every once in a while
hed bang out a couple of chords. He used to play
these fourth voicings. It was a loud, harsh sound
and those chords would sound really dark and
menacing. For the harmonically-inclined, were
talking about chordal voicings involving stacking
Marcus Miller
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If youre looking for a challenge, this month weve got a feast of slapping and popping
inspired by the third solo album of a jazz-funk great. Gareth Morgan is all thumbs
fourths, voicings which Miller used to great effect
on The Sun Dont Lie and continued to rene
through ve further studio albums; his latest,
Renaissance, was released in 2012.
While no slouch on fretless bass, Miller has been
one of the most revered bassists on the planet
for 25 years because of his prodigious slapping
technique and his sound. His primary instrument
has always been a Fender Jazz Bass with a
Sadowsky preamp, and this, combined with his
fantastic technique, produces perhaps the perfect
slap tone: clean, with a singing, piano-esque
quality. Miller tended to be a rhythmic slapper, but
the responsibility of delivering the main melody on
The Sun Dont Lie means you get much more variety
than this suggests. If you check out his subsequent
solo offerings as well, the amazing thing is that
you can hear Miller slowly assimilating newer
techniques like tapping and up-and-down thumb
strokes in an effort to remove as many restraints
as possible on his ability to fully express himself via
the four-string electric bass.
Brought to you in association with
BASS TECHNIQUES
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106 Guitar & Bass JULY 2013
Our second example is based on Millers
bassline under the alto sax solo that closes
Steveland; Miller uses his thumb, but it also
works well as a ngerstyle part. Slapping-wise,
play every note with your thumb except the
octave As, which you pop/pull with the rst
nger. In terms of how to slap, Miller says Just
do it until it sounds right. Strike the string
with the hard bony part of your thumb (near
the line that crosses the middle of your thumb
on the inside). Pluck with your index nger by
pulling the string up and letting it slap back.

2

MELODIC SLAP PART WITH PENTATONIC LICK 4/4 TIME
Fans of Millers playing will probably be
familiar with one of his most famous slap
solos on a tune called Run For Cover, a Miller
composition on the David Sanborn live album
Straight To The Heart. Most of his soloing
here is based on melodic patterns rather than
simply thumping along with the drummer,
but Rampage is a great example of his more
traditional slap solo approach. Have a go at
our version below: the tempo dictates that
nailing this one is all about relaxation and
suppleness of the wrist.

3

SLAP BREAK WITH CHORD AND 16TH NOTES 4/4 TIME

1

FINGER FUNK PART IN E 4/4 TIME
When it comes to this months musical
examples, theres good news and theres bad
news. On the down side, all of them even
this innocuous-looking opener are of a
technically awkward nature; on the plus side,
tempos are provided. This means that you
can notch the tempo right back (always start
at least 20bpm below the target and halve
the tempo for most of these examples) and
take your time. Our rst example is based
on Millers ngerstyle groove during the solo
section from Teen Town.

4

SLAP PART WITH SPACE AND DEAD NOTES 4/4 TIME
As well as pitched notes, Millers main bass
part from Panther uses dead notes (percussive
hits with no discernible pitch), giving a more
aggressive feel and more intensity without
inuencing the melodic content of the song.
As you can see, the dead notes are written
by replacing the standard note head or TAB
number with an x, and they are played with
both thumb and popping nger. Simply damp
the strings, preferably with two ngers of your
fretting hand, to ensure you get the necessary
click sound.
Brought to you in association with
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108 Guitar & Bass JULY 2013

7

SLAP VERSION OF FINGERSTYLE MELODY 4/4 TIME

8

SLAP LINE WITH DOUBLE STOPS, DEAD NOTES AND 32ND NOTES 4/4 TIME
Our nal example is based on Scoop, a tune
which opens with Miller displaying his new-
found tapping facility and then breaking into
a tricky kinetic slap theme with chords, dead
notes and two 32nd-note licks. Needless to
say, extreme patience and careful practising is
necessary to get anywhere close to replicating
Millers dexterity and air. The song is well
worth a careful listen, as elsewhere Miller
uncorks his box of slap tricks which include
logic-defying dead-note rhythms and a
multitude of variations on the songs themes.

6

D-TUNED SLAP PART WITH 16TH NOTES AND SYNCOPATION 4/4 TIME

5

SLAPPED VERSION OF SYNTH BASSLINE 4/4 TIME
The albums title track begins with Miller on
6-string Modulus fretless bass, delivering the
songs main theme before breaking out the
Jazz Bass to deliver a solid bassline under a
piano solo courtesy of Crusaders legend Joe
Sample. If you want to check out our version
and youre not lucky enough to own a 5-string,
youll need to tune your E string down to D
which, to be fair, is exactly what Miller did.
Given the slacker string tension that results,
its probably a good idea to mitigate the force
with which you hit it with your thumb.
Doubling or reproducing a synth bassline
became a trademark element in Millers
mid-80s work with David Sanborn and Luther
Vandross, amongst others. Youll hear him
make a similar move in the rst sax solo
section on Steveland (rst solo by Wayne
Shorter, second by David Sanborn), although
here he takes over from the synth line to
provide better support for the soloist. Dig into
our version: youll need to be fairly precise
with your technique, and be very careful with
the string-crossing licks.
Between 1988 and 1990 Miller was the house
bass player in NBC TVs Sunday Night band,
appearing in the rst season and reappearing
towards the end as musical director. The band
would often close the programme with Teen
Town from Weather Reports Heavy Weather,
and Miller freaked out the bass fraternity with
his slapped version of Jaco Pastorius fretless
ngerstyle melody. Try our tribute, below:
start really slowly and, technically speaking,
pop the octave C, Bb and G in bar one and the A
in bar two and play the rest with your thumb.
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65 Princeton
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Was 1,246.80 948
Orange OR15 & PPC412
Compact was 1018 949
JVM410HJSB Joe Satriani
Blue Half Stack 2199
Engl Gigmaster 30 Combo
E300 was 671.60 565
MG30CFX was 185 166
A1M Natural was 620 552
THR10 was 299 266
000M-15 was 266 229
D-125 was 550.80 419
Made in Canada
Made in Canada
Made in Canada
Made in USA
American Vintage 65 Strat Olympic White RW
1696
Was 2230.80
Made in USA
American Standard Strat Mystic Red MN
1057
Made in USA
SI NCE 1958
L E G E N D A R Y B R I T I S H S T R I N G S
FIND OUT MORE PROUDLY MADE IN ENGLAND
WORLD FAMOUS MUSIC STRINGS
WWW.ROTOSOUND.COM
facebook.com/rotosound twitter.com/rotosound_uk
1958
2013
BLUES PI LLS
FATHERSON
CAVORTS
HORSE I N TRANSI T
EVA GARDNER - PI NK
TEMPLES
JETTBLACK
gnb_june13_page.indd 1 18/04/2013 17:08
www.westsidedistribution.com
14 Compton, Ashbourne, Derbyshire, DE6 1DA
01335 345888 mark@guitars4you.co.uk Fax: E-mail:
Tel:
Showroom open:
01335 345777
Thu, Fri, Sat
- 7 days 9am-7pm
- 10am-5pm
Specialist in fine new and used classic guitars
WANTED QUALITY
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EXPRESS
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COLLINGS SELECTION
Collings 290 TV Yellow ............................................................ 2,599
Collings City Limits acid wash .................................................. 3,575
Collings City Limits Deluxe amber sunburst ............................... 4,380
Collings i35 Deluxe - dark cherry sunburst ................................ 5,134
Collings 290DCS - faded crimson ............................................. 2,885
Collings i35LC - blonde ........................................................... 3,799
Collings City Limits Deluxe - amber sunburst ............................. 4,245
Collings City Limits amber sunburst .......................................... 3,575
Collings i35 Deluxe tobacco sunburst ........................................ 5,299
Collings i35LC - vintage natural - 2011 ..................................... 3,099
More Collings Guitars On Order
PRS DEALS
PRS Custom 22 Semi Hollow Limited Edition - smoked amber ...... 2,199
PRS 513 Rosewood neck - quilt 10 top - amber black ................. 2,699
PRS McCarty 2011 - McCarty sunburst ...................................... 1,699
PRS Singlecut Artist Pack - 2006 - Tortoisehell........................... 2,290
PRS DGT Dave Grissom bird inlays - sunset sunburst.................. 2,299
PRS Singlecut McCarty tobacco burst - 2001.............................. 1,449
PRS 513 Brazilian Rosewood - 2006 - blue matteo ..................... 3,290
PRS Stripped 58 Limited Edition - Faded McCarty Sunburst ......... 2,499
PRS SC58 Faded McCarty Sunburst .......................................... 2,999
PRS NF3 Vintage Cherry - maple fingerboard ............................. 1,399
PRS Custom 24 'Signature' Special Edition - solana burst ............ 2,599
NEW & USED GUITARS
Collings 290DCS - faded crimson ............................................. 2,885
Collings City Limits amber sunburst .......................................... 3,575
Collings City Limits Deluxe - amber sunburst ............................. 4,245
Collings i35 Deluxe tobacco sunburst ........................................ 5,299
Duesenberg Fullerton TV Double Cutaway + case - TV Yellow ...... 1,490
Fano Limited Run Alt de Facto RB6 - faded cherry ...................... 1,699
Fender Custom Shop 1960 Heavy Relic Strat - 3 tone s/burst ...... 2,490
Fender Custom Shop 2013 Closet Classic Tele Pro - black ........... 2,099
Fender Custom Shop 50's NOS NoCaster - NoCaster Blonde ........ 2,090
Fender Custom Shop '56' Relic Strat - black .............................. 2,299
Fender Custom Shop '56' Relic Strat - fiesta red ........................ 2,299
Fender Custom Shop 60's Relic Strat - fiesta red ........................ 2,359
Fender C/Shop 68 Heavy Relic Strat - aged vintage white ........... 2,599
Fender Custom Shop 68 Heavy Relic Strat - black ...................... 2,599
Fender Custom Shop Carved Top 'Suhr' Strat - 1998 ................. 1,595
Fender Custom Shop Closet Classic Strat Pro - white blonde ........ 2,099
Fender Custom Shop Custom Deluxe - sunburst - 2008 .............. 1,440
Fender Eric Johnson Strat - palomino metallic ............................ 1,299
Fender Road Worn 50's Tele - vintage blonde - 2010 ..................... 619
Fender Stevie Ray Vaughan Strat - circa 1996 .............................. 999
Fender USA Tele-bration Old Pine 52 - white wash ..................... 1,159
Gibson Custom Shop Zakk Wylde 'Bullseye' - 2006 .................... 2,599
Gibson ES175 Natural - Single P90 - circa 1956 ......................... 2,950
Gibson Les Paul Deluxe - red sparkle - circa 1974 ...................... 1,875
Gibson Les Paul Heritage Standard 80 - heritage sunburst .......... 2,950
Italia Rimini 12 String - blue pearl ............................................... 399
Musicman Axis Floyd Rose - tobacco burst ................................ 1,699
Musicman Axis Super Sport + Piezo - sapphire black .................. 2,190
Musicman Axis Super Sport + Piezo - trans red .......................... 2,075
Musicman JP6 BFR 'Roasted' Limited Edition - black sugar .......... 1,699
PRS Custom 22 + bird inlays - stoptail - 2004 - blue matteo ....... 1,470
PRS Custom 22 10 Top + bird inlays - matteo mist .................... 1,999
PRS Mira Soapbar Limited Edition - charcoal smokeburst ............... 999
PRS Singlecut 10 Top - dark cherry sunburst - 2004 ................... 1,599
PRS Singlecut Hollow Body 11 Artist Pack + Rosewood neck ........ 4,750
PRS Singlecut Trem - dark cherry sunburst - 2004 ..................... 1,469
PRS Stripped 58 Limited Edition - Faded McCarty Sunburst ......... 2,499
PRS Swamp Ash Special Narrowfield - 2011 .............................. 1,449
Tom Anderson Bulldog - honeyburst - 2010 ............................... 2,449
Tom Anderson Classic - mellow yellow - 2011 ............................ 2,099
Tom Anderson Drop Top Key Lime Burst .................................. 2,695
Tom Anderson Hollow Drop Top Classic Maui Kazowie ................. 2,995
Tyler Dann Huff Signature model - 2006 - black ......................... 2,190
Tyler Mongoose Retro - tobacco sunburst - 2007........................ 1,699
More tasty guitars in stock - visit www.guitars4you.co.uk
NICHE GUITARS
WOODSIDE
BLACKPOOL FY4 5PL
07970 111404
WWW.NICHEGUITARS.COM
www.youtube.com/watch?v=g7SmQaQDb5Y
All prices correct & products in stock at time of
publication * All used Instruments and
Equipment carry full 3 months warranty (parts
& labour) * All prices include VAT *
Our Barnstaple Store:

Soundpad Ltd.
Rolle Quay,
Barnstaple
North Devon,
EX31 1JE

2,175
Gibson Les Paul Supreme!

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Tel: (01271) 323686

Mon-Sat: 9.30am - 5.30pm
Sunday: Closed
ELECTRIC GUITARS
Fender 2012 Standard Strat

The American Standard Stratocaster is the
same great best-selling, go-to guitar it has always
been, and now its upgraded with aged plastic
parts and full-sounding Fender Custom Shop
Fat 50s pickups.
1,012
479
Gordon Smith GS1.5

2013. Beautifully made. Single coil Neck
Pickup, Humbucker Bridge Pickup. A classic
guitar!
DLM Powered
Speakers
W W W . S O U N D P A D . C O . U K
Featuring a
stunning Dark Cherry
Burst gloss-lacquer finish on
a sleek flame maple-top body. Its
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neck has a comfortable contoured heel.
The new Fender Select Pickups give
it a Pure and Singing signature sound!
1,568
Comes with Tweed
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Fender Eric Clapton Strat

The Eric Clapton Stratocaster guitar is guaran-
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the Cream of the crop.
Fender Blues Junior

The Fender Blues Junior Red Octo-
ber is an exciting British-flavoured
Limited Edition Version of Fender's
popular Blues Junior Valve Guitar
Amplifier Combo featuring a Limited
Edition Red October Finish and
1x12'' Eminence Redcoat Wizard
Speaker to get a
specifically British voice & tone.
Fender Hot Rod Deluxe

The HOT ROD DELUXE amp is a world
standard for a portable, powerful and
fully-featured tube amp All Tube preamp
and power amp 40 watts into 8 ohms
output Easier reading black control
panel New badge design Graduated
volume and treble pot tapers "Tighter"
overdrive Celestion G12P-80 speaker
Low-profile "pedalboard friendly" foot-
switch Three Selectable
Channels (Normal, Drive and More
Drive)
499
699
Mackie DLM12
12 full range powered loudspeaker.
2000W power via ultra-efficient Class-
D amplification. TruSource Technol-
ogy. DL2 Integrated Digital Mixer.


Mackie DLM12s
12 powered subwoofer. 2000W power
via ultra-efficient Class-D amplification.
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DLP Digital Processor.
1,598
999
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Find a UK Boogie Boutique Dealer:
The only way to get a Mesa Boogie is to see one in the flesh then crank up the volume. Youll fall
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Best up close...
...or up loud
WW_BassCamp_2013_210x297_en.indd 1 16.05.13 17:24
tcelectronic.com/ditto-looper
Mindblowingly Simple
Simply Mindblowing
Ditto Looper
A looper made by guitarists - for guitarists,
Ditto Looper is looping fnally done right.
Weve cut all the non-musical tech junk
(thats right, we said it) thats been plaguing
loopers for years and brought things back to
the essential nature of looping: simplicity,
creativity and fun.
Ditto has such a great price, you simply have
to try it (Oh, and buy it too)!
190313-TCE-Ditto-Looper-Guitar-and-Bass.indd 1 19/03/13 22.58
GROOVE TUBE 6L6GC GE REISSUE
GT have made a faithful recreation of the General Electric later type clear top 6L6GC
This valve is noted for its incredible dynamic range and large sound stage. It provides a warm
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6L6GC GE Reissue 26.40 each OR Cryo 6L6GC GE Reissue 30 each
Our own brand, the best selected and tested valves in the industry.
All preamp valves are drive tested. All output valves are high plate
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Used by the industries biggest names including Brian May, Thunder,
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ECC81-STR 14.40 EL84/E84L burst tested 16.80
ECC83 STR 14.40 EL84 Retro 18.00
ECC83/7025 14.40 5881-Mil Spec 18.00
EL34STR 19.20 6L6GC STR 21.60
EL34 Retro 21.60 6L6GC- Retro 21.60
EL84/E84L standard 14.40 GZ34 -Retro 18.00
Free UK mainland delivery
see our website for full details
Fitting a Harma Vintage Ruby in a Divided by 13
J Moody said I never thought I would nd a speaker that I preferred to
The Vintage 30, but I have now.
J McLachlan said Simply the best speaker I have ever used after tting the
Harma Bright Sapphire in his Fender Deluxe reverb.
American Series British Series
Bright Sapphire 102 Blue Ruby 96
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Dark Sapphire 102 Vintage Ruby 96
ALL HARMA SPEAKERS FREE DELIVERY TO UK MAINLAND
FREE
DELIVERY
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DELIVERY
Groove tubes are one of the most respected valve brands in the World. Combine
this with Watford Valves special test facilities and you get distortion rated output
valves which are burst tested and dual matched on current and gain and pre amp
valves which are selected for low microphonics and drive tested for premium
performance. These valves are called Super Premium as you get the best GT available
GT Standard Super Premium GT Standard Super Premium
12AX7-R 16.80 19.20 6L6GC-R 21.60 24.00
12AY7 18.00 20.40 6L6GC-GE 24.00 26.40
EL34-LS 22.20 24.60 6L6GC-S 24.00 26.40
EL34-M 19.20 21.60 6V6GT-R 19.20 21.60
EL84-S 14.40 16.80 6V6GT-R 24.00 26.40
GROOVE TUBES SUPER PREMIUM
NEW NEW
MARSHALL CLASSIC CRYO
PREAMP KITS
****MULLARD TONE****
The Harma ECC83-Retro Cryo is a true sounding recreation of the
Mullard ECC83. These specially selected Cryo Retro preamp kits
will provide the classic Marshall crunch with Mullard style warm
mids, but without any fzz or harshness. The Cryo version has a
smoother distortion more detail and clarity. They also have more
bite and punch over the standard version. Each valve is selected
for gain, output and low noise and each set includes a balanced
valve for the phase inverter position.
These Classic kits will put the crunch back into your Marshall
Standard gain preamp kits High Gain preamp kits
3 valve 63.24 3 valve 67.32
4 valve 83.64 4 valve 89.76
5 valve 104.04 5 valve 112.20
15%
off 15%
off
12AX7-EH CRYO PREAMP KITS
Specially selected 12AX7EH Cryo kits are
designed so that you get the very best
results from your amp. All preamp valves
are position selected and contain a balanced
valve for the phase inverter position.
Valves are supplied in a presentation box clearly labelled with their
positioning in your amp which makes installation easy. There is a high
gain option for those who need early breakup at no extra charge.
Standard Gain High Gain
3 valve 48.60 3 valve 48.60
4 valve 64.80 4 valve 64.80
5 valve 81.00 5 valve 81.00
6 valve 97.20 6 valve 97.20
15%
off 15%
off
Upgrade your Fender
Pro/Blues Junior today
With The New HARMA HANDMADE CABS
THE MARKETPLACE
TO ADVERTISE CALL 07788266847
RETAILERS, VINTAGE GEAR & TUTORIALS
Whether you want to learn how to play the guitar,
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DVDs 20.99. Childrens DVDs 12.99
T: 01702 232396
E: sales@ffthavenueflms.co.uk
W: www.ffthavenueflms.co.uk
Fifth Avenue Films
P.O. Box 2001
Hockley
Essex
SS5 6HU
THE MARKETPLACE
TO ADVERTISE CALL 07788266847
RETAILERS, VINTAGE GEAR & TUTORIALS
Whether you want to learn how to play the guitar,
drums, acoustic blues guitar, how to play the
recorder, keyboard accompaniment rock and
jazz guitar you fnd just what you are looking for.
DVDs 20.99. Childrens DVDs 12.99
T: 01702 232396
E: sales@ffthavenueflms.co.uk
W: www.ffthavenueflms.co.uk
Fifth Avenue Films
P.O. Box 2001
Hockley
Essex
SS5 6HU
THE MARKETPLACE
TO ADVERTISE CALL 07788266847
CUSTOM BUILD, PICK UPS & RETAIL
From a restring to a rebuild, weve got it covered
Free health check service Set-ups
Fret dressing and refrets Electronics work
Upgrades
Bare Knuckle, Seymour Duncan,
EMG, DiMarzio and B-Band pickups
Graphtech Ghost piezo and MIDI pickup systems
Earvana compensated tuning nuts
Graphtech nuts and saddles
Hardware by Tonepros, Sperzel, Schaller,
Gotoh, Floyd Rose and Hipshot
feline
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South London and Surreys Premier Guitar Repairer
9 Coombe Road, Croydon, Surrey, CR0 1BD
020 8680 9131
felineguitars.com
info@felineguitars.com
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GUIT_359_DRL TRADING_PhilB:GUIT_359_DRL TRADING 31/7/12 09:13 Page 1
THE MARKETPLACE
TO ADVERTISE CALL 07788266847
CUSTOM BUILD, PICKUPS, REPAIRS, BUY N SELL AND GUITAR TUTORS
THE MARKETPLACE
TO ADVERTISE CALL 07788266847
CUSTOM BUILD, PICKUPS, REPAIRS, BUY N SELL AND GUITAR TUTORS
THE MARKETPLACE
TO ADVERTISE CALL 07788266847
CUSTOM BUILD, PICKUPS, REPAIRS, BUY N SELL AND GUITAR TUTORS
140
The UKs Premier Guitar
& Bass Parts Supplier
...bridges,
necks, bodies,
electronics, frets, inlay
dots, pickups, knobs,
switches, pickguards, tools
scratchplates, strings, screws,
nuts, saddles, tailpieces
...and much more!!!
The UKs Premier Guitar
& Bass Parts Supplier
Pick a part
Order online or find a local dealer
@: www.allparts.uk.com
To order call
0870 442 3336
Low call rate 0845 345 5951
Catalogue 4.00
ABM, Badass, Bartolini, Bigsby, CRL, CTS,
Danelectro, Earvana, Electrosocket, Fender,
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& BASS MAGAZINE
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Fine Hand Crafted
Acoustic Guitars that Break
the Sound Barrier
Sonic elements....come together
in a nigh-on perfect alchemy
Jerry Uwins TGM.
Custom & Left Handed
a pleasure!
Northworthy Musical
Instruments,
Main Road,
Hulland Ward,
Derby DE6 3EA
Tel: 01335 370806
www.northworthy.com
CUSTOM BUILD, RETAILERS, ACCESSORIES, SPARES & REPAIRS
P137-141_GUITAR_WIN08 Sec1:140 21/10/08 09:43:49
141
w w w . g u i t a r m a g a z i n e . c o . u k
WEB
DIRECTORY
w w w . g u i t a r m a g a z i n e . c o . u k
www.newtonestrings.com
NEWTONE STRINGS
Specialists in handmade strings
For further info call:
01773 714409
or visit us online:
KWG
Kim Webber
Guitars
Custom Guitars
from 895
Bridgewater
Somerset
Mob: 07714 732255
Build
your
own
courses GUITARS
www.baileyguitars.co.uk
www.mizarolli.net
www.GuitarEvolution.com
20 MILLION HITS TO DATE
Tel: 07958 427236
Hand made pickups that
dont cost an arm and a leg
www.catswhiskerpickups.co.uk
www.fifthavenuefilms.co.uk
www.kimwebberguitars.co.uk
Highly Strung
www.highlystrung.co.uk
www.shedpickups.co.uk
SHED PICKUPS
By Spencer Mumford
Tel: 029 2063 2909
www.
www.thegretschgrotto.co.uk
www.guitarzone.co.uk
www.wammiworld.com
Tremolo and
Bridge Systems
Take advantage of a weak US dollar...
Save up to 50%, buy USA direct,
Free shipping anywhere
www.southamptonmusicshop.co.uk
The Music Shop
New and Used Group Equipment
Tel: 02380 437 937
Custom built guitars and Repairs
www.ethosguitars.co.uk
& BASS MAGAZINE
ACCESSORIES, TUITION AND RETAILERS
DANGELICO SPECIAL CUTAWAY 1951 BLONDE STUNNING FLAMED MAPLE
B/S 1ST. OF ONLY 7 MADE BEAUTIFUL SOUND EX.CON. ORIGIONAL BROWN
CASE. ................................................................................................................P.O.A.
DANELICO EXCL 1 AMBER EXCELLENT PLAYER ........................................2,200
GIBSON 335 DIAMOND DOT BLACK PEARL GOLD H/W LTD.ED. CUSTOM SHOP....P.O.A.
GIBSON E.S. 165 HERB ELLIS 97 S/B EX.COND ............................................1,595
GIBSON LES PAUL SPECIAL NAT. 2 + P90S 03 EX.CON ..................................695
GIBSON S.G. SPECIAL 05 CHERRY AS NEW ....................................................495
GIBSON J45 S/B FITTED PICK-UP....................................................................1,195
GIBSON L3 1927 S/B GOOD CONDITION EXC. PLAYER................................1,495
IBANEZ SV5470F RED EARLY JAP.MODEL EXC.CONDITION.........................P.O.A
RICKENBACKER 325 JETGLOW 88 JOHN LENNON SHORT SCALE MODEL EX.
COND ..................................................................................................................1,495
EASTMAN 910 CE TOP OF THE RANGE CUSTOM SHOP VERY GOOD Reduced to 1,599
POLYTONE MINI BRUTE 1 EARLY MODEL VERY GOOD ..................................695
HOFNER CONGRESS S/B 62 EXC.CON..............................................................295
PEERLESS WIZARD 3+ P90S GIBSON E.S.5 STYLE VERY GOOD ..................399
WANTED GIBSON FENDER MARTIN GRETSCH RAMIREZ
Email: vincechalmers@hotmail.co.uk
P137-141_GUITAR_WIN08 Sec2:141 21/10/08 09:43:56
UK TRANSFORMER manufacturer since 1983.
Our stock range of valve/tube audio mains, outputs, chokes
are available via Mike Holmes' web site (PayPal/card)
(vintage & classic guitar section for AC30, AC15, AC10)
Contact: Dave Brooks
Web:
Emails: Dave@Danburyelectronics.co.uk,
or: Danburyelectx@aol.com
www.livinginthepast-audioweb.co.uk
www.Danburyelectronics.co.uk
We rewind classic transformers and build production quantities.
Danbury Electronics
Tel: 01245 328174 (Essex) Fax: 01245 328963
141
w w w . g u i t a r m a g a z i n e . c o . u k
WEB
DIRECTORY
w w w . g u i t a r m a g a z i n e . c o . u k
www.newtonestrings.com
NEWTONE STRINGS
Specialists in handmade strings
For further info call:
01773 714409
or visit us online:
KWG
Kim Webber
Guitars
Custom Guitars
from 895
Bridgewater
Somerset
Mob: 07714 732255
Build
your
own
courses GUITARS
www.baileyguitars.co.uk
www.mizarolli.net
www.GuitarEvolution.com
20 MILLION HITS TO DATE
Tel: 07958 427236
Hand made pickups that
dont cost an arm and a leg
www.catswhiskerpickups.co.uk
www.fifthavenuefilms.co.uk
www.kimwebberguitars.co.uk
Highly Strung
www.highlystrung.co.uk
www.shedpickups.co.uk
SHED PICKUPS
By Spencer Mumford
Tel: 029 2063 2909
www.
www.thegretschgrotto.co.uk
www.guitarzone.co.uk
www.wammiworld.com
Tremolo and
Bridge Systems
Take advantage of a weak US dollar...
Save up to 50%, buy USA direct,
Free shipping anywhere
www.southamptonmusicshop.co.uk
The Music Shop
New and Used Group Equipment
Tel: 02380 437 937
Custom built guitars and Repairs
www.ethosguitars.co.uk
& BASS MAGAZINE
ACCESSORIES, TUITION AND RETAILERS
DANGELICO SPECIAL CUTAWAY 1951 BLONDE STUNNING FLAMED MAPLE
B/S 1ST. OF ONLY 7 MADE BEAUTIFUL SOUND EX.CON. ORIGIONAL BROWN
CASE. ................................................................................................................P.O.A.
DANELICO EXCL 1 AMBER EXCELLENT PLAYER ........................................2,200
GIBSON 335 DIAMOND DOT BLACK PEARL GOLD H/W LTD.ED. CUSTOM SHOP....P.O.A.
GIBSON E.S. 165 HERB ELLIS 97 S/B EX.COND ............................................1,595
GIBSON LES PAUL SPECIAL NAT. 2 + P90S 03 EX.CON ..................................695
GIBSON S.G. SPECIAL 05 CHERRY AS NEW ....................................................495
GIBSON J45 S/B FITTED PICK-UP....................................................................1,195
GIBSON L3 1927 S/B GOOD CONDITION EXC. PLAYER................................1,495
IBANEZ SV5470F RED EARLY JAP.MODEL EXC.CONDITION.........................P.O.A
RICKENBACKER 325 JETGLOW 88 JOHN LENNON SHORT SCALE MODEL EX.
COND ..................................................................................................................1,495
EASTMAN 910 CE TOP OF THE RANGE CUSTOM SHOP VERY GOOD Reduced to 1,599
POLYTONE MINI BRUTE 1 EARLY MODEL VERY GOOD ..................................695
HOFNER CONGRESS S/B 62 EXC.CON..............................................................295
PEERLESS WIZARD 3+ P90S GIBSON E.S.5 STYLE VERY GOOD ..................399
WANTED GIBSON FENDER MARTIN GRETSCH RAMIREZ
Email: vincechalmers@hotmail.co.uk
P137-141_GUITAR_WIN08 Sec2:141 21/10/08 09:43:56
Grey Fox Cottage,
Llanybydder, Carms,
SA40 9RL
Tel: 01570 480099
THE MARKETPLACE
TO ADVERTISE CALL 07788266847
CUSTOM BUILD, PICKUPS, REPAIRS, BUY N SELL AND GUITAR TUTORS
140
The UKs Premier Guitar
& Bass Parts Supplier
...bridges,
necks, bodies,
electronics, frets, inlay
dots, pickups, knobs,
switches, pickguards, tools
scratchplates, strings, screws,
nuts, saddles, tailpieces
...and much more!!!
The UKs Premier Guitar
& Bass Parts Supplier
Pick a part
Order online or find a local dealer
@: www.allparts.uk.com
To order call
0870 442 3336
Low call rate 0845 345 5951
Catalogue 4.00
ABM, Badass, Bartolini, Bigsby, CRL, CTS,
Danelectro, Earvana, Electrosocket, Fender,
Gotoh, Graphtech, Hipshot, Hofner,
Jim Dunlop, Lace, Leo Quan, Moses,
Razor, Schaller, Sperzel, Sprague,
Switchcraft & Wilkinson.
CAUGHT YOUR ATTENTION?
SEE ADVERTISING DOES
WORK! TO ADVERTISE IN
THE MARKET PLACE OR
WEB DIRECTORY
CALL ZOE ON 0208 726 8324
w w w . g u i t a r m a g a z i n e . c o . u k
& BASS MAGAZINE
THE MARKETPLACE
TO ADVERTISE CALL 020 8726 8324
& BASS MAGAZINE
Northworthy
Fine Hand Crafted
Acoustic Guitars that Break
the Sound Barrier
Sonic elements....come together
in a nigh-on perfect alchemy
Jerry Uwins TGM.
Custom & Left Handed
a pleasure!
Northworthy Musical
Instruments,
Main Road,
Hulland Ward,
Derby DE6 3EA
Tel: 01335 370806
www.northworthy.com
CUSTOM BUILD, RETAILERS, ACCESSORIES, SPARES & REPAIRS
P137-141_GUITAR_WIN08 Sec1:140 21/10/08 09:43:49
141
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NEWTONE STRINGS
Specialists in handmade strings
For further info call:
01773 714409
or visit us online:
KWG
Kim Webber
Guitars
Custom Guitars
from 895
Bridgewater
Somerset
Mob: 07714 732255
Build
your
own
courses GUITARS
www.baileyguitars.co.uk
www.mizarolli.net
www.GuitarEvolution.com
20 MILLION HITS TO DATE
Tel: 07958 427236
Hand made pickups that
dont cost an arm and a leg
www.catswhiskerpickups.co.uk
www.fifthavenuefilms.co.uk
www.kimwebberguitars.co.uk
Highly Strung
www.highlystrung.co.uk
www.shedpickups.co.uk
SHED PICKUPS
By Spencer Mumford
Tel: 029 2063 2909
www.
www.thegretschgrotto.co.uk
www.guitarzone.co.uk
www.wammiworld.com
Tremolo and
Bridge Systems
Take advantage of a weak US dollar...
Save up to 50%, buy USA direct,
Free shipping anywhere
www.southamptonmusicshop.co.uk
The Music Shop
New and Used Group Equipment
Tel: 02380 437 937
Custom built guitars and Repairs
www.ethosguitars.co.uk
& BASS MAGAZINE
ACCESSORIES, TUITION AND RETAILERS
DANGELICO SPECIAL CUTAWAY 1951 BLONDE STUNNING FLAMED MAPLE
B/S 1ST. OF ONLY 7 MADE BEAUTIFUL SOUND EX.CON. ORIGIONAL BROWN
CASE. ................................................................................................................P.O.A.
DANELICO EXCL 1 AMBER EXCELLENT PLAYER ........................................2,200
GIBSON 335 DIAMOND DOT BLACK PEARL GOLD H/W LTD.ED. CUSTOM SHOP....P.O.A.
GIBSON E.S. 165 HERB ELLIS 97 S/B EX.COND ............................................1,595
GIBSON LES PAUL SPECIAL NAT. 2 + P90S 03 EX.CON ..................................695
GIBSON S.G. SPECIAL 05 CHERRY AS NEW ....................................................495
GIBSON J45 S/B FITTED PICK-UP....................................................................1,195
GIBSON L3 1927 S/B GOOD CONDITION EXC. PLAYER................................1,495
IBANEZ SV5470F RED EARLY JAP.MODEL EXC.CONDITION.........................P.O.A
RICKENBACKER 325 JETGLOW 88 JOHN LENNON SHORT SCALE MODEL EX.
COND ..................................................................................................................1,495
EASTMAN 910 CE TOP OF THE RANGE CUSTOM SHOP VERY GOOD Reduced to 1,599
POLYTONE MINI BRUTE 1 EARLY MODEL VERY GOOD ..................................695
HOFNER CONGRESS S/B 62 EXC.CON..............................................................295
PEERLESS WIZARD 3+ P90S GIBSON E.S.5 STYLE VERY GOOD ..................399
WANTED GIBSON FENDER MARTIN GRETSCH RAMIREZ
Email: vincechalmers@hotmail.co.uk
P137-141_GUITAR_WIN08 Sec2:141 21/10/08 09:43:56
UK TRANSFORMER manufacturer since 1983.
Our stock range of valve/tube audio mains, outputs, chokes
are available via Mike Holmes' web site (PayPal/card)
(vintage & classic guitar section for AC30, AC15, AC10)
Contact: Dave Brooks
Web:
Emails: Dave@Danburyelectronics.co.uk,
or: Danburyelectx@aol.com
www.livinginthepast-audioweb.co.uk
www.Danburyelectronics.co.uk
We rewind classic transformers and build production quantities.
Danbury Electronics
Tel: 01245 328174 (Essex) Fax: 01245 328963
141
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WEB
DIRECTORY
w w w . g u i t a r m a g a z i n e . c o . u k
www.newtonestrings.com
NEWTONE STRINGS
Specialists in handmade strings
For further info call:
01773 714409
or visit us online:
KWG
Kim Webber
Guitars
Custom Guitars
from 895
Bridgewater
Somerset
Mob: 07714 732255
Build
your
own
courses GUITARS
www.baileyguitars.co.uk
www.mizarolli.net
www.GuitarEvolution.com
20 MILLION HITS TO DATE
Tel: 07958 427236
Hand made pickups that
dont cost an arm and a leg
www.catswhiskerpickups.co.uk
www.fifthavenuefilms.co.uk www.kimwebberguitars.co.uk
Highly Strung
www.highlystrung.co.uk
www.shedpickups.co.uk
SHED PICKUPS
By Spencer Mumford
Tel: 029 2063 2909
www.
www.thegretschgrotto.co.uk
www.guitarzone.co.uk
www.wammiworld.com
Tremolo and
Bridge Systems
Take advantage of a weak US dollar...
Save up to 50%, buy USA direct,
Free shipping anywhere
www.southamptonmusicshop.co.uk
The Music Shop
New and Used Group Equipment
Tel: 02380 437 937
Custom built guitars and Repairs
www.ethosguitars.co.uk
& BASS MAGAZINE
ACCESSORIES, TUITION AND RETAILERS
DANGELICO SPECIAL CUTAWAY 1951 BLONDE STUNNING FLAMED MAPLE
B/S 1ST. OF ONLY 7 MADE BEAUTIFUL SOUND EX.CON. ORIGIONAL BROWN
CASE. ................................................................................................................P.O.A.
DANELICO EXCL 1 AMBER EXCELLENT PLAYER ........................................2,200
GIBSON 335 DIAMOND DOT BLACK PEARL GOLD H/W LTD.ED. CUSTOM SHOP....P.O.A.
GIBSON E.S. 165 HERB ELLIS 97 S/B EX.COND ............................................1,595
GIBSON LES PAUL SPECIAL NAT. 2 + P90S 03 EX.CON ..................................695
GIBSON S.G. SPECIAL 05 CHERRY AS NEW ....................................................495
GIBSON J45 S/B FITTED PICK-UP....................................................................1,195
GIBSON L3 1927 S/B GOOD CONDITION EXC. PLAYER................................1,495
IBANEZ SV5470F RED EARLY JAP.MODEL EXC.CONDITION.........................P.O.A
RICKENBACKER 325 JETGLOW 88 JOHN LENNON SHORT SCALE MODEL EX.
COND ..................................................................................................................1,495
EASTMAN 910 CE TOP OF THE RANGE CUSTOM SHOP VERY GOOD Reduced to 1,599
POLYTONE MINI BRUTE 1 EARLY MODEL VERY GOOD ..................................695
HOFNER CONGRESS S/B 62 EXC.CON..............................................................295
PEERLESS WIZARD 3+ P90S GIBSON E.S.5 STYLE VERY GOOD ..................399
WANTED GIBSON FENDER MARTIN GRETSCH RAMIREZ
Email: vincechalmers@hotmail.co.uk
P137-141_GUITAR_WIN08 Sec2:141 21/10/08 09:43:56
Grey Fox Cottage,
Llanybydder, Carms,
SA40 9RL
Tel: 01570 480099
Yerasov
GTA15 all Valve
guitar combo
The Yerasov GTA15 sounds delicious,
and its one of the most enjoyable small
valve amps weve tried in a while Guitar
and Bass Magazine
0753 442 9269
www.yerasov.co.uk
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THE MARKETPLACE
TO ADVERTISE CALL 020 8726 8324
& BASS MAGAZINE
Northworthy
Fine Hand Crafted
Acoustic Guitars that Break
the Sound Barrier
Sonic elements....come together
in a nigh-on perfect alchemy
Jerry Uwins TGM.
Custom & Left Handed
a pleasure!
Northworthy Musical
Instruments,
Main Road,
Hulland Ward,
Derby DE6 3EA
Tel: 01335 370806
www.northworthy.com
CUSTOM BUILD, RETAILERS, ACCESSORIES, SPARES & REPAIRS
P137-141_GUITAR_WIN08 Sec1:140 21/10/08 09:43:49
141
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WEB
DIRECTORY
w w w . g u i t a r m a g a z i n e . c o . u k
www.newtonestrings.com
NEWTONE STRINGS
Specialists in handmade strings
For further info call:
01773 714409
or visit us online:
KWG
Kim Webber
Guitars
Custom Guitars
from 895
Bridgewater
Somerset
Mob: 07714 732255
Build
your
own
courses GUITARS
www.baileyguitars.co.uk
www.mizarolli.net
www.GuitarEvolution.com
20 MILLION HITS TO DATE
Tel: 07958 427236
Hand made pickups that
dont cost an arm and a leg
www.catswhiskerpickups.co.uk
www.fifthavenuefilms.co.uk
www.kimwebberguitars.co.uk
Highly Strung
www.highlystrung.co.uk
www.shedpickups.co.uk
SHED PICKUPS
By Spencer Mumford
Tel: 029 2063 2909
www.
www.thegretschgrotto.co.uk
www.guitarzone.co.uk
www.wammiworld.com
Tremolo and
Bridge Systems
Take advantage of a weak US dollar...
Save up to 50%, buy USA direct,
Free shipping anywhere
www.southamptonmusicshop.co.uk
The Music Shop
New and Used Group Equipment
Tel: 02380 437 937
Custom built guitars and Repairs
www.ethosguitars.co.uk
& BASS MAGAZINE
ACCESSORIES, TUITION AND RETAILERS
DANGELICO SPECIAL CUTAWAY 1951 BLONDE STUNNING FLAMED MAPLE
B/S 1ST. OF ONLY 7 MADE BEAUTIFUL SOUND EX.CON. ORIGIONAL BROWN
CASE. ................................................................................................................P.O.A.
DANELICO EXCL 1 AMBER EXCELLENT PLAYER ........................................2,200
GIBSON 335 DIAMOND DOT BLACK PEARL GOLD H/W LTD.ED. CUSTOM SHOP....P.O.A.
GIBSON E.S. 165 HERB ELLIS 97 S/B EX.COND ............................................1,595
GIBSON LES PAUL SPECIAL NAT. 2 + P90S 03 EX.CON ..................................695
GIBSON S.G. SPECIAL 05 CHERRY AS NEW ....................................................495
GIBSON J45 S/B FITTED PICK-UP....................................................................1,195
GIBSON L3 1927 S/B GOOD CONDITION EXC. PLAYER................................1,495
IBANEZ SV5470F RED EARLY JAP.MODEL EXC.CONDITION.........................P.O.A
RICKENBACKER 325 JETGLOW 88 JOHN LENNON SHORT SCALE MODEL EX.
COND ..................................................................................................................1,495
EASTMAN 910 CE TOP OF THE RANGE CUSTOM SHOP VERY GOOD Reduced to 1,599
POLYTONE MINI BRUTE 1 EARLY MODEL VERY GOOD ..................................695
HOFNER CONGRESS S/B 62 EXC.CON..............................................................295
PEERLESS WIZARD 3+ P90S GIBSON E.S.5 STYLE VERY GOOD ..................399
WANTED GIBSON FENDER MARTIN GRETSCH RAMIREZ
Email: vincechalmers@hotmail.co.uk
P137-141_GUITAR_WIN08 Sec2:141 21/10/08 09:43:56
UK TRANSFORMER manufacturer since 1983.
Our stock range of valve/tube audio mains, outputs, chokes
are available via Mike Holmes' web site (PayPal/card)
(vintage & classic guitar section for AC30, AC15, AC10)
Contact: Dave Brooks
Web:
Emails: Dave@Danburyelectronics.co.uk,
or: Danburyelectx@aol.com
www.livinginthepast-audioweb.co.uk
www.Danburyelectronics.co.uk
We rewind classic transformers and build production quantities.
Danbury Electronics
Tel: 01245 328174 (Essex) Fax: 01245 328963
141
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WEB
DIRECTORY
w w w . g u i t a r m a g a z i n e . c o . u k
www.newtonestrings.com
NEWTONE STRINGS
Specialists in handmade strings
For further info call:
01773 714409
or visit us online:
KWG
Kim Webber
Guitars
Custom Guitars
from 895
Bridgewater
Somerset
Mob: 07714 732255
Build
your
own
courses GUITARS
www.baileyguitars.co.uk
www.mizarolli.net
www.GuitarEvolution.com
20 MILLION HITS TO DATE
Tel: 07958 427236
Hand made pickups that
dont cost an arm and a leg
www.catswhiskerpickups.co.uk
www.fifthavenuefilms.co.uk www.kimwebberguitars.co.uk
Highly Strung
www.highlystrung.co.uk
www.shedpickups.co.uk
SHED PICKUPS
By Spencer Mumford
Tel: 029 2063 2909
www.
www.thegretschgrotto.co.uk
www.guitarzone.co.uk
www.wammiworld.com
Tremolo and
Bridge Systems
Take advantage of a weak US dollar...
Save up to 50%, buy USA direct,
Free shipping anywhere
www.southamptonmusicshop.co.uk
The Music Shop
New and Used Group Equipment
Tel: 02380 437 937
Custom built guitars and Repairs
www.ethosguitars.co.uk
& BASS MAGAZINE
ACCESSORIES, TUITION AND RETAILERS
DANGELICO SPECIAL CUTAWAY 1951 BLONDE STUNNING FLAMED MAPLE
B/S 1ST. OF ONLY 7 MADE BEAUTIFUL SOUND EX.CON. ORIGIONAL BROWN
CASE. ................................................................................................................P.O.A.
DANELICO EXCL 1 AMBER EXCELLENT PLAYER ........................................2,200
GIBSON 335 DIAMOND DOT BLACK PEARL GOLD H/W LTD.ED. CUSTOM SHOP....P.O.A.
GIBSON E.S. 165 HERB ELLIS 97 S/B EX.COND ............................................1,595
GIBSON LES PAUL SPECIAL NAT. 2 + P90S 03 EX.CON ..................................695
GIBSON S.G. SPECIAL 05 CHERRY AS NEW ....................................................495
GIBSON J45 S/B FITTED PICK-UP....................................................................1,195
GIBSON L3 1927 S/B GOOD CONDITION EXC. PLAYER................................1,495
IBANEZ SV5470F RED EARLY JAP.MODEL EXC.CONDITION.........................P.O.A
RICKENBACKER 325 JETGLOW 88 JOHN LENNON SHORT SCALE MODEL EX.
COND ..................................................................................................................1,495
EASTMAN 910 CE TOP OF THE RANGE CUSTOM SHOP VERY GOOD Reduced to 1,599
POLYTONE MINI BRUTE 1 EARLY MODEL VERY GOOD ..................................695
HOFNER CONGRESS S/B 62 EXC.CON..............................................................295
PEERLESS WIZARD 3+ P90S GIBSON E.S.5 STYLE VERY GOOD ..................399
WANTED GIBSON FENDER MARTIN GRETSCH RAMIREZ
Email: vincechalmers@hotmail.co.uk
P137-141_GUITAR_WIN08 Sec2:141 21/10/08 09:43:56
Grey Fox Cottage,
Llanybydder, Carms,
SA40 9RL
Tel: 01570 480099
THE MARKETPLACE
TO ADVERTISE CALL 07788266847
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Fender Custom Vibrolux
Reverb. 40W, vibrato and
reverb, classic blackface
cosmetics. With footswitch and
cover, vgc, 800. Tel: 07973
293083. North Devon
Mesa/Boogie Stiletto 100W
head great condition, great
sounds and very loud, 925.00.
Tel: Steve 07803 116060, Beds.
Will consider swap for Marshall
valve amp.
1930s twin neck lap steel
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hand-painted nish. Possibly
unique early English electric,
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Steel plus matching Truvoice
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Epiphone Rivera, 2002, cherry,
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Gibson J-45 Acoustic in vintage
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Fender Princeton 65 DSP
Amplier, several years old but
virtually mint (ungigged), as has
stood in cupboard under wraps.
Cost approx 200, will accept
120. Tel: 07973 776234, E.Mids
Guitar & Bass mags 1997 to
2012. 180 in total, all like new.
3 each. Buyer collects or give
me an offer for the lot. Tel:
01634 817724, Kent
Epiphone Les Paul Standard.
Midnight blue, Tiger stripe,
never gigged, Korean, vgc,
serial no: U03121938, gig bag, 7
years old, 375 ono. Tel: 01298
74208 after 6pm, Buxton
Trace Elliott 130W SM7 1x15
bass combo, 1995, British built,
immaculate. 225. Tel: Pete
01442 863869 (Herts)
Fender 1961, limited release,
LPB, heavy relic Strat. Abigail
Ybarra pickups, hard case,
1875. Mesa/Boogie MkV
Combo, as new, 1875.
Tel: Simon 07881 525777,
W. Sussex
Dean V79 Flying V,
BraziliaBurst, Zebra
Humbuckers, grovers, bound
neck/body. Abalone dots, V
plate, case, unplayed. 270. SKB
Flying V ight case, new, 70.
Tel: Paul 07963 129773,
South East London.
Fender Deluxe Series Ltd
edition vintage Strat with gold
hardware, shell plate and
rosewood board. S-1 switching
system. Tweed case, absolutely
mint condition, as new. Tel:
01986 782383, Norfolk
Ashdown bass stack ABM300
amp, 325W, 1x15" (300W) 4x8"
(600W) cabinets. Made in UK,
one owner, vgc, 450. Tel:
01702 582014, Essex
Orange Tiny Terror combo, 12"
Celestion speaker, all valve 15/7
watts, a fantastic amp, bedroom
use only, as new, 250 ono. Ill
health forces sale. Tel: Micky
020 7511 8528/07826 414727,
London
JV Strat (1984), 750. JV Jazz
Bass, 750. Vox SE Tonelab,
300. Roland V5880 WKSTN,
300, Alexis monitors cheap!
150. Alexis drum machine
100. Tel: 07727 2466231,
London
WEM Dominator Mk11 combo
with 1x12", vgc, 500. Pair WEM
Club 2x12 speakers, each 12
ohms, 165. Orange rig, early
70s with 120W 4x12" cabinet,
850. Tel: 0777 327 6815,
Westmorland
Fender Thinline Telecaster 72
reissue, MIM, 2005, natural ash,
M/Neck, 2 humbuckers,
unmarked, beautiful. Super
player, low action, easy bends
no chokes, gig bag, 425. Tel:
01623 462795, Notts
Yamaha 5-string active bass,
TRB5. Translucent natural
cherry, gold hardware. Beautiful
condition, hard case, 390 ono.
Email kimberwood@
virginmedia.com for pix/spec.
Tel: 01202 530865, Poole,
Dorset
Gibson SG Standard, 2005,
cherry red, Gibson hard case,
absolutely unmarked, very little
home use only, superb guitar,
Genuine reason for sale, 700
ovno. Tel: 07948 705520 or
email paulharrison1008@
yahoo.com, Cannock, Staffs
Guitars and amps for sale, all
mint condition. Tel: Barry 01352
732451, Flint, North Wales
Tokai Silver Star, mid-70s, No
36A, red, maple neck, top sound
and playability. Very special for
a very special player. Slight
wear, not gigged, case, 700.
Tel: 01606 833203, Cheshire
Fender Jazz Bass USA Standard
60th Anniversary model, 2006,
rare natural ash, rosewood
board, case, 800 ono. Tel:
07944 141845 or email rik61@
hotmail.co.uk, West Yorks
Fender Squier Stratocaster,
black, white scratchplate, trem,
maple neck, new strings, gig
ACROSS
7. Brazilian make hidden by price-tag
Im afraid (6)
8. Modulation eect from stage
right (6)
9. Hollow body sees old British music
company after shilling (4)
10. Phil or Edwyn take note of Texas
luthier Bill (8)
11. Hes a mad mess when feeling
guilty (7)
13. Makers of bass backline and other
kit - GA40RVT for example! (5)
15. Mays band quieten without it (5)
16. What Vivaldi does with
condiments? (7)
18. Curtis might be in the slips (8)
19. Take mahogany from Marinos
band to get Lifesons band (4)
21. Audio equipment manufacturer
found in tent as camper (6)
22. Play idly when back on the dole
again (6)
DOWN
1. A Mr Mustaine everybody knows (4)
2. I get a icted making modern
pedal (7,6)
3. Irreversible tool from the cart (7)
4. Ape takes album back to company of
fab four (5)
5. Choir mugs a mom - result of a
psychedelic fungi? (5,8)
6. Genes are potentially this colour (3,5)
12. Locked up and closed a road (4,4)
14. Festival for Noel we hear (7)
17. Reportedly view rst person as
sordid (5)
20. Crystal - alternative starlet? (4)


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bag, vgc, 175. CIC No:
CY04019044. Tel: Alan
01298 74208 or email pajlads
999@tiscali.co.uk,
North Derbyshire
Goodman acoustic guitar with
pickup and 30W Kustom amp,
good condition, 80 ono. Tel:
07946 374544, Exeter
fender Baja Telecaster, 2008.
blonde, Schaller straplocks,
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Eastman Uptown 805 blonde
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Call 01256 892364, Hampshire,
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Vox Ace Guitar 1966, nowhere
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BC Rich Star Sign Collection
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Carlsbro valve 60W reverb PA
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Rothwell Tornado overdrive
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0114 255 6185, Sheffeld
Boss Distortion, Joyo Tremolo
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Gibson Les Paul 58 VOS 2012
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01308 482302/01689 870046
fender Telecaster 52 Hotrod,
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01744 616322/07929 077065,
NW England
Charvette by Charvel 250
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15W amp, 250. Tel: 07954
207838, Sheffeld
Gibson Les Paul Faded
Doublecut, made 2007/8, TV
Yellow, 2 x P90s, killer tone,
classic raw rock sound,
immaculate condition, owned
from new, home use only,
Gibson hard case, discontinued
so will become collectable, 650
ono. Tel: 07948 705520 or
email paulharrison1008@
yahoo.com Cannock, Staffs
Matamp 1224 MkII, award-
winning handbuilt valve head,
28W with 6V6. Multiple power
levels/switching options, 2x12
slope front cab with Celestions,
mint, fightcased, 875. Tel:
Steve 07933 799017, Bedford
Danelectro U2 guitar, cream,
as new, 150, no offers. Tel:
Julian 01962 732036, Hants
G&L Legacy Special, blonde,
alder body, wide rosewood
fngerboard, vintage frets,
locking tuners, tremolo,
hardshell case, unused, 475.
Tel: Max Kay 01344 762020
Boss BD-2 Blues Driver 70,
Electro-Harmonix Memory Boy
65, T-Rex Tonebug Distortion
85. All boxed, used once or
twice. Contact Tom for info
baileytombailey@yahoo.co.uk /
07941 019243
Peavey MkIII XP Series Bass
Head, 150. Ampeg Classic
Series SVT-18E Bass Box, 250.
Tel: Hayley for info/pictures
on 07906 795203, offers
considered if bought
together, Croydon
WANTED
Guitarist wanted for
established NW-based Yes
tribute. Next gigs scheduled for
this autumn. Tel: 0161 928 9175
Noel Gallagher Union Jack Epi,
cash waiting for right guitar.
Tel: Steve 07803 116060, Beds
Hutchins Retro Star guitar,
white or blue, can collect. Tel:
01789 299663, Warwickshire
Washburn Nuno Bettencourt
N6 in cream with gold
scratchplate. Tel: Jamie
07837 715474 or email
J_HOLMES92@sky.com
Epiphone Explorer Korina,
condition unimportant. Cash
waiting. Tel: Robin 07958
103673, Surrey
Zoom FX pedal w/ Charlie Halls
Echoes From The Past program
ftted. Good price paid. Tel: Joe
07887 972019, Lanarkshire
Mesa/Boogie Express 5:25 or
5:50 1x12" combo or Egnate r
Rebel 30. Must be vgc. Cash
waiting. Preferably London
area. Tel: Mick 020 8530 1208
Vintage 1960s soft vinyl case/
gig bag in good condition for
solid guitar. Cash waiting for the
right one. Tel: 07710 370505
130 Guitar & Bass JULY 2013
Eric
Schenkman
Spin Doctors
I
ncredibly, its now been over 20 years since the Spin Doctors enormo-hit Two
Princes dominated the airwaves. Back in the early 90s the band forged a reputation
for muso tendencies, thrilling wigouts, and jams that could last for hours. The 1991
album Pocket Full of Kryptonite captured a little of that, but mostly a new brand of
funky pop rock that proved hugely popular. Before they hit big, the band trawled the blues
clubs of New York but instead of knocking out covers, Eric and his pals wrote new songs
and passed them off as classics. A chance nd of an old tape has led to those songs being
dusted off and laid down to create the new album If The River Was Whiskey, re-invigorating
the band and bringing them back to the original spirit that made them such a sensation.
Revelling in re-recording his bands early blues material,
a pop rock hero reveals some wide-ranging inuences
The Jimi Hendrix Experience
AXIS BOLD AS LOVE
Its hard to choose a Hendrix album, but I dont
think Axis gets enough credit. To me the
Experience is the ultimate trio, and this is their
creative peak. Jimis
guitar playing is just
stellar, all the songs
are incredible, and his
pursuit of new
directions really stands
out in the sounds, the
ideas and production.
Living Colour
VIVID
I loved Living Colour when Vivid came out
Vernon Reid just kills on Cult Of Personality. I was
living in NYC at the time and Vivid was an instant
breakthrough classic
for me. Vernons
sounds, his playing
and writing are
inspiring Middle Man,
Funny Vibe, Open
Letter To A Landlord...
poetic and on re.
Keith Richards
TALK IS CHEAP
Here Keith showed us hes deeper than the Stones
(if thats possible) and still full of brilliant
rocknroll guitar. From hooks to heaven, Talk Is
Cheap has all sorts of
America wrapped up
in it. Keiths at his best
smart, gutsy and
straight up. All his riffs
are memorable cause
they ARE him. This has
it all. Play it loud!
Joni Mitchell
DON JUANS RECKLESS DAUGHTER
Ive always loved Jonis guitar playing. Her
courageous musical spirit is, in many ways,
unparalleled just listen to her tunings and her
ability to capture
songs with them. All
her stuff is great, but
this album contains
my personal favourite
Joni song, Jericho
and Jaco Pastorius is
on there too.
David Bowie
LETS DANCE
This classic Nile Rodgers production showcased
Stevie Ray Vaughan and brought back to the
masses not only one of the best young cats
around SRV was just
so bad! but it also
put Albert King back in
the spotlight. I saw
Stevie Ray at Beacon
Theatre NYC 1983
man, what a Little
Wing that was!
Magic Sam
EASY BABY
Magic Sam was a super badass guitar player and,
man, could he sing! He serves up rhythmic riffs
and grooves while blowing your mind. I dig his
stylistic approach, its
the coolest! Hes famed
for his tremolo, and his
use of amp tremolo is
brilliant too. Magic Sam
will show you what a
Strat can do... and what
the blues can do.
Albert King
BORN UNDER A BAD SIGN
Desert island guitar album #1. Period. You cant
beat the king of the blues guitar accompanied by
the best Stax band ever... Booker T & the MGs plus
Isaac Hayes and the
Memphis Horns. Hell
break your heart
crooning The Very
Thought Of You and
sting you with the best
guitar you ever heard
on Personal Manager.
Jeff Beck
WIRED
I grew up listening to this. George Martins
production brought Beck into a hi-, textural
guitar zone rarely matched. The virtuosity is
stunning throughout,
and he does Goodbye
Pork Pie Hat by Mingus,
which is a favourite.
Its all good Blue
Wind, Led Boots and of
course, Head For
Backstage Pass.
Teenage Head
FRANTIC CITY
Often described as the Canadian Ramones (from
Hamilton, Ontario), these guys played my high
school in the beginning of the 80s. Frankie Venom
was one of the best
frontmen I had ever
seen live. You didnt
need to go to Detroit or
NYC to get your rock
guitar x on. Turn up
the re, cmon baby
lets shake!
Soundtrack of my life
B
l
u
e
s

R
u
d
y
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John Lilley - The Hooters
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