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DIY: REFINISH YOUR AXE BOZ BOORER NORMAN BLAKE VALERIE JUNE

MAY 2017
MAY 2017

HOW TO SET UP THE INGENIOUS,


SORELY MISUNDERSTOOD
JAZZMASTER & JAGUAR

26 GUITAR &
BASS GODS
ON LIFE-CHANGING
13 ALBUMS

GEAR REVIEWS
MARSHALL / TAYLOR
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6 PREMIERGUITAR MAY 2017
PORTRAITS
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TUNING UP

First-World Problems and 6-String Dreams


BY SHAWN HAMMOND @PG_shawnh

to consider how they comport with our sounded right with the Paul, decides to
musical vision or goals. Because the loop it into her board, and before she
reality is, if were not careful, the net knows it, three hours have passed and
effect of how we guitar and bass junkies shes written two new songs that sound
relieve our boredom can actually lead us like herbut with a new twist. Shes
to create boring music. ecstatic: A new chapter has begun.
Let me repeat that: The methods These scenarios have much in
by which we inspire ourselves can pose common. Both guitarists were bored
a very real threat to our success as but adventurous. Both invested money,
compelling musicians. time, and effort in a worthy pursuit. The
Lets illustrate with two contrasting difference is that Guitarist A saw the new
scenarios: Guitarist A has been playing guitar as a tool to bend his will to. A
for 20 years. Hes long been a Les Paul concrete symbol of something that already
guya huge Zeppelin, Peter Green, existsa means of achieving a preordained
and Gary Moore fan. One day he sees a end. He will likely spend a lifetime chasing

I
f youve got adequate access to food, pretty decent Craigslist deal for a Fender fleeting muses that temporarily amuse, but
water, shelter, a decent education Jazzmaster. Over the years hes seen lots that inevitably leave him feeling empty. He
and/or job, and some expendable of pics of surf-rock icons gripping this has not discovered that, somewhere inside
income, youre someone we can safely say weird cousin of the Strat, and he figures him, theres a 6-string voice that could be
has first-world problemschallenges why not branch out a little? So he emails as unique as his heroesif only hed cure
that are laughable compared to those the owner, they meet for the trade-off, and his boredom in pursuit of it instead of
faced by a significant portion of fellow he spends the next three months learning someone elses sounds.
earthlings. One of the biggest, dumbest every classic surf tune he can. Misirlou, Guitarist B, on the other hand, saw the
problems we first-worlders face from Apache, Wipe Out, you name it. Before Jag as a tool to bend to her will, irrespective
day to day is how to not be bored by the long, though, he misses the raw power of of how anyone else had used it. Guitarist
banality of our fortuitous existence. a blasting Paul, and he heads back to his B is hell-bent on developing her own
The more free time we get due to beloved Gibson and the classic-rock tunes voice. And yes, its inspired by othersas
our serendipitous lack of survival crises, of his formative years. A week or three everyones isbut her efforts are focused
the more energy we dedicate to efforts passes before he sees a tempting auction inwardly. She will probably never make a
to amuse ourselves. We scour the web for a Telecaster thats almost as sweet- nice side income as the ripping guitarist
for new tunes thatll fire new neurons. looking as the one hes seen Keith Richards in a cover band that plays a couple
We endlessly analyze old tunes. We with in a zillion pics. Rinse and repeat. hundred shows per year. Yet everywhere
read interviews and watch gear demos. Guitarist B also has a lot of playing she plays, she will hear people comment
We unpack dust-covered instruments years under her belt, and grew up on a on how fresh and unique she sounds. She
to weigh whether to keep the thing pretty meaty Les Paul diet: Zep, Guns will never lose the drive to discover the
or sell it to some similarly bored eBay N Roses, Sex Pistols. One day she sees a innermost depths of her musical self, and
hound. We save up or go into debt to pretty decent deal for a Jaguara guitar shell never regret her path.
add some long-lusted-after item or some shes never really seen played by anyone So whats it going to be for you
seductively beckoning new piece of gear she likes, but that nevertheless intrigues haphazard phases and flavor-of-
to our existing stockpile. All because her. She thinks, What the hellits time the-month fetishization, or fearless
were [yawn] B. O. R. E. D. for a change. She dials up the owner, commitment to being you, no matter
Whats interesting is how this tendency makes a deal, comes home with her new the cost?
can lead to a consequential split in the axe, plugs it in, and quickly finds that
pathway of an artists development. it sounds horrid with her LP-optimized
The problem isnt necessarily that we do rig. Undaunted, she reduces the gain
these things (unless we do them to the and treble on her overdrive, adds a little
exclusion of other healthy, well-rounded, more reverb than shed normally use, and Shawn Hammond
more social and selfless behaviors), its she begins to feel giddy. She suddenly Chief Content Officer
that often we do them without stopping remembers that old fuzz box that never shawn@premierguitar.com

premierguitar.com
8 PREMIERGUITAR MAY 2017
DC-16E D-16E OMC-16E

martinguitar.com
FEEDBACK LOOP
Back in the late 70s [Larry his bottom lip. It was being Socialize
Coryell] was playing the auctioned on eBay. I knew
Paradise in Boston. Me and I couldnt afford it. I didnt
with Us!
four buddies came up from even check to see what it went
Cape Cod thinking no biggie for. I sure wouldve cherished
to get tickets, but the place was that thing. Ah shucks.
packed and the ticket booth was Ear Necklace, @premierguitar
mobbed. I saw out of the corner via premierguitar.com John Lennon had a
of my eye someone trying to Charlie Christian on
come through the door, and I About Time a Les Paul Jr. at
said, Hey, make some room. Doyles prodigious talent the neck. Might be
The guy patted me on the back has been evident since I met cool to try out.
and said, thanks buddy. I him when he was a long- @JosephMBelcher
didnt even look at him and my haired 18-year-old doing
friends said, That was Larry some recording north of @premierguitar
Coryell. I was next up to get Marin County, California @_Warpaint you
tickets and the woman said, [Doyle Bramhall II: The shouldve peeped
Losing Larry sold out. We walked out and Spiritualist, January 2017]. Jenny Lees gear. Last
Larry Coryell is my wifes first sat on the sidewalk with our That hes finally starting to be I saw it was as boss as
cousin. His name was on the backs to the club and up walks recognized is simply an about her tone playing
cover of your February 2017 Larry. Whats the matter? he time for those of us whove @NapalmMaestro
magazine [Larry Coryell: The said. We told him it was sold known of him and his musical
Godfather Part II]. He did a out. He said, follow me, and ability for any length of time. @TheRealPhilX
concert last night, went back set us up with front row seats. Thank you for finally getting @premierguitar Yes!
to his hotel, and never woke Oh, and he burned. him some column space. Ive been waiting for
up. I thought I would tell you ameericandolt, Andrew Hardardt, this one.
guysyoure the first to know as via premierguitar.com via premierguitar.com @CarlosGphoto
it hasnt been announced.
My wife remembers him The One that Correction
playing guitar in her living Got Away In our April 2017 review
room as a kid. He wrote a song I think I have all the gear I of the Fender American
for her mother and the record need for now and thats rare Professional Strat, we
company made him change the for a guitarist [Esoterica mistakenly said one tone
title. I think it was originally Electrica: For What Its Worth, knob controls both neck
called My Cousin Dorothy. April 2017]. Theres only and middle pickups, while
He wrote about her in his book one I wouldve bought only the other tone control is
and the times he enjoyed living for collector reasons. It was a dedicated to the bridge
in Galveston and being with teal-colored Les Paul Studio pickup. In actuality, the first
her. Larry was adopted by his Lite. Nothing special, actually tone knob controls the neck
stepfather. I knew his mother well a cheapie as far as Gibson pickup, while the second
and she was a great lady. His birth guitars, with one exception. tone knob controls both the
name was Larry Van Delinder. He It was autographed by Matt middle and bridge pickups. Defining.
would never meet his biological Groening, which is a big deal We apologize for Cam Bush
father. I met Larry once and to me, but thats not what this error.
took a family group shot after put it over the top. Above his No guitar is trash.
he did a concert in Dallas. Im a autograph on the front, he drew Martyn Ley
drummer, so, of course, I knew a magic marker sketch of Bart
Keep those
how talented he was. Simpson looking totally rock
comments coming!
Please send your suggestions,
Paul Ridenour, star, complete with a goatee gripes, comments, and good words
via premierguitar.com and a cigarette hanging off directly to info@premierguitar.com.

premierguitar.com
10 PREMIERGUITAR MAY 2017
ITS ELECTRIC!
The Mitchell MS Series modern single cutaway guitars offer a
cutting-edge take on a revered design by combining a slim-line
body with coil-tapped humbuckers plus a collection of high-end
features typically found on boutique instruments.

MS400 SERIES
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Slim-tapered mahogany set neck and rosewood fretboard for superior playability
Paraffin-dipped alnico V humbuckers with coil-tap provide a variety of sought-after tones
High-ratio locking tuners keep your tuning rock-solid
Available with AAA maple veneer top for an amazing look

MitchellElectricGuitars.com
CONTENTS May 2017
ARTISTS p. 74

59
Boz Boorer
Morrisseys sparring
partner blends roots
rock with sonic majesty
and rockabilly.

66
Norman Blake
At 79, the folk legend
is writing powerful
songs and making his

Photo by Danny Clinch


flattop ring.

74
Valerie June
A roots-soul siren 37 51 96 117
embraces her
idiosyncratic muse and Life-Changing Forgotten DIY: Jazzmaster DIY: Refinishing
builds a band of kin- Albums Heroes: & Jaguar Setup Your Axe
dred spirits. Twenty-six guitar and R.L. Burnside Offset addict Michael A detailed guide to
bass greats on the How he brought the Adams reveals setup giving your favorite
one that changed Mississippi hill country secrets for Fenders warhorse axes a shiny
89 everything. sound to the world. misunderstood axes. new look.

Once Human REVIEWS


Logan Mader and
Max Karon discuss 142 Jonny Rock Gear Moby Depth 155 Universal Audio Apollo
the bands new triple-
7-string guitar lineup. 142 TC Electronic Rusty Fuzz Twin MkII
143 LunaStone The Pusher 159 Studious Moseley
143 Emma Electronic Okto-Njs 163 Spaceman Titan II
144 Taylor Academy 10e 166 Gibson EB 4
147 Marshall 2525C Mini Jubilee 168 Michael Kelly CC50 Deluxe
150 Rivolta Combinata
152 Reverend Mike Watt
Wattplower

premierguitar.com
12 PREMIERGUITAR MAY 2017
TM

SuproUSA.com DISCOVER THE LEGEND


On the Cover:
DIY: REFINISH YOUR AXE BOZ BOORER NORMAN BLAKE VALERIE JUNE
MAY 2017

Fenders American

MAY 2017
Vintage Jazzmaster/
Jaguar bridge

CONTENTS May 2017


and tremolo. HOW TO SET UP THE INGENIOUS,
SORELY MISUNDERSTOOD
JAZZMASTER & JAGUAR

26 GUITAR &
BASS GODS
ON LIFE-CHANGING
13 ALBUMS

GEAR REVIEWS
MARSHALL / TAYLOR

premierguitar.com
RIVOLTA / GIBSON
REVEREND / EMMA
& MORE!

8 Tuning Up
22 Reader Guitar of the Month
23 Opening Notes
170 Staff Picks
182 Esoterica Electrica
184 Last Call

GEAR
18 Gear Radar
28 Rig Rundowns
32 Vintage Vault
34 Bottom Feeder
48 Tone Tips
140 Tools for the Task

HOW-TO
82 Acoustic Soundboard
84 The Recording Guitarist
86 Speaker Geeks
110 On Bass
112 Bass Bench
130 State of the Stomp
132 Mod Garage
136 Ask Amp Man

Truly creative people are


alchemists who turn the ordinary
into the extraordinary by refusing
to be satisfied with what others
Photo by Adam Brown

have done before them.


John Bohlinger,
Last Call, p. 184

premierguitar.com
14 PREMIERGUITAR MAY 2017
GO ONLINE

ONLY ON PremierGuitar.com
Your guide to the latest stories, reviews, videos, and lessons.

FEATURED

Deux Debuts: Crystal Fairy and Hand Habits


LESSONS
The world certainly isnt facing a shortage of supergroups, but the formation of Crystal Fairy Access all of our
(above left) may result in an album bigger than the sum of its parts. The band came together lessons at
organically following a tour which saw Le Butcherettes opening for the Melvins. The latter bands premierguitar.com/lessons
frontman Buzz Melvin and drummer Dale Crover invited Le Butcherettes guitarist Teri Gender
Three Sides to Solo Guitar
Bender onstage to help cover Bikini Kills Rebel Girl, and the three musicians quickly realized By Shawn Persinger
there was undeniable chemistry. After a chance meeting backstage with Le Butcherettes producer
Omar Rodriguez-Lpez, the Mars Volta guitarist was signed up to handle bass duties. Beyond Blues: the Allman
Brothers Band
Though the group recently cancelled tour dates due to scheduling conflicts, the band plans to By Levi Clay
convene later this year to bring the songs on their self-titled debut to live audiences. Head online to
read our interviews with Buzz and Teri and learn about their guitar approaches and collaboration. Guthrie Govans
Erotic Cakes
Meg Duffy (above right) is a formally trained guitarist whos spent the last few years enhancing
By Sam Bell
the music of indie artists like Kevin Morby, Mega Bog, and Weyes Blood. Now shes releasing her
debut LP, Wildly Idle (Humble Before the Void), under the name Hand Habits. Dear 6-String Sensei:
Duffy, 26, decided to make the album on her own with an Mbox, Pro Tools, some borrowed Please Demystify the
Modes of the Major Scale
mics, and the only guitar shes ever hada Fender Deluxe Lone Star Strat. Ive never found By Andy Ellis
another guitar that I like that I was willing to spend money on, she says. and Jason Shadrick

NEW FOOTAGE!

Above left: Photo by David Goldman Above right: Photo by Chantal Anderson
Axes & Artifacts: 1961 Gibson Byrdland
and 1963 Fender Princeton
Greg Voros from Nashvilles Gruhn and a 23 1/2" scale length. This model
Guitars joins John Bohlinger for a new was designed in collaboration with
edition of Axes & Artifacts, a PG Nashville session aces Billy Byrd and
video series highlighting glorious rare Hank Garland. roll by Ted Nugent, John McLaughlin,
vintage instruments and the history The jazz box has plenty of twang, and and Eric Clapton. At the end of the
behind them. its slim neck and short scale lend it to segment, Bohlinger cranks it up and
This month we take a look at a nimble fretwork. Its such a rich tone, I jams some serious slide on the Byrdland
1961 Gibson Byrdland with a rare can see why studio guys would be drawn through a brownface 63 Princeton
factory-installed Bigsby, PAF pickups, to it, says Bohlinger, but this versatile amp. Hear the pair in action now on
a spruce top, maple back/sides/neck, guitar model was also adopted to rock n premierguitar.com.

premierguitar.com
16 PREMIERGUITAR MAY 2017
GUITARDOMS
TOP TWEETS
I can hold my breath longer than I can
listen to popular country radio
@amandashires

So Andy, what were you up to in 1998?


@TheRealMcKee

I heard the most beautiful voice this


morning, it was a woman cleaning the
restroom in a McDonalds. Singing in
Spanish. Music is amazing.
@JoeRobinson1

Kudzu... #breadboard
@JHSPedals

s/o to everyone practicing an


instrument in their room tonight,
pretending theyre on stage.
@JohnMayer

premierguitar.com PREMIERGUITAR MAY 2017 17


GEAR RADAR
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GEAR RADAR
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premierguitar.com PREMIERGUITAR MAY 2017 21


READER GUITAR

Capturingonethe Magic
OF THE MONTH
Name: Alain Pire
Hometown: Marchin, Belgium
Guitar: Cream Gibson SG
pickup at a time Ive always been a fan of Cream,
and so I asked a friend who is a
painter to paint my Gibson SG
in the fashion of Eric Claptons
model. It was produced in Nashville
in January 2006. I decided to form
my psychedelic band, the Alain
Pire Experience, in loving memory
of Cream, because it was such an
incredible power trio at the time.
I was really impressed by them
when I was a teenager. Then I did
a PhD about psychedelic music at
the University of Lige, Belgium,
and I really wanted to form a
3-piece band to pay tribute
to that type of music.
I have quite a lot of
guitars (see below) but
this one is special. Its
equipped with P-90
Handmade in the USA lollarpickups.com 206.463.9838 P-90 Staple
LOLPGTHIRD2017 pickups, which I love
because of the fatter
sound they give. Its
the model that Clapton
used for quite a while
with Cream, except that
he was using an SG Standard
with humbuckers.
This guitar was dark red first. I sent my
painter friend (who is also a fan of 1960s
British psych-rock music) a picture of
Claptons legendary SG that was painted
by an artist duo called The Fool. I asked
him to paint mine as a tribute but in his
own fashion, and to my delight, he did it!
Ever since, its been my favorite guitar both
for recording and to play live. The neck
is very easy and its weight is very light,
making it a very comfortable instrument
to play. Its getting plenty of action, too, as
we have released two albums now and have
a lot of airplay here in Belgium.

Send your guitar story to


submissions@premierguitar.com.

premierguitar.com
22 PREMIERGUITAR MAY 2017
OPENING NOTES

George Porter Jr.


February 16, 2017
ACL Live at the Moody Theatre
Austin, TX
Photo by John Croxton

The funk vet and founding


member of the Meters summons
the groove on the bass hes called
home since 2009, a customized
Lakland Bob Glaub signature
model. It features an EMG PA
pickup and a neck carved to
match the 65 Fender Precision
neck on the bass Porter played for
almost four decades. I thought
I was going to play my old P
Frankenstein forever, he says,
but when I got the Lakland, it
sounded great, it felt like my old
P, and it was lighter than my P.

premierguitar.com PREMIERGUITAR MAY 2017 23


OPENING NOTES

John Petrucci
February 6, 2017
Forum Karln
Prague, Czech Republic
Photo by David Havlena

The Dream Theater shredder


electrifies a Prague crowd with
his 7-string mainstay, a 2017
Music Man Monarchy Series
Majesty. One of a whopping 14
JP Majesty axes on the tour, it
features his signature DiMarzio
Sonic Ecstasy pickups and a
piezo-equipped Music Man
tremolo. The guitar has a bold,
forward, and incredibly versatile
sound, says Petrucci.

premierguitar.com
24 PREMIERGUITAR MAY 2017
OPENING NOTES

Taylor Goldsmith
February 6, 2017
Barrymore Theatre
Madison, WI
Photo by Adam Brown

Dawes frontman Taylor


Goldsmith frets his 1959 Gibson
ES-345 with original PAF
pickups. To get a truer, stronger
output, Goldsmith has bypassed
the Varitone circuit, and hes also
installed new tuners. Ive never
had a hollowbody like this, he
admits, so its been fun to learn
what I can do with feedback when
I get close enough to the amp.

premierguitar.com PREMIERGUITAR MAY 2017 25


OPENING NOTES

Ben McLeod
February 24, 2017
Exit/In
Nashville, TN
Photo by Chris Kies

All Them Witches Ben McLeod


gets in the zone with his new baby,
a 2017 Knaggs Sheyenne T2. Now
his main guitar, the 335-esque axe
is outfitted with a set of Seymour
Duncan Seth Lover humbuckers,
which McLeod contends are the
best pickups hes ever played.
Im obsessed with Freddy King
and wanted the ultimate semi-
hollowbody blues guitar, he says.
The tone is outstanding and I
instantly felt a connection with
the feel of the guitar. And it loves a
cranked Twin Reverb.

premierguitar.com
26 PREMIERGUITAR MAY 2017
Raise Your Voice
A New Series I Elevated Features I Limitless Possibilities

2017 Fender Musical Instruments Corporation. FENDER.COM


RIG RUNDOWNS

Click here to
watch this
Rig Rundown.
John Shanks, Phil X, & Hugh McDonald

BON JOVI
PGs Chris Kies
spent some
quality time with
John Shanks,
Phil X, and Hugh
McDonald before
their sold-out
show at Nashvilles
Bridgestone Arena.
The trio prove
they travel heavy
with plenty of
instruments, detail
their signal chains,
and Phil X even
challenged Kies to
an arm-wrestling
match.

GUITARS
Top: A few years ago,
Framus approached Phil
X about co-designing
a signature guitar and
this was one of the first
production models for
the XG. He claims that
they basically built his
dream guitar by making
a larger, thicker SG-style
body, paired it with a 59
neck profile, and added
a single Arcane PX-90
that was voiced with
Phils help and input.

Bottom: A 1961 Gibson


SG Les Paul Custom
that John Shanks
recently bought in
LondonIt was one
of those guitars that
once you picked up
and played you were
screwed because it
sounded that good.

premierguitar.com
28 PREMIERGUITAR MAY 2017
AMPS
Phil X tours with a
trifecta of rocking heads
including this signature
Friedman 100-watt,
single-channel head
that is loosely based
on the Brown Eye but
allows Phil to cut the
gain. The amps overall
tone is less compressed,
and Phil requested a
second master so he
could boost his solos at
smaller shows in clubs.

EFFECTS
Phils utilitarian
pedalboard holds
his Xotic XW-1 Wah,
an Eventide H9, a
HardWire CR-7 Stereo
Chorus, a custom-
voiced Way Huge Saucy
Box (modded by Jeorge
Tripps), Boss NS-2
Noise Suppressor, a
Boss TU-2 Tuner, and an
MXR Talk Box.

BASS
Letting the guitarists
rack up the travel bills,
bassist Hugh McDonald
travels lean and light
by only touring with
a handful of basses,
no amps, and a few
stompboxes. Here is the
Fender Jaco Pastorius
Fretless Jazz Bass that
he uses on Something
to Believe In from
These Days.

premierguitar.com PREMIERGUITAR MAY 2017 29


RIG RUNDOWNS

Click here to
watch this
Rig Rundown.
Jim Adkins & Tom Linton

JIMMY EAT WORLD


PGs Perry Bean
met up with Jim
Adkins and Tom
Linton from Jimmy
Eat World before
their Birmingham,
Alabama, show at
Iron City. The guitar
duo describes the
evolution of their
gear from their
simple guitar-
into-tube-amp
beginnings to
embracing the 21st
century on this tour.

JIM ADKINS GEAR


Top: Jim Adkins
primarily plays his
Fender signature
Telecasters. His No. 1
is this JA-90 signature
Tele, featuring a semi-
hollow ash body with
matching headstock,
9.5"-radius rosewood
fretboard with 22
medium jumbo frets,
and two Seymour
Duncan SP90 pickups.
He keeps this short-
scale beauty strung
with finger-straining
.013 gauge strings.

Bottom: When Adkins


goes for an acoustic
tone, he grabs a Maton
808 Grand Concert
prototype, which he
picked up on tour while
visiting their factory
in Australia.

premierguitar.com
30 PREMIERGUITAR MAY 2017
TOM LINTONS GEAR
Top left: Tom Lintons
No. 1 is this all-stock
93 Gibson SGa
replacement for another
93 he had back in the
day that broke.

Top right: Another


Linton favorite is this
oddball 83 Gibson
Challenger, which was
a $300 eBay find. The
bolt-neck Challenger
is tuned to C# and
was upgraded with
Gibson Burstbucker Pro
pickups.

Middle: For a P-90


tone, Linton goes with
his stock 95 Gibson
Les Paul Special tuned
to open E. The pickup
selector remains taped
down to the bridge
position.

EFFECTS
Bottom: After years
of plugging into Vox
AC30s and Orange
amps, Adkins and Linton
recently switched to
the Fractal Axe-Fx II XL
with an RJM Mastermind
GT/10 Foot Controller.
For extra tweaking
on the fly, Adkins and
Linton use a Mission
Engineering EP-11-S
expression pedal.

premierguitar.com PREMIERGUITAR MAY 2017 31


premierguitar.com
32 PREMIERGUITAR MAY 2017
VINTAGE VAULT

1957 Gibson Byrdland Natural


BY DAVE ROGERS, LAUN BRAITHWAITE, AND TIM MULLALLY

I
n 1955, Gibson developed a Thin models represent the latest advance tailpiece designhand-bound pickguard
slimmer hollowbody electric in the design of Electric Guitars. The individual machine heads with deluxe
guitar for players wanting a more thin bodyonly 2 1/4" deepfits close, buttons. This Byrdland still has the
comfortable instrument that didnt weigh reducing the right arm stretch and relaxing original style Alnico V staple single-coil
as much as a solidbody. They enlisted the wrist. The slim, short-scale neck is pickups that lasted on the model until the
the aid of Nashville session aces Hank phenomenally fast. next year, when they were upgraded to
Garland and Billy Byrd, and the result The 1957 Byrdland pictured here has humbuckers. Fifty-two natural-finished
of this collaboration was a thin-bodied the characteristics most often associated Byrdlands were shipped in 1957, with a list
L-5 CES with a shorter 23 1/2" scale with the classic guitar that year. These price of $590. The current value for one in
neck (instead of the L-5s 25 1/2" scale) are best described in the 1958 Gibson excellent all-original condition is $10,000.
and a 2 1/4" deep body (the L-5 was 3 catalog: Hand-graduated, carved top of Sources for this article include Gibson
3/8" deep). This new high-end electric choice close-grain sprucearched, highly Electrics: The Classic Years by A.R.
with the same upscale appointments figured curly maple back with matching Duchossoir, Gibson Guitars: Ted McCartys
as the L-5 was named the Byrdland, curly maple rimsalternate black and white Golden Era 1948-1966 by Gil Hembree,
after its endorsers. Shortly before its ivoroid bindingthree-piece curly maple Gibson Shipment Totals: 1937-1979 by
introduction at the July 1955 NAMM neck with Gibson Adjustable Truss Rod Larry Meiners, and the 1956 and 1958
show, Gibson decided to make the most multiple-bound ebony fingerboard with block Gibson catalogs.
of the new thinline idea by adding two pearl inlaysTune-o-matic bridgetwin,
more-affordable models: the ES-350T powerful pickups positioned for contrasting
DAVES GUITAR SHOP
(featuring a laminated wood body with treble and bass responseindividually Dave Rogers collection is tended by Laun Braithwaite
the same dimensions as the Byrdland) adjustable pole piecesseparate tone and and Tim Mullally and is on display at:
Daves Guitar Shop Opposite page:
and the economy ES-225T. The 1956 volume controls which can be presettoggle 1227 Third Street South
La Crosse, WI 54601
Built in Gibsons
Gibson catalog describes the benefits switch to activate either or both pickups davesguitar.com Kalamazoo
of the new guitars: These revolutionary gold-plated metal partsstunning new Photos by Mullally and text by Braithwaite. factory, this
1957 Byrdland
features a
carved spruce
top, staple-style
P-90s, and gold
hardware.

Far left: This


side view shows
the elegant grain
of the curly
maple rims,
which match
the guitars
back, and
provides a closer
look at the
artful trapeze
tailpiece.

Left: Gibson
initially reserved
the Greek urn
headstock inlay
for premium
models, and it
has periodically
resurfaced
on various
guitars during
the companys
history.

premierguitar.com PREMIERGUITAR MAY 2017 33


BOTTOM FEEDER

Click here
to hear

1960 Gibson Melody Maker Single Cutaway this guitar.

BY WILL RAY

I
Photo 1: m a sentimentalist. A lot of guitar 2
Featuring a players are. What I mean is that
mahogany body
many of us yearn for the guitars from
and neck, the
Gibson Melody our younger days, when music was new
Maker debuted and exciting to us. In my youth, I had an
in 1959 and old Gibson Melody Maker that I bought
shifted to a for 40 bucks. It wasnt anything fancy
double-horned
shape in 1966.
just an introductory model from Gibson
Though mods that gave me a taste of what a good guitar 1
typically was like. I always regretted selling it, but,
devalue hey, we move on.
a vintage
Fast-forward many years later. I was
instrument, the
aftermarket surfing eBay looking for something
Duncan mini- interesting and this guitar caught my
humbucker on eye. Its a 1960 sunburst Melody Maker
this guitar yields with a single cutaway (rather than the
a bigger, beefier
sound than the
double) and with an aftermarket Seymour
original Gibson Duncan mini-humbucker that replaced
single-coil. the original black single-coil pickup.
I love the old sunburst finish on these
Photo 2: The
guitars because it makes them resemble a
Melody Maker
was among the thicker-bodied Les Paul Junior from that
first Gibsons to same period.
sport pickguard- The original Melody Makers played
mounted great but always sounded disappointing
electronics for
easy assembly at
to my ears when plugged into an amp.
the companys The problem was the original skinny down the road. In the meantime, I enjoy
original single-coil pickups, which just sounded its in your face attitude. Listen to
Kalamazoo too weenie and brittle to me. The original my soundclip to hear how the Duncan
factory.
pickups simply didnt sound Fender responds to overtones and harmonics,
enough for single-coils and were not especially when I choke up on the pick
beefy enough to sound like humbuckers and really dig into the strings.
or P-90s. Theyre in a kind of sonic Bottom Feeder Tip #307: Mods
no-mans-land. Because this one had usually diminish a guitars value, but that
been modified with a Duncan mini- also makes a modded guitar a lot cheaper
humbucker, it appealed to me. to acquire. Original Melody Makers
The guitar just dripped cool, so I typically go for $1,200 to $1,800, if all
kept my eye on the auction and sniped original. Also, the old Gibson hardshell
at the last minute, winning it for $376, case could probably sell for $350 to $500
including shipping. The auction also in todays market.
included an old Gibson Les Paul-type So is it a keeper? You bet. I still have
hardshell case, which was a bonus. I it after many years and continue to
received the guitar a week later and just enjoy its unique sound. Yeee-haaaaa!
fell in love with the way it played. My
take on Melody Makers (and Ive owned WILL RAY is a founding member
of the Hellecasters guitar-twang
half a dozen over the years) is that they trio. He also does guitar clinics
promoting his namesake G&L
make great mod guitars because of their signature model 6-string, and
rather modest price. I do sometimes produces artists and bands at his
studio in Asheville, North Carolina.
wish it had a second pickup in the neck You can contact Will on Facebook
and at willray.biz.
position, and that may be in my future

premierguitar.com
34 PREMIERGUITAR MAY 2017
Instruments
EST. 1883

Revival
Solo deluxe

Be an Original.
Follow us: #BeANOriginal www.washburn.com
We ask some of the worlds most talented and
prolific players to discuss an album that changed
and shapedtheir musical universe forever.

Most of us have a crystal-clear picture imprinted in our psychesa stark


moment of when our younger, more impressionable selves first heard a record-
ing that blew our minds, and from that point forward, everything would be
different. In those moments of discovery, turned obsession, worship, and deep
learning, a bold appreciation and respect emerges for someone elses expression.
Its the personal joy of experiencing art that moves you. In a human existence
riddled with many uncertainties, inspiration is something to hold onto. The
possibilities are endless with music, and the journey never ends. We hope you
enjoy going down memory lane.

premierguitar.com PREMIERGUITAR MAY 2017 37


Word. Robert taught
me so much about
gospel melody and
gospel rhythm guitar
playing. Aubrey
Ghent, the grandson
of the founder
of sacred steel, became a great friend.
Roosevelt Collier is another great friend
and sacred-steel hero of my generation. Of
course, theres Electric Ladyland by Jimi
Hendrix and At Fillmore East by the Allman
Brothers, and theres Mississippi John Hurt
JENNIFER BATTEN were really excited, and you can hear that and Mississippi Fred McDowell. They all
(Michael Jackson, Jeff Beck) in the recording. As a guitar player, I was changed my life, but sacred steel brought so
obsessed with Jimmy Pages tone. He had many new friends of that tradition into my
the fuzz and how he would roll back life, and for that I will always be grateful. It
the fuzz for that clean chimey sound. It also reinforced this idea I have that certain
was a bombastic sound, and then it could harmonies and rhythms are inherent in
get so intimate. Youd get drawn toward nature, and theyre going to come out in
it, butboomits right in your face different cultures, unbeknownst to each
when Page hits a solo. That album defined other. If you listen to the early sacred steel, it
the rock n roll spirit. Probably half the sounds like the Allman Brothers, but these
JEFF BECK, Blow by Blow things I do are ripping him off. My guitar musicians had never heard of the Allmans. I
and Wired (1975; 1976) playing became a poor mans imitation. think thats pretty fascinating.
He was such a pioneer for so many aspects
I first heard tunes from Blow by Blow on of the studio as well. That also influenced DAVID
mainstream radio when I was a teen. Jeff me in producing records. ELLEFSON
Beck opened up my ears to advanced (Megadeth)
sounds, styles, and textures. A Guitar

Jennifer Batten Photo by Ali Hasbach; Luther Dickinson Photo by Don Van Cleave; David Ellefson Photo by Chapman Baehler
Institute of Technology (GIT) classmate, JUDAS PRIEST,
Steve Lynch (Autograph) played Cause Unleashed
Weve Ended as Lovers for a performance in the East
assignment we all had, which really (1979)
affected me. Afterward, I became obsessed
with learning every solo on both records. When I saw this
I absorbed volumes from dissecting and album, it made me
emulating those like a mad scientist, want to go be a rock
learning subtle details: bending nuances, star. Seeing K.K.
rude noises and odd harmonics, the Downing with his
sweetness of his vibrato, and phrasing. LUTHER DICKINSON long blond hair and
(North Mississippi Allstars, the Word) Flying V in the air, and the double-bass
DAVE COBB drums and Id never seen a singer look
VARIOUS ARTISTS, anything like Rob Halford did on that
LED ZEPPELIN, Sacred Steel (1997) cover. Leather, lights, fogeverybody had
Led Zeppelin long hair. Up until this point Id heard a
(1969) The first sacred-steel compilation released on lot of hard rock, but this was the first truly
Arhoolie Records unquestionably changed heavy metal record Id heard. And a big
Led Zeppelin is the my life. This form of gospel music had been part of it was that everybody shined: The
best rock n roll obscured for decades, and it inspired John guitar work was incredible, the vocals were
record of all time. Its Medeski and me to start an instrumental incredibleto hear screaming like that
the best sounding as band called the Word. Then we befriended was unworldly. There was a component
well. They were just Robert Randolphwho had grown up about it that sounded so heavy and so
starting the band and playing in that traditionand he joined the violent that it actually scared me.

premierguitar.com
38 PREMIERGUITAR MAY 2017
but imagination
and improvisational
creativity. It also
was a gateway for
discovering a plethora
of amazing albums
by Miles during his
early-70s electric period that featured
rockin guitarists. I love the extended
grooves that combine a jazz sensibility
REEVES GABRELS with electric guitar wizardrynotably Pete
(The Cure, David Bowie, Tin Machine) Coseys wah-infused solos on Dark Magus,
and John McLaughlins stunning playing
LOU REED, on In a Silent Way. While the music can
Rock n Roll be very meditative at times, theres also an WARREN HAYNES
Animal, edge and attitude. It sounds fresh every (Govt Mule)
(1974) time I hear it and is a big inspiration for my
upcoming album. Thanks to my mentor ALLMAN BROTHERS BAND,
I had Layla, The and bandmate Prince for introducing me to At Fillmore East (1971)
Allman Brothers this record.
Band, and Humble Pie, but the thing I heard the
about Humble Pie was like the thing about BEN HARPER Allman
the Black Crowes. I didnt really believe Brothers for
that was the life of the singer. The thing DAVID LINDLEY, the first time
about Rock n Roll Animal the guitar El Rayo X in 1969 when
playing on that was set pieceslike what (1981) I was 9. I had
Ronson did with Bowie. Steve Hunter two older
and Dick Wagner had orchestrated parts, This is Lindleys brothers who
but parts of the song were also free. It was first solo record exposed me to new music. By the time
poetic, like Erik Satie, Debussy, or even after playing with Jackson Browne. A Fillmore East came out in 71, Id started
Bach. The music was heavy. And most masterpiece. This record is a genre. Its to pick up guitar. I grew up in North
importantly, it wasnt somebody living a untouchable. Just stop. Put it down. Go Carolina, and every guitar player in the
fantasy or telling made-up stories. It was home. Practice. Me. You. All of us. This South latched on and connected to that
Lou Reed. He did those things. It was as is the record where the 6-string electric music. My friends and I listened to it on
real as John Lee Hooker, and that spoke lap-steel guitar broke through the earths a loop, on an 8-track. There were these
to me in a big way. In 1974, my father atmosphere, escaping the gravitational pull long jams that were unlike anything Id
died in a car accident and my whole world from where the instrument was. As a kid, heard before. Its much more valuable
imploded. I needed a voice, and it turned I saw this record played live numerous to study the construction of a 2-minute
out to be Lou Reeds. Eight months later times. It was insane and the record sounds solo than to study a 10-second solo.
I was living in New York and going to fresher every time I play it. That music was part of my DNA. If I
art school, and I wanted to serve real-life hear another live version of one of those

Reeves Gabrels Photo by Kan Lailey; Ben Harper Photo by Danny Clinch
songs in a scenario like that. Hunter and songs even from a similar time period, I
Wagner are on a par with or superior to instantly can tell its not the one I grew
anyone else in rock. up with. When you hear something
a hundred times, it just has a way of
DONNA seeping into your soul. Fast-forward:
GRANTIS Who knew Id have the opportunity to
(Prince, 3rdEyeGirl) join Dickey Betts band and then the
Allman Brothers Band at age 28? At
MILES DAVIS, the first rehearsal, suddenly these songs
Big Fun (1974) I grew up playing had this majestic
quality that only the Allman Brothers are
This album has not capable of presenting. It was an amazing,
only a strong vibe, overwhelming feeling.

premierguitar.com
40 PREMIERGUITAR MAY 2017
amazed, and
inspired. I learned
so much from
this album, not
only technically
and musically,
but conceptually,
too. Having grown up in a classical music
family but loving rock at the same time,
HENRY KAISER here was a band who combined aspects
of both and created something quite
EVAN PARKER, DEREK progressivewhen prog wasnt even used WILLIAM KEEGAN
BAILEY, HAN BENNINK, yet to describe a musical style. (Together Pangea)
The Topography of the
Lungs (1970) BILL MODEST MOUSE, This Is a
JANOVITZ Long Drive for Someone
In 1971, I bought a (Buffalo Tom) with Nothing to Think About
copy of this LP and (1996)
it was one of my TALKING
primary inspirations HEADS, The album
to pick up guitar. Remain that really

Bill Janovitz Photo by Paul Janovitz; John Jorgenson Photo by Piper Ferguson; William Keegan Photo by Kelsey Reckling; Opposite Page: Kaki King Photo by Simone Cecchetti
Id previously been in Light changed my
fascinated by musics where improvisation (1980) life was Modest
was the main thing going on: Indian Mouses This
music, free jazz, the Grateful Dead, to Though I was Is a Long Drive
name just three examples. The music on already into the Talking Heads at the for Someone
Topography obviously contained more time, my mind felt like it was cracked with Nothing to
improvisation per cubic hyper-second open when I played the new Remain in Think About. I was probably 12 when I
than anything Id heard before. It also Light up in my bedroom after receiving first heard it. At that time, Id only heard
featured three players who were masters it from my uncle and his boyfriend whatever [L.A. alt-rock station] KROQ
of creativity and personal expression. for my 14th birthday. As a burgeoning or MTV was playing. Modest Mouse
Hearing them brightly illuminated a young guitar player, exposure to guitar was kind of revolutionary to methey
path that I have followed for the past 45 solos that were the most innovative sounded so different from all the corpo-
years. sounds since Hendrix blew my head off. rate rock stuff. Isaac Brocks guitar playing
Against the bands relentlessly pulsing, and voice were kind of grating but full of
JOHN polyrhythmic loops, their sideman feeling, and the lo-fi production gave it
JORGENSON Adrian Belew this otherworldly quality. The first song
made his I listened to was Talking Shit About
YES, Fragile Strat sound a Pretty Sunset, and the first guitar
(1971) variously like solo I ever played along with over and
a horny rhino over again until I got it right was from
I was 15 and or some sort Dramamine. The album opened my
had been playing of epileptic eyes to the wonderful world of music that
guitar and bass for a few years when this robot having isnt radio friendly, and I will be eternally
masterpiece from prog-masters Yes was a seizure. grateful for that.
released. Id heard Roundabout on the There are perfectly syncopated bits of
radio and was instantly knocked out by all pixilated feedback that sound like an KAKI KING
the elements of that classic Yes lineup AOL dial-up modem or fax machine
soaring vocals, virtuosic keyboards, years before most of us had any concept LUSH, Split
complex yet taut drumming, a totally new of what those would be like. And there (1994)
bass-guitar style, and guitar parts and tones are some of the slinkiest, most sensual
that seemed to cover multiple fingerboards! sounds wrested out of a Strat since Jimi. I was 14 when
The rest of the songs were equally good, The sick solo on The Great Curve has I first visited
and Steve Howe kept me interested, to rank in anyones Top 10. NYC in the 90s,

premierguitar.com
42 PREMIERGUITAR MAY 2017
and the four years
only thing straight that
I really was all we
wanted to played in
do was visit the car. I
the gigan- didnt realize
tic HMV how much
record I loved
store in it until
Times Square. It was there I bought I started making music on my own.
the album Split by the British shoegaze One of the first times Jim and I hung
band Lush. I spent the next week wan- out, I asked him if they had toured
dering the city that was to eventually together and what the precedent was
become my home with my ears awash for that record date. He said there
in gorgeous reverb, harmonious delays, wasnt any touring, just maybe a show
mysterious lyrics sung in falsetto, at the Vanguard. At one point, I asked
majestic string arrangements, and unex- him about what he was thinking when
pected bass lines. There wasnt a single playing rhythm guitar behind Bill and
song I ever skipped. Start to finish, it JULIAN LAGE he said something like, Boom, boom,
was the perfect album for mea shy, boom, boom. I laughed nervously, but
closeted, embarrassed teen who had no BILL EVANS AND JIM HALL, he was serious. His approach was that
real idea how to function in the world Undercurrent (1962) if you think that, your hand will carry
of people, but who could be carried it out. That album is the blueprint for
away for days in a cloud of delay pedals I ended up with a copy in my moms car tone, interaction, balance of humor with
and dreams. and my dads car. For maybe three or virtuosityeverything is there.

premierguitar.com PREMIERGUITAR MAY 2017 43


instrument at the
time), Charlie
Rouse on sax, and
on bass, Oscars
incomparable play-
ing (and on cello
as well). As young-
sters will do, we inhaled that music. We
listened over and over, got all the other J MASCIS (Dinosaur Jr.)
albums with the same players, and so the
music became, subliminally, part of our THE STOOGES, The Stooges
musical mind. Whether I was to play jazz (1969)
or rock, that album informed my future
music. The purity of groove, choice of I had the album
LUC LEMAY notes, excellent composition, and overall when I was a kid,
(Gorguts) musicality set me on a great path to try to but didnt start
make music of my own. playing guitar until
DEATH, Scream Bloody Gore I was 17 after the
(1987) GLENN MERCER hardcore band I

Luc Lemay Photo by Jimmy Hubbard; Tony Levin Photo by Kai R Joachim; J Mascis Photo by Levi Walton; Glenn Mercer Photo by Fumie Ishii; Dave Mustaine Photo by Chapman Baehler
(The Feelies) played drums in
I remember when broke up. I wanted to start a new band
I heard Deaths THE BEATLES, playing guitar, so I bought a Jazzmaster,
first album, Scream Meet the bought a Big Muff, and just learned how to
Bloody Gore, for Beatles (1964) play. I thought Ron Asheton had the best
the first timeit guitar sound, so it was the guitar sound I
was unbelievably Meet the Beatles was was trying to go for. His playing didnt seem
fascinating. I was the start of my interest in rock n roll. so hard, so it was doable for me to play
maybe 15 or 16 years old, and I couldnt Shortly after seeing the Beatles on The the songsunlike Hendrix or something
believe how heavy every single tone on Ed Sullivan Show, my mother bought where I had no idea what was going on and
the record was. From vocals to guitars ... the record for my brothers and me. A it was impossible to figure out. Its still my
man! Thats when I decided to buy my lot of energy came through the speak- ultimate, recorded-guitar sound and still my
first electric guitar. I wanted to sound ers. And you could tell that, even in the ultimate guitar tone to achieve.
like Chuck [Schuldiner]. I wanted to be a studio, they were playing live and having
guitarist and vocalist like Chuck. And, 30 fun. Most records had a certain level DAVE MUSTAINE
years later, the love and passion for death of polish. That record didnt. I wasnt (Megadeth)
metal is still there. playing an instrument at the timeI
was 9but AC/DC,
TONY LEVIN got very ana- Let There Be Rock
(Stick Men, King lytical about (1977)
Crimson, it, picking
Peter Gabriel) out who was I got the record because
doing what. of the album cover, but
OSCAR Shortly after when I put it on it was
PETTIFORD, hearing it, I clear to me that AC/
Oscar Pettiford persuaded my DC was going to be one
(1954) brothers to play Beatles with me. I of my favorite bands.
made cardboard cutout guitars and told There was no comparisonthe sound of
To me, life-changing album means the them, If were gonna do this, you have the amps, the sounds of the progressions
one with the most impact on my sense of to know what parts theyre doing. I picking the blues-style rock n roll and
music. Way back in the 1950s, my broth- learned about harmony, arrangements, really pushing it to the extremes. And Bon
er Pete and I came across Oscar Pettifords choruses, and all kinds of things from [Scott, original AC/DC vocalist] was the
self-named album [a 10-inch LP on that album and their second one, even icing on the cake. Angus style was simple
Bethlehem Records]. It had the great though I didnt know what those things in its approach but it was so raw. I was, like,
Julius Watkins on French horn (Petes were called at the time. Wow, this is what I wanna be.

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44 PREMIERGUITAR MAY 2017
debut album pro, from bud-
Seresta captures ding enthusiast to
the spirit of serious musician.
those times for Bolstered by a mad
me and the raw scientists mind
energy and virtu- for mechanics,
osity of Stochelo EVHs unortho-
Rosenbergs playing is just as mind-blow- dox approach to guitar playing and gear
ing today as it was then! modification sent millions to practice
rooms and caused manufacturers to
REV. JOSH PEYTON rethink their product lines. Van Halen
RICK NIELSEN (Rev. Peytons Big remains a Mount Everest of guitar, with
(Cheap Trick) Damn Band) a zenith entitled Eruption, featuring
two-handed skills so unique that they
JIMI HENDRIX, Are You Charley Patton: overshadowed EVHs equally astonish-
Experienced (1967) Founder of the ing phrasing, bluesy feel, and rhythmic
Delta Blues swing. The albums additional references
At first I had (1971) to heatfire, atomic energy, the Devil
the single of with the cooling relief of Ice Cream
Hey Joe that When I was a kid Man, are all symbolic of its searing gui-
my mother got first learning the tar sound, achieved by literally sizzling
for me when guitar, I gravitated the amplifiers power tubes.

Jimi Hendrix Photo courtesy of Rick Nielsen; Robin Nolan Photo by Josh Giroux; Alex Skolnick Photo by Sobieslaw Pawlikowscy; Steve Stevens Photo by Patrick Shipstad
she was in toward blues. It
Germany, and pulled me like a STEVE
then I got the magnet to iron. I STEVENS
English version of Are You Experienced, became obsessed (Billy Idol)
with the shiny cover. Jimi was just so with its roots. Charley Patton was the
far ahead of everybody elsetone-wise, man who inspired Muddy and the Wolf YES, Close
show-wise, song-wise, production-wise. to pick up a guitar. After I first heard to the Edge
It was the phrasing these werent pop Charley Patton: Founder of the Delta Blues, (1972)
songsthis was heavy-duty stuff. He the Yazoo release, my life was never the
was so far ahead of the game in so many same. The slide is otherworldly. Its like I was 13 years old
ways that its hard to explain. He was the there are two guitar players, with his right when this mile-
whole package. thumb keeping time. His voice is still stone was released. Id already been intro-
possibly the biggest to ever be recorded. duced to guitarist Steve Howe via the
ROBIN NOLAN Ive been a disciple of Charley Patton ever Fragile album. Steve encompassed every-
since. thing Id learned on my instrumentrag-
THE time, jazz, psychedelicand had a blis-
ROSENBERG tering alternate-picking technique. With
TRIO, Seresta Howe, I could hear every note clearly
(1989) and his phrasing was inviting, somewhat
playful. It was Chris Squires bass sound
I first heard this that occupied the
album in 1990 and role of distortion
it totally changed my life. It was at the and aggression.
Django Reinhardt festival in Samois, With Close to the
France, where I saw Gypsies (Djangos ALEX SKOLNICK Edge, Yes created a
people) killing it on guitars outside their (Testament, Alex Skolnick Trio) masterful journey
caravans. Under the stars with campfires, that, with my
wine, exotic girls it was all too much. VAN HALEN, Van Halen headphones on,
This album made me put down my Les (1978) took me far away from suburban life, far
Paul and pick up a Gypsy guitar, move away from school, far away to a world I
to Amsterdam, and devote my life to As a preteen, hearing Van Halen marked wanted to be part ofcreating expansive
Djangos music. The Rosenberg Trios my shift from guitar hobbyist to aspiring music to fill arenas with.

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46 PREMIERGUITAR MAY 2017
That album was
where I really con-
nected to jazz. Wes
playing was a bit
mysterious to me
at the time when
I was learning the
language, but I got into it. Its absolutely
amazing to realize that he wasnt an educat-
ed musician and he didnt go to school to anything like it. I wanted to know every-
learn what notes to play over what chords. It thing about this musician and how an
was a combination of a phenomenal ear and acoustic guitar could describe a journey
ANDY SUMMERS an incredible thumb. across a landscape, how an instrument
(The Police) could be so visual. His use of other tun-
GEMMA THOMPSON ings and interest in Indian classical music
WES MONTGOMERY, The (Savages) (learning to play the sarod, for instance)
Incredible Jazz Guitar of led his approach to the guitar to be like
Wes Montgomery (1960) ROBBIE BASHO, Bashovia no other. Most of the tracks on this com-
(2001) pilation are instrumental, but when he
I was playing with a quartet when I was does sing, its enigmatic and strange, yet
about 16 and one night in particular I man- Robbie Bashos totally beautiful. (The song Blue Crystal
aged to get through the whole fucking solo Bashovia caught me Fire is also a favorite, though not on this
of West Coast Blues [laughs]. Those beau- off guard when I album.) I find it so heartening that one
tiful minor 7 licks that he played flawlessly first listened to it, instrument can convey so much because
across the bar really made an impression. as I hadnt heard the musician believes it can.

premierguitar.com PREMIERGUITAR MAY 2017 47


TONE TIPS

Ask Doctor Pete, Part 3


BY PETER THORN

I
The Wampler receive a lot of questions via email, bright switch are more versatile and
Bravado and and a great many of those questions useable with a wider range of pedals. A
Suhr Bella
are two good
pertain to effects pedals and tube competent tech, however, can easily mod
examples of amps. There are a few in particular I amps with hardwired bright caps, either
modern tube seem to get asked over and over, so in this by changing the value of the cap itself or
amps designed installment of Tone Tips, Ill address by replacing the volume pot with a push-
specifically to
three of the more common queries pull pot. the combo, he can also EQ the effects
provide a clean-
tone canvas for regarding pedals and amps. There are some great modern options to his liking using the amps bass and
friendly play from companies offering amps designed treble controls. Its a simple, elegant, and
with pedals. What tube amp would you recommend as pedal platforms. Amps like the portable wet/dry-style setup. Scott also
with a great, clean tone for taking pedals Wampler Bravado and Suhr Bella, for feels that by separating the wet effects
extremely well? example, both feature multi-position from the dry guitar signal, his guitar feeds
Brandon Jesse bright switches so you can really fine- back and responds to his main speaker
tune the top end to mate perfectly with cab in a more desirable manner.
When folks ask this question, they your pedals.
are generally referring to how amps react Im wondering if you can recommend a
when paired with overdrive, fuzz, and I play single-channel amps with no reverb, good overdrive pedal. I play a humbucker-
distortion pedals. Keep in mind that plug straight in, and turn it all the way up. loaded guitar through a dirty JCM800,
when you hit an amp with drive and Some rooms have a natural reverberation and Im looking for 80s-metal lead-guitar
gain, those tonal qualities are going to and my tone sounds great, but in other tones. So I need a pedal that adds a bit of
get amplified (literally) by the following rooms it can sound terribly dry, in which gain, saturation, and a mid boost to really
circuit. So you want to find an amp case Id like to add a reverb effect. Is there cut through.
that has a fairly balanced or neutral any way to get a reverb effect into a cranked Roy Buis
clean tonenot too scooped and not tube amp without it sounding terrible?
too bright or boomy. A major factor Yannie Reynecke Since you are boosting and adding
in how an amp takes pedals can be drive to an already dirty amp, its
whether or not it has a bright switch or Its really next to impossible to get a imperative to use a drive that lops off
a bright cap on the volume pot. This is reverb effect to work well when running some low frequencies for 80s hard-rock
important because a bright circuit can into a cranked amplifier. This is because tones. This will keep things tonally
impact the aforementioned tonal balance the amp will clip and compress the tight and chunky for muted eighth-note
and sometimes create a preponderance of more you crank it, and that distortion rhythms and fast leads. You dont want
highs. Hit that with distortion and it can and compression will cause the reverb mud and sludge. You want cut and
sound like a swarm of bees. Not pleasant! to sound out of control. Guitarist Scott sustain! Pedals such as the Boss SD-1 and
The bigger Fender blackface-era amps Henderson uses a simple solution that Ibanez Tube Screamer will do this very
like the Twin Reverb and Super Reverb you may want to consider, and it starts well. They also add mids, which make
featured a selectable bright switch, with running a line-out box between his the guitar scream. For doom or stoner
whereas smaller amps like the Deluxe amp head and cabinet to take a tap off rock, however, Id go the exact opposite
Reverb and Princeton Reverb had a the amp signal. The core tone is retained direction by using a big, gnarly, wooly
capacitor soldered across the lugs of the and the output of the line-out box can sounding fuzz in front of a crunchy amp.
volume potessentially a hardwired, be fed to a reverb unit, or to other effects Remember: The road to killer tone is
always on bright circuit. The purpose such as delay, chorus, etc. an endless highway, but its all about the
of this circuit was to perform as a fixed Scott then takes the output of his journey, not the destination, right? See
band-pass filter at the first preamp stage. effects unit (a Boss SE-70), runs it into yall next month!
Treble is allowed through the circuit the input of a small Fender combo, and
while all other frequencies are attenuated sets the level of the combo to blend in PETER THORN
is an L.A.-based guitarist who has
by the pot the more it is reduced. At some reverb and echo from the SE-70. toured with Chris Cornell, Melissa
higher volumes, the bright cap has less (Scott runs the effects mix at 100 Etheridge, Tsuyoshi Nagabuchi, and
many others. He released a solo
of an effect as more frequencies are let percent wet, so the only thing going to album, Guitar Nerd, in 2011. Read
throughcreating more of a balance. For the combo amp is effects.) And because more at peterthorn.com.

obvious reasons, amps with a selectable hes running straight into the input of

premierguitar.com
48 PREMIERGUITAR MAY 2017
Unsung Players Who Shaped Guitar as We Know It

BY TED DROZDOWSKI

Musicologist
George Mitchell
took this shot
while recording
Burnside for
the first time,
Photo by George Mitchell

at his home in
1967, making
breathtaking
music on a guitar
others found
unplayable.

premierguitar.com PREMIERGUITAR MAY 2017 51


R
In the 90s, .L. Burnside loved tossing off Burnsides Fat Possum albums,
Burnside dusty one-liners like a juke as well as the labels recordings by
became the
joint Henny Youngman. I aint his neighbor Junior Kimbrough and
darling of
a younger drinkin no more, hed declare, pause a earlier albums by their contemporary
generation of beat, and resume but I aint drinkin no Jessie Mae Hemphill, brought the
dirty roots music less, neither. And hed toast his audiences North Mississippi hill country style
fansa sly blues with Look out stomach, look out gums, of blues to the world at large. Until
grandpa who
traveled with a
over the teeth and here it comes. then it was known almost exclusively
whiskey-filled But his music was even dustier. It was to the areas residents and a small,
Mylanta bottle anchored in Africa and emanated from the cloistered circle of fansalthough
and never cared soil he worked for most of his life in his McDowell was an earlier proponent
what guitar he
native North Mississippi, then amplified of the style, before its regional
played.
by regional players who mesmerized nametag solidified. Burnside upped
him as a young man, including the well- the ante on the often droning,
traveled Fred McDowell and the obscure hypnotic approach that holds
Ranie Burnette. And it was polished by a distant echo of small African
the sound of the records that John Lee drum-based ensembles in its static
Hooker and Muddy Waters made in rhythms and frequent one-chord
the 40s and 50s, which Burnside heard song structures. He dressed it with
during his two or three years in Chicago broad-voiced, laconic slide guitar
and trickled back to Mississippi after that added heat lightning to his deft,
he returned. thick-boned fingerpicking, which
Eventually, in the 1990s, Burnside displayed an almost lazy yet inscrutable wife of 56 years, Alice Mae. Eventually
would regularly tour the world himself, mastery. And on top of it all was his they would settle in Holly Springs.
release well-received albums on the Fat clear, powerful voice, which could sail to There wasnt much goin on here, he
Possum label, and establish a legacy that heart-piercing falsetto in an instant. Add recounted. Sharecropping and plowing
still reverberates in the blues realm and to that the secret of every great diplomat, mules. Long days. I tried picking up the
in the roots-rock underground. But there charisma, and it seems he was practically guitar whenever I could. I loved guitar
were many decades in between where he destined to carry this music out of his music. I tried harmonica, because it was
raised a family, worked on farms, was a little corner of the American South. But easy to take around, but could never
bounty hunter, played juke joints and heres how it happened, more or less. play it. I was 22 before I could make any
house parties nights and weekends, and Burnside was born on November 23, chords on the guitar.
even spent a short stretch in Mississippis 1926, somewhere in Lafayette County, The first thing I learned was
notorious Parchman Farm penitentiary Mississippi. Accuracy was not a strength acoustic. In those days it was quieter
for killing a man with his rifle in a of the states record keepers then and there wasnt any traffic, so you
dispute over a still. Despite that act of especially regarding African-Americans. could hear those acoustic guitars for
violence, Burnside cast a spell over nearly Reports also vary about his given name. miles before you got to the house party.
all that met him, who typically recall him It was either Rural, which seems most Nowadays, without an amplifier you aint
as warm, funny, and openhearted. likely, or Robert Lee. Some of his close doin nuthin. I get hired to do songs
They also recall him as a 6-string friends called him Ru. His father with acoustic guitars at festivals, but the
badass. Burnside played hard, heavy, and abandoned his family when Burnside was electric guitar is more soulful.
loud, and loved the sound of the electric small, and he grew up with his mother, Before his own playing got soulful,
guitar. And like so many rural bluesman, grandparents, and siblings. Burnside wrestled with the instrument
he wasnt as fussy about tuning and tone Chopping cottonthats what my for yearsstaying up into the wee hours
as wanting to tell a storyto deliver a family did, Burnside related when I first even though he had a hard day of farm
message, whether it was about existential interviewed him in 1993. Thats what I labor ahead. He often went to Fred
loneliness in a song like Just like a Bird did until I got to be 18 or 19, and then I McDowells house in Como to sit at the
Without a Feather, which was first moved to Chicago. But big city life and masters feet and absorb. McDowells
captured in a 1967 field recording, or the violence there that claimed his father, repertoire remained the foundation of
Photo by Joseph A. Rosen

about the comedy of romance portrayed uncle, and two brothers within a two-year Burnsides style throughout his life.
in his thrashing Snake Drive, best spanchronicled in his song Hard Time Eventually Burnside began playing
recorded on 2001s live Burnside on Killing Floor on 2000s Wish I Was in house parties on his own and word
Burnside, with its playful tagline love is Heaven Sitting Downsent him back to of his hard-developed prowess spread.
the devil, but it cant get me. Mississippi, where he met and married his That led to his first recordings. In

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52 PREMIERGUITAR MAY 2017
Burnsides 1967, a young blues fan named
band during George Mitchell was on a quest to
this 1997 stop document unknown musicians in the
at the original
House of Blues
rural South. When Mitchells attention
in Cambridge, turned to Mississippi, a mutual friend
Massachusetts, of Burnsides and McDowells, Othar
included (left Turner, who led a fife and drum band,
to right), Kenny eventually directed him to Burnside.
Brown, the boss,
Cedric Burnside, Mitchell found Burnside driving a
and guest Luther tractor, cutting down after-harvest
Dickinson. corn stalks in the searing sun. He
guided the tractor in our direction,
shut it off, and stepped down smiling,
Mitchell recounts. An appointment was
set to record Burnside at his home in
Coldwater that night.
What was my reaction when he about $150. Id go somewhere and do just 50 miles away from his home, he had
started to play? Man, goddamn hes good! one show and get $400 or $500, but formed his first electric band: the Sound
It was unbelievable, says Mitchell. I when I needed to go would be the time Machine. It included his sons Joseph and
was suddenly in heaven. And this cheap- Id need to be picking cotton or chopping Daniel, trading guitar and bass, and his
ass guitar Id brought he didnt have beans or something, so I gave it up. drumming son-in-law Calvin Jackson.
one at the time, and I had stopped off Before settling on farm work, Burnside The group blended those influences
in Memphis, and different people tried did a stint as a bounty hunter, traveling with the Mississippi hill country sound,
to play it, and it was, Man, I cant play between Memphis, Chicago, and Texas, creating short spells of rough-hewn
music on this thing. But R.L. didnt have but stopped after a near miss from a hypnosis fueled by Burnsides riff mantras
any trouble! The only thing he did was shotgun blast. Some of those guys dont and chanted vocals, and pushed by the
to take the E string off of it and stretch plan to go back, he observed. Its a primal shuffle of Jacksons drums. Check
it, just to make it have a good sound, I dangerous job. He also ran a still for a out Bad Luck City on the album or on
guess. And as soon as he put it back on, time, with a partner. When their deal YouTube for a definitive performance.
he started into Goin Down South, one went bad, Burnside killed him with a Evans fell for that music. I thought
of his later hits. I was just amazed. He bullet to the head. I figure it was him it was more up-to-date, with the younger
was a great guitarist. or me or my family, Burnside said. musicians and an interesting synthesis of
That night Burnside cut four songs He explained that he was sentenced his traditional solo country blues with a
with Mitchells beaten acoustic, including to a stretch in Parchman, but got out kind of R&B sound. I thought this was
his lifelong staples Old Black Mattie, after serving just six months when his extending the blues into the modern era,
Goin Down South, and Skinny employer insisted he was indispensible for and it was something worth documenting
Woman. They initially appeared on bringing in the harvest. and something worth encouraging. I tried
the 1969 Arhoolie Records compilation Burnsides next crack at recording to promote that band and got them all
Mississippi Delta Blues Volume 2, but came in 1979 after David Evans, an sorts of gigs.
are best heard along with the rest of ethnomusicologist, was hired by the UnfortunatelyI say
Mitchells 1967 discoveries on the University of Memphis and established unfortunatelyR.L. already had this
2008, seven-CD set The George Mitchell the schools High Water Recording established reputation as an acoustic
Collection Volumes 145, which is manna Company with a grant from the National artist. I was sort of fighting against that
for fans of rural blues. Endowment for the Arts. Evans, whos reputation. In the 1980s there just wasnt
Mitchell tried to get some gigs for also an accomplished musician, used music business interest in country blues.
Burnside and brought him to Atlanta the label to cut singles and albums People, and in particular blues record
to play, but ultimately decided that with several of the artists hed heard in labels, were pronouncing it dead. So the
wasnt my job. I was still looking for the North Mississippi and Memphis band got little traction, and Burnside
blues singers. The Arhoolie album won areas. But his project with Burnside, in stayed with farming to provide for his
Burnside some work, including his first particular, 1980s Sound Machine Groove, expanding family.
Photo by Laurie Hoffma

trips to Europe, but I just couldnt get was a labor of love. Under the influence Evans describes Burnside as very open
away from farming, Burnside said. At of the soul and funk Burnside had and willing to put himself into the hands
that time I was making about $20 a day heard on the radio and on recordings, of others who could take him on gigs. He
driving a combiner, working a week for including those from Stax in Memphis, wasnt a suspicious guyat least he didnt

premierguitar.com
54 PREMIERGUITAR MAY 2017
let on if he was, although I think he was powerhouse, a source of rare roots blues fans heard by the likes of B.B.
aware that there were a lot of shysters out reissues, and owner of the Al Green Hi King, Buddy Guy, Koko Taylor, or even
there. I found him to be very intelligent, Records catalog. Johnny Winter and Stevie Ray Vaughan.
too. It was a little bit surprising that he Burnsides Fat Possum debut, Too It was messier, nastier, unvarnished.
lived in such a low-down way on a farm Bad Jim, was recorded in 1993 and Imagine what it was like for rock fans to
way out in the country. But he kept his featured a photo of then-67-year-old hear Black Sabbath for the first time in
family together. He had 13 children. Burnside with his dog, Buck, who was 1970. Thats what it was like for many
Thats a big expense, keeping a family of killed in a drive-by shooting, on the traditional blues fans hearing Burnside
that size going. cover. Inside was a musical revelation: 10 on his first widely distributed album.
Burnsides trusting nature led him into songs packed with meaty hypnotic riffs, It wasnt like we rediscovered him,
the final chapter of his recording history sometimes edging toward psychedelia in Johnson says. The cooler kids around
when he was approached by Peter Lee their potent repetition, and steamrolling Oxford knew about Juniors place.
and Matthew Johnson, two grads from slide guitar, jolted by a rhythm section [The juke joint run by Kimbrough where
the University of Mississippi in nearby that slammed with equal abandon. It Burnside often played.] The hard part was
Oxford, who wanted to launch a record was rawat times in danger of falling just getting it off the groundwhat was
label named Fat Possum. apart, but in ways that were menacing the potential? I thought he might be
We wanted to start the label to record and beautiful. And, again, Burnsides able to become a big deal. It was clear
R.L., Junior Kimbrough, and [Roosevelt] voice rode his musical bucking bronco, he wasnt the guy who wanted to play
Booba Barnes, says Johnson, naming but this time with more edge and folklorist bullshit. He wasnt the acoustic
three of the spectacular electric bluesmen age. Within the creases of his singing guy. I was like, This guy is just as raw as
who were among the genres raw-boned was the sound of a life lived hard and anyone else and hes not getting the credit
rulers in early-90s Mississippi. Barnes completely. The album essayed the style he deserves.
slipped off to Chicago before recording of a deep witness, but not everyone Fat Possum started booking Burnside
for Fat Possum, which spent the 90s found it pleasing. Burnsides sound was on festivals and in rock clubs, and began
struggling but today is an indie-rock a world apart from the recordings most securing him a string of agents who

(716) 630-7030
premierguitar.com PREMIERGUITAR MAY 2017 55
Playing Burnside Style
R.L. Burnside was a powerful musician. He could roll back time or
conjure thunderstorms with his playing, and win the hearts of an
audience with a single twinkle-eyed smile as he laid into a howling slide
line with the ease of buttering toast. But, like many rural blues artists, he
was extremely unfussy about the tools of his trade. Often he didnt even
own a guitar, so once he attained a level he was content with, practicing
was something only people who wanted to sound like him did.
Like Kenny Brown. At 63, Brown is the most commanding proponent
Kenny Brown worked mostly outside of blues. He was of Burnsides deft, subjective picking style and powerhouse slide. On
and Cedric retired from farming and free to travel. his trusty Memphis-built Gibson ES-335, Brown evokes the gutbucket
Burnside, shown
playing at the
And in 1996 he had a breakthrough majesty of hill country blues and the songster tradition he learned from
annual Juke when one of his fans, blues-influenced Nesbit, Mississippis Joe Callicott before he met Burnside. Both are best
Joint Festival punk-garage auteur Jon Spencer, cut witnessed at the North Mississippi Hill Country Picnic festival Brown
in Clarksdale, an album, A Ass Pocket of Whiskey, with hosts at his ranch in Waterford, Mississippi, each June.
Mississippi, are Burnside and took his trio on tour R.L. didnt really give a shit about the amp, the guitar, the strings,
the two leading
proponents of as an opening act. By then Burnside or the slide, Brown observes. And over the years he played Westones,
their mentors was backed by what became his best- Strats, Teles, Les Pauls, Reverends, and all kinds of knock-offs, and
style. known band, with his grandson Cedric sometimes Browns 58 Silvertone with popsicle sticks glued behind the
on drums and a lanky blond guitarist headstock to allow an upgrade to Grover tuners.
named Kenny Brown on second Thats exactly right, says Cedric Burnside, whose 2015 Descendants
6-string. Like many rural Southern juke of Hill Country was Grammy-nominated. Big Daddy would get a First
joint bands, they did not have a bass Act out of Walmart, and he would play that. He just played whatever
player, but rocked hard regardless. And he had. And if somebody came along and made a guitar for him, which
in their travels, they introduced this happened a couple times, he played it, but never had a preference.
sound across the U.S. and in Canada, Except for plugging in. When he would have to play acoustic for
Europe, and Japan. all those people in Holland, it was awful, says Fat Possums Matthew
A Ass Pocket of Whiskey was pivotal in Johnson. He hated that. That was not R.L. But when it came to
Burnsides late-life career, introducing practicing, what he played, dialing in a sound, or writing new songs, it
him to a college-rock fan base and was like the only person who had less respect for their own craft than
allowing him to straddle the blues and R.L. was Marlon Brando. [Laughs.]
rock markets for the rest of his touring But Burnsides sound was consistent. You cannot go back to any
years. Noisy and raucous as a gaggle of of those recordings and differentiate between a Danelectro and a Les
sotted gremlins locked in a studio with Paul with a Marshall stack versus a Silvertone with a Pignose amp,
guitars, Marshalls, and fuzz boxes, the Johnson attests.
album was hated by most blues purists, Browns journey into Burnsides style and life began after he saw
but remains largely adored by indie-rock him at a concert in a cow pasture. R.L. played as a duo with a guy who
inspired listeners and fans of ragged, didnt play harmonica, but made harmonica sounds with his mouth.
dirty roots music. So much so that They were the opening act, he recalls.
Burnside became a foundational figure in I already knew some open tuning stuff and a little slide, Brown says.
the Deep Blues scene, an underground Joe had showed me how to lay the guitar in your lap and play slide with
offshoot with punk rock in its veins that a knife in open G. But R.L. was playing great slide and in open tuning and
has spawned its own festivals and a tight- standard, and that was the main thing that attracted me to him. And gosh
knit community of bands. the stuff I had learned was three-chord progressions, and R.L.s music
He also developed a strong would be, like, one chord. There would be changes in the song, but you
relationship with Johnson, who became never did just a standard three-chord progression. And it was heavy!
the sole owner of Fat Possum when Lee Burnsides sole open tuning was G, which he often called Spanish,
left the country. As his career flourished, in the way older blues musicians did and sometimes still do. When
Burnsides annual earnings grew into Brown met him, Burnside was playing slide with a weathered slice of
six figures and he and Johnson shared copper tubing. Later on, I got him a brass slide. He would use anything.
a playful, teasing sense of humor. Ive used everything myself, from a Coricidin bottle to an 11/16ths
Photo by Margo Cooper

Burnsides calls to the labels offices often socket, over the years. I used to do construction work, and if Id see
began with, Is the crooks in? any plumbers around, Id always get them to cut me a piece of copper
His music began appearing in films tubing. Now I use a piece of brass, cut so your finger barely sticks out. I
and televisionmost notably in The got a friend who works in a metal shop.

premierguitar.com
56 PREMIERGUITAR MAY 2017
Sopranosand Burnside appeared on heart attack the next year, he was visibly professional careers for both musicians,
Late Night with Conan OBrien with weakened and his voice fell to a whisper, enlisting Brown as his guitar foil in the
his band. His final string of recordings as his last recorded public appearance mid 1970s and letting his grandson
also ricocheted between tradition and with his acolytes the North Mississippi man the drum kit in juke joints starting
radical venturessometimes on the All Stars, captured on 2004s Hill Country when he was only 7. R.L.s son Garry
same albumas Fat Possum continued Revue: Live at Bonnaroo, attests. Burnside and his grandson Kent are also
to push the envelope in a campaign to Burnside died in St. Francis Hospital busy performers, steeped in the North
bring Burnside to more listeners. While in Memphis on September 1, 2005. Mississippi sound.
1998s Come on In was a collection He was 78. A year later the spirit of his Cedric, who is now 38, speaks of
of remixes done by producer Tom music reverberated through the film R.L. with love and reverence. It was a
Rothrock, 2000s Wish I Was in Heaven Black Snake Moan, in which Samuel beautiful thing, growing up with my Big
Sitting Down balanced straight-up blues Jackson plays a blues singer and guitarist Daddy, he says. Im definitely glad to
with remixes and textural music. The at least partially inspired by Burnside, be part of the Burnside family and to
last unpolished recording of Burnside and Kenny Brown and Cedric Burnside have the history that I witnessed, coming
with his grandson and Brown was appear as the core of Jacksons band. up as a kid. He was the father and
Burnside on Burnside, a January 2001 Today, Burnsidewho was fond of grandfather that everybody would have
concert taped at Portland, Oregons telling his audiences that he was proud loved and wanted. He treated me as a
Crystal Ballroom. It was nominated they came to see him and embraced son, and not as his grandson. He took me
for a Grammy and became his highest his musicremains a revered musical under his wing and took me out on the
charting album, clocking in at No. 4 on hero with a devoted cult following. His road with him when I was 13, when he
Billboards blues chart. bandmates Kenny and Cedric (who has could have got anybody. So just for that,
But later that year, Burnsides fortunes evolved into an exceptional drummer, Im blessed and thankful. I never heard
shifted, as they inevitably do. A heart guitarist, and songwriter) continue to anybody say any bad things about him.
attack forced him to stop touring and left keep Burnsides sound reverberating and As a musician as well as a person, he was
him greatly diminished. After a second his legacy alive. He was the gateway to beautiful within himself.

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B
est known as the songwriting partner, gui-
tar foil, and musical director for one Steven
Patrick Morrissey, Boz Boorer wears many
hatsall exceedingly well. He originally gained
notoriety as a founding member and major creative
force in the Polecats, one of the first and most
important groups in Englands early-80s rockabilly
revival. Boorer joined Morrissey for the singers
third solo effort, the 1992 epic Your Arsenal, which
was produced by another world-class sideman,
Photo by Gerhard Krejci

Mick Ronson. Since then, hes played a major role


in shaping the music the former Smiths frontman
has made over the last 25 years.
Alongside his work with Morrissey, Boorer has
maintained a prolific solo career while writing,
producing, and recording with a multitude of
other artistsoften within the confines of his
secluded Serra Vista Studio, in the mountains of
Portugal. And when Boorer isnt occupied creating
music, he can frequently be found manning
Vinyl Boutique, the record shop the apparent
workaholic owns with his wife, Lyn, in the
Camden Town area of London. Clearly, the man
is a conduit for musical energy and undoubtedly a
musical obsessive.
Boorer recently found the time to release his
fifth solo album, Age of Boom, which has been
more than four years in the making. A dynamic,
sweeping work, Age of Boom juts in and out of
the various sonic realms Boorer and his guitar
have occupied over the years, and seamlessly
ties the disparate sounds of its 14 tracks with
whimsy and a wonderful cinematic sensibility.
The album features an extensive cast of notable
guest singers from the U.K. rock world, including
Eddie Argos, James Maker, Tom Walkden, and
Georgina Baillie, and is an excellent primer on
Boorers versatile yet distinctive guitar work. His
playing remains equally informed by the pomp
and fire of 70s British glam-rock, early punk, and
an encyclopedic knowledge of rockabilly, which
Workaholic guitarist makes him something of a chameleon. Hes also
an ace with effects. However, Boorers intent to
Boz Boorer blends roots serve the song first, whatever that may require, is
obvious on Age of Boom, which flexes his writing
rock with sonic majesty as as much as his genre-trotting licks.
Photo by Gerhard Krejci / Fabrique Records

Premier Guitar gained an audience with the


Morrisseys sparring partner, perpetually busy and disarmingly affable guitarist

a rockabilly guitar hero, and as he prepared dinner at his London home prior
to absconding to Portugal for a recording session.
a solo artist with a Boorer opened up about his excellent solo work,
his background as a player, working with the
new album, Age of Boom. legendary Morrissey, and how he stays so hungry
after many years in the game.

| BY DAVID VON BADER |


Boorer plays Were the songs for Age of Boom written
his Gretsch with their specific collaborators in mind?
Rancher during a
The whole album got pieced together bit
Morrissey show
in 2015. Boz and by bit, and I knew I wanted this record to
Mozz have be different than things Ive done in the
been musical past. I thought that working with vastly
partners for 25 different people would get that done and
years, starting
with the classic
make for a very interesting album. Some
Mick Ronson of the people I knew beforehand and some
produced album, Id already worked with over the years
Your Arsenal. and some the record label suggested. So, it
all just fell into place, really. Things were
planned, but it wasnt difficult. I didnt
come across any obstructions putting it
together, even though it took a long time
to doalmost five years because of how
busy Ive been! But eventually I had to
stop tracking because I had enough tracks
to call it an album.

The narrative of the album, especially


the title track, deals with getting
caught up in nostalgia, which, I think,
is something guitarists are prone to do.
Youve done a remarkable job in your
career mining the charming things
from the guitars rich history, namely
from rockabilly, without necessarily
clinging to them or sacrificing your dont like that anymore, because for me, or the other way around. But I dont really
own voice as a player. Do you have a its been a big part of my formation as a think about it actively. I just play.
philosophy for pulling that trick off? musician since I was a kid. On the surface,
I might nod to the past, but Im aware of its very simple music, but some of the Do you have any advice for guitarists
that and I try very hard not to create the playing is absolutely incredible and its also playing a support role or interested in
same track twice. I think Ive done that all the roots of a lot of different sounds. delving deeper into using the instrument
my lifeavoided repeating myself. Guitar- I also think its quite remarkable that to build textures? How do you craft such
wise, I normally start in a very honest way, its nearly impossible to recreate that truly parts as a composer and songwriter?
with just a guitar and a small amp, like a authentic rockabilly sound accurately. I normally start off with some sort
Fender Champ, and let the sound suggest I know loads of people try to make a of rhythm guitar, maybe a lick idea,
different shapes and melodies without record that sounds like it was made in but normally its a chord sequence. I
overthinking the whole thing. Sometimes it 1956, and you just cant do it! I mean, it like to use a compressed, light sound,
doesnt happen, but more often than not it frustrates me because Id love to do it! which I then usually track out with
flows and if you follow the natural path of an acoustic as well, to get that bright
it, you tend to get something unique. Youve made a career supporting sort of jingle-jangle, or maybe even a
vocalists with texture and drama, but as Nashville-tuned acousticwhich I use

Photo by Owen Sweeney / Frank White Photo Agency


Youre an important figure in the a fan of rockabilly and glamwhich so quite a lot. [EdNashville tuning requires
rockabilly revivalist world. Has that often feature guitar as a focal point a light, unwound set of strings with the
style remained interesting to you after do you ever have difficulty reconciling G, D, A, and low E strings tuned an
many years exploring it? subtle support and guitar heroics? octave higher than usual.] I like to use
Yeah, yeah, absolutely! I was talking to One bleeds into the other, really. Its all in a Nashville-tuned electric, but I dont
somebody the other night about just this, there somewhere, and some of it leans one use it as much as the Nashville-tuned
at a reunion at one of the rockabilly clubs way and some the other. Sometimes I think, acoustic, which gives it that extra jangle
Ive been going to for 30 years now. Its when Im playing a solo, I dont know without making things too thick. The
always been funny to me when someone where this comes from? and its usually a other side of using Nashville tuning
renounces the music and says, Well, I Marc Bolan riff that Ive made rockabilly is that it suggests all kinds of great

premierguitar.com
60 PREMIERGUITAR MAY 2017
The title
BOZ BOORERS GEAR song on Boorers
latest album is about
stuffharmonics and different melodies a baby-boomer
start to make themselves known. Its a barfly whose life
is consumed by
lot of, Oh, I didnt think of that, and GUITARS nostalgia.
you can hear different ideasharmonies (Stage)
and runssuggesting themselves in that 1963 Fender Telecaster
tuning as opposed to standard tuning. I Fender Mexico-built Telecaster
also often like to add a string pad on a Gretsch Silver Jet (tuned down a
synth beneath things to blow it up a bit, whole step, with flatwounds)
and then you have this whole platform to Gretsch Custom Shop
experiment over. Shell Pink Penguin
Gretsch White Falcon
Theres a load of great classical-style Dakota Raysik Billie Pearl custom
guitar on Age of Boom. I hadnt realized James Trussart Steelcaster
traditional nylon string was part of 1958 Gibson Les Paul Junior AMPS
your repertoire. Is that something Blackstar Artisan 30 (stage)
(tuned down a half-step)
youre well-versed in? Vintage Fender Champ (studio)
Maton BB1200
I learned the classical guitar stuff when I Fender Bassman reissue combo (studio)
Fender Kingman acoustic
was a teenager, because I wanted to learn
Gibson J-200
how to play more than one string at a time
Gretsch Rancher acoustic EFFECTS
and I wanted to learn how to read more
Boss DD-500 Digital Delay
than one note of music at a time. I also
wanted to do some of that country picking (Studio) Boss DM-2 Delay
Japan-built Fender Telecaster Boss TR-2 Tremolo
and I thought if I took some classical
50s reissue Boss CE-1 Chorus
lessons, Id learn how to better coordinate
1960s Gretsch 6120 Boss RT-20 Rotary Ensemble
my fingers. So, Ive been playing nylon-
80s Fender Stratocaster Boss BD-2 Blues Driver
strung classical guitar since I was maybe 15.
70s Hayman Bass Boss RC-2 Loop Station
Its all just a part of the bigger picture for
1969 Fender Precision Bass Boss DF-2 Super Feedbacker
me as a guitarist. I love to get the classical
1960s Gibson Melody Maker & Distortion
guitar out and play some of those old
(in Nashville tuning) Boss CS-3 Compression Sustainer
piecesI keep the music out at my studio
in Portugal and I have a really nice nylon Gibson Les Paul Special T-Rex Tonebug Phaser
guitar over therebut the truth is its just Gibson Flying V Boss AC-3 Acoustic Simulator
another gun in the arsenal, so to speak. Epiphone Les Paul Boss Reverb
Japan-built Trini Lopez copy
Could you tell us about the gear you Eastwood Sidejack STRINGS & PICKS
used to track the album? Vintage Epiphone acoustic DAddario and Jim Dunlop (.010.052)
My studio in Portugal has a lot of stuff. Takamine acoustic Fender heavy
For amps, I used a vintage Fender
Champ a lot, a reissue Fender Bassman
combo, and I have a big box of effects in
therereally too many to list or recall.
For guitars, I have a Japan-made 50s played with a bow. For basses, I have a Its weird songs more than players, really.
Fender Telecaster reissue that got used a wonderful 1969 Fender Precision bass Ive loved the Cramps since I saw them a
lot on the album and a 1960s Gretsch that I tend to use all the time, and I few times in 1978 in London, and theres
6120 which made a lot of appearances. used a vintage Hayman bass from the some rhythms from Cramps records
I have a Gibson Flying V that doesnt 70s that has a bit more bottom end on that I use a lot in my writing. Ill write
get used much, and an 80s Fender it. I also used a double bass quite a lot something and think to myself, Now
Stratocaster that also doesnt get used on the album. For acoustics, I used a where did that come from? and itll dawn
much. Theres a recent Les Paul Special Takamine and a vintage Epiphone on me that its from Thee Most Exalted
that I like a lot. I also used an Eastwood oh, and a vintage Gibson Melody Maker Potentate of Love by the Cramps. Thats
Sidejack, which a Mosrite kind of thing, that I keep in Nashville tuning. one rhythm that I use quite a lot!
and an old no-name Japanese copy of I love noisy guitars. Of course, I love
a Gibson Trini Lopez that has all its Tell us about your major influences as the rockabilly thing with Scotty Moore,
strings tuned to an E and usually gets a guitarist. and Carl Perkins, and Les Paul, and

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62 PREMIERGUITAR MAY 2017
When we did Certain People I Know,
Mick Ronson really wanted for the bass to
sound Motown. So they played it through my
little Fender Champ, but he put a bit of sponge
beneath the strings to stop it dead.
exams in which I had to do things like a particular artist rather than just pass
take the Trout quintet by Schubert songs around, which is something I did
apart and rebuild it, and then write three do many years ago because I had so
parts of harmony beneath the top bar. I many songs lying around. But Ive found
also played in an orchestra for three or over the last 20 years that working with a
four years, so Ive done a lot of classical particular artist and lyricist helps because
playing and understand music from that of how that relationship workswhere
essential, fundamental perspective, too. you can bring stuff out from them and
they can bring stuff out from you.
Youve said that Marc Bolan was a major
influence on your playing. What of his Ive always been intrigued by the
influence has stuck with you the most? symbiotic role of a guitarist as a
Well, its the little things. Usually he sideman and foil to a frontman, and
was quite simple, and hed often end his youve certainly developed that with
phrases by slipping down to a sixth note, Morrissey. Do you have any advice
which I notice myself doing a lot. Its for those working as a guitar foil for a
never the plan, but I notice not a lot of singer and building that relationship?
peopleif theyre in, say, Eslip down I dont know exactly how to describe
to a C#. Sliding down to a sixth isnt a it, but its a way of listening and doing
typical thing to do. Thats one major things in a sympathetic manner ... trying
Bolan-ism thats stuck with me. to hone in on and write things that are
sympathetic to other peoples melodies
Ive read that when you and Morrissey and lyrics. Its more a case of listening
Boz Boorer (left) fingerpickersthat stuff is obviously work together, you typically bring in and finding ways to fit in, or finding
and Tim Polecat huge for me. Then there was the punk full-fledged compositions. Is there not something else in your head that has the
(Tim Worman)
movement, with the Sex Pistols and much give and take? same feeling as that which the singer is
performing
with British Steve Jones. I swallowed Never Mind Oh, no. Sometimes he completely working around, and voicing that into
rockabilly group the Bollocks... when it came out in the rewrites stuff, changes the key, or asks for the new thing youre working on together.
the Polecats, at 70s and it was huge for me. Another big things to be added. He gets very specific
the Summer in influence on my playing is John McKay about things, so theres certainly a push- Between owning a record shop,
the City festival
at Crystal Palace
from Siouxsie and the Banshees. That and-pull sometimes. Other times, theyre operating your studio, being Morrisseys
Bowl, London, in first Siouxsie record was quite incredible exactly as they are on the demo. Its from music director, your solo work, and
June 1981. sounding, and it started me in thinking all ends, and I have to say that its worked various production and writing projects,
that music didnt have to be any certain out pretty well for 25 years now! how do you stay inspired?
waythat there could be many different I listen to all different kinds of music. I
influences in music and it didnt have to be With all the projects youre involved think that has a lot to do with it. I listen
a single, strict avenue. That first Banshees with, how do you decide which ideas to classical music all night while Im
album has a lot of jarring guitar that rubs are best suited to be Morrissey tracks? sleeping, so Ive got those ideas flowing
Photo by Michael Putland/Getty Images

against what youd think was going to or Well, I dontwhich means I have all night. I just found a wonderful
maybe should happen over a part, and that to write loads of songs and just keep punk band from Wales called Estrons
changed my thinking quite a bit. writing! I have a big backlog of stuff that thats got a female singer that Im really
I also studied harmony for four years just sits there for a while, but they dont enjoying. I still listen to tons of old
and studied history of music for a long really belong to any particular style of punk, old glam, and old rockabilly. I
time as well, and there were weird pieces music, so the tracks always sound fresh. just try to listen to a lot of different
of music that I had to study for my Of course, I would prefer to write for types of music and stay in it, and listen

premierguitar.com
64 PREMIERGUITAR MAY 2017
to the things that I love to listen to. It right in front of this huge amplifier while did some great ambient recorder playing
doesnt feel like work. it was blasting and started playing with together on Well Let You Know, where
Also, working with Morrissey over the the EQ, finely tuning the thing. He was we didnt really listen to the track, and
course of a 25-year career together, weve very hands-on. He also did all of those that was fun.
really not recorded the same song twice. really great, really simple string parts on It was just a great experience. I had a
It can be anything from a light and airy songs like Perfect Day, where it was lovely drive with him when he played at the
folk song to a dark and dingy progressive maybe two violins in harmony. Very, very Freddie Mercury tribute concert. He and I
rock track, with anything in-between and simple, but so effective and not really drove from the studio to Wembley and then
any instrumentation, which is certainly featuredoccasionally theyd do a big back again, so to spend some time with him
very satisfying and freeing. swoop or somethingbut he knew how and just speak to him one-to-one was really
to write very effective things in a simple nice. He was super into the Shadows and
What was it like working with one of way. He had great little tricks, too, like Duane Eddy; he loved twangy guitars. It
the best there ever was, Mick Ronson, when we did Certain People I Know was a joy just to be around him. The little
on Your Arsenal? Did you learn he really wanted for the bass to sound things stick out more than recording stuff,
anything from that experience? Motown. So, they played it through my like, in the morning wed get up and both
Well, we talked earlier a bit about being little Fender Champ, but he put a bit go through the racing forum and pick out
sympathetic in your approach, and I think of sponge beneath the strings to stop it our winners for the day and go down to the
Micks whole self was sympathetic, in his deadwhich is something I still do! We OTB and place our bets together.
approach to recording, writing parts, the
sounds hed come up with. The first time
YOUTUBE IT
we played a track with Mick there, Alain Enjoy a quick guitar lesson with Boz Boorer as he explains how to
[Whyte, former Morrissey guitarist and play Morrisseys Irish Blood, English Heart from 2004s You Are
current cowriter] started playing through the Quarry. On display: the songs three core guitar components,
Boorers mastery of delay, and a classy Gretsch White Falcon.
a Marshall stack exceedingly loud, and ol YouTube search term: Boz Boorer teaches Morrisseys Irish Blood,
Mick just walked in the room and stood English Heart

premierguitar.com PREMIERGUITAR MAY 2017 65


Still Keepin It Real

EVEN AT 79, FOLK AND BLUEGRASS LEGEND NORMAN BLAKE


FEELS COMPELLED TO MAKE HIS FLATTOP RING
AND WRITE SONGS THAT SPEAK TRUTH TO POWER.
Photo by Gary Hamilton

BY JACK SILVERMAN

premierguitar.com
66 PREMIERGUITAR MAY 2017
n Norman Blakes new album, Brushwood: Songs wasnt old-timey. It was very old-sounding music, but it just had this
& Stories, the acoustic music legend covers a lot of ... it was very artful. He always had a real integrity with that. Just a
ground. Over the course of 17 songs and two spoken- sense of who he was, and his place in time. He was really strutting
word tracks, he shines a light on fascinating lesser- his stuff back in those days.
known historical figures, empathizes with the plight of the poor and Bluegrass guitar giant Bryan Sutton first became aware of Blake
downtrodden, provides some pointed and timely critique of our through the duet records with Tony Rice. My initial response to
current political climate, and takes on Wall Street and the NRA. Norman wasnt as deep as it is now, Sutton says. I was a teenager
And as always in the world of Norman Blake, there are train songs. and was a little more blown away with the fireworks of Tony Rice.
But what may be Brushwoods greatest accomplishment is evident But as Ive grown more into a songwriter and a big-picture kind of
within the first 23 seconds of the album, before Blake has uttered a guy, and as I got more into the stuff that Norman did in the early
single word. He fingerpicks an elegant intro to the opening track, days with John Hartford, that just opened up this whole other
The Countess Lola Montez, and at the 13-second mark, he level of appreciation and recognition of how his musicianship
effortlessly slurs and sweeps through the sort of split-second flurry of ultimately wins.
notes that makes aspiring guitarists hit rewind countless times, and One thing that stands out on Brushwood is the contrast between
leaves transcribers scratching their heads as they struggle to notate the old-time music and the very current subject matter of many of
it. Its a beautiful musical embellishment by any measure, but whats the songs. Its not often you hear such traditional-sounding acoustic
most astounding about itand the album as a wholeis that Blake music that references social media, Wall Street, the Koch brothers,
was 78 years old when he recorded it. He turned 79 on March 10. and climate change. But Blake clearly feels compelled to sound
Never mind that over the past few years hes been a more the alarm, and nowhere is this more evident than on The Truth
prolific songwriter than at any time in his six-decades-plus-long Will Stand (When This Worlds on Fire). After calling out fascist
career. Between Brushwood, released in January, and Wood, Wire politicians and war profiteers, Blake sums up the state of our nation
& Words, released in early 2015, Blake has recorded 29 new songs simply and effectively: Now wealth and power are ruling our
that he wrote or cowrote with his wife and longtime collaborator nation/the billionaire brothers and the blood-stained NRA.
Nancy Blake. This is all material he wrote after suffering a transient Other songs that address similar issues include High Rollers,
ischemic attack (often referred to as a mini-stroke) in 2012 at age which takes a hard look at the world of the super-rich; The
74. In fact, Blake credits that medical emergency with lighting a fire Target Shooter, a direct rebuke of the NRA and the culture of gun
under him and providing a sense of creative urgency. obsession; and How the Weary World Wears Away, one of the
Not that Norman Blake has anything left to prove. By the late albums highlights, in which Blake takes aim at greedy developers,
1970s, hed already garnered what most would consider a lifetimes climate-change deniers, and the like.
worth of laurels. Hed been a fixture in Johnny Cashs band for a Theres plenty of lighter fare too. On Bunk Johnson (Trumpet
decade. Hed released several acclaimed albums of his ownamong Man), Blake shares the tale of a relatively obscure but colorful
them Back Home in Sulphur Springs, The Fields of November, and character from the early days of New Orleans jazz, over a buoyant
Whiskey Before Breakfast. Hed left his mark on several of the most ragtime groove. Cripple Charlie Clark is a moving recollection of a
significant musical touchstones in the history of American roots musician Blake played with when he was just a shirt-tailed boy.
and popular music: Bob Dylans revelatory Nashville Skyline, John Waitin for the Mail and Social Security may be the most
Hartfords groundbreaking Aereo-Plain, and the Nitty Gritty Dirt stirring song on Brushwood. Blake ties together many of his
Bands roots-music masterpiece Will the Circle Be Unbroken. And passionsstorytelling, trains, old-time melodies, giving voice
hed already amassed plenty of other credits, recording with Tut to those whove been crushed under the wheels of progressas
Taylor, Doc and Merle Watson, Earl Scruggs, Joan Baez, and Kris he paints a vivid portrait of an elderly man marking time and
Kristofferson. reminiscing about what was once a thriving railroad town. Though
Yet Blake has never shown much interest in slowing down. Hes Blakes guitar work shows few signs of age, his singing voice is
now recorded about three dozen albums, including a couple of clearly that of a man in his 70s. But that only makes the music
acclaimed duet projects with bluegrass icon Tony Rice. He played on more affecting, and its appropriate, since one of the defining
Bill Monroes 1981 album Master of Bluegrass. And T Bone Burnett, a aspects of Blakes career has been his unrelenting dedication to
huge fan of Blakes, called on him to play on the O Brother, Where Art being honest, real, and true to the moment, while refusing to follow
Thou? soundtrack, including a stirring instrumental version of I Am trends or succumb to commercial considerations. In fact, all his
a Man of Constant Sorrow. Burnett also tapped Blake for the Cold Brushwood performances were recorded in one take, with Blake
Mountain, Walk the Line, and Inside Llewyn Davis soundtracks. singing and playing guitar at the same time. He did some violin
Despite his storied career, Blake has never quite received overdubs, and his wife Nancy added some lovely backing vocals on
the recognition many of his peers have. Doc [Watson] was a several tunes.
revelation, says renowned bluegrass multi-instrumentalist Tim Premier Guitar recently spoke with Blake, who was at his home in
OBrien. He was a real great entry into bluegrass because it was just Rising Fawn, Georgia. He discussed the new album, the state of the
easy access, the sound of it, his voice and everything. Norman was nation, and 12-fret guitars (instruments with necks that join the body
a little more a connoisseurs version of that. The record Back Home at the 12th, rather than the 14th fret). He also shared the surprising
in Sulphur Springs was kind of mind-blowing. It wasnt bluegrass, it saga of his experience recording Will the Circle Be Unbroken.

premierguitar.com PREMIERGUITAR MAY 2017 67


I dont think I ever
wrote as much in
one spurt as I did
in the last two or
three years.

Norman Blake For your most recent two albums, you more relevant now. I hear High Rollers dark time, definitely a dark moment in
has an affinity wrote 29 songs and two spoken-word and I think of our current president. our history. I hope I live long enough to
for guitars with pieces. You are in your late 70s now. You can speak freely. Youre not going to see it pass. Thats for sure.
necks that join
the body at the Where did that burst of creativity and offend me. Theres nobody thats more
12th fret. To inspiration come from? against him than I am. Youre talking to I notice trains figure prominently in
me, he says, We spent a lot of time on the road the choir here. a lot of your songs, whether its The
they have a playing, my wife Nancy and I. There was Fate of Oliver Curtis Perry, The
more open tone
with a little
less time to feel creative. We were just The Truth Will Stand seems to Wreck of the Western & Atlantic, or
more separation working too hard. address todays political situation. the story The Lantern Thru the Fog.
between the We stopped touring in 2007. Were My wife and I are both politically aware, Why is that?
strings. getting older and everything, and wanted and were Democrats, what they used to I was raised way down in the sticks here,
to come home. Weve always had a call yellow dog Democratswe would in Dade County, Georgia, right next to
place here on the farm. I suffered a little vote for a yellow dog before wed vote for the Alabama line. We had nothing but dirt
medical thing there about four-and-a-half a Republican. Im totally against what has roads where we lived, and the railroad. We
years ago. After that, it just turned out happened. My wife and I both think its lived very close to the railroad tracks, the
that way, that I started writing all that the worst thing thats happened to this Southern Railroad. The trains were the big
stuff. Id written, of course, earlier on in country in quite a long time. Im appalled thing. When I was a child, 22 of them a
my career. I guess I just opened in that by it. We dont have enough time. The day ran through here, all steam. We didnt
direction when I had less to do as far as phone line would burn up before I said have a lot of excitement, so the trains
roadwork and all that. And maybe the everything I wanted to say about it. figured pretty heavy in it. Its something I
medical emergency kind of cleared my treasure very dearly, those memories.
head into a different direction. In that song, and How the Weary World
Wears Away, I sense almost a resignation Is Cripple Charlie Clark based on a real
Were there other periods in your that humans are going to screw this world person?
career when you had been that prolific up and we just need to make the best of Yeah. He had an influence on me. And
as a writer? things while we can. Do you feel thats the first time I ever saw him he was sitting
No, I dont think I ever wrote as much accurate? Do you have hope for the future? under a tree at the Baptist church, as it
in one spurt as I did in the last two or I always have hope for the future. I am says in the song. He was crippled. He had
Photo by Jack Vartoogian

three years. an optimist that things have to get better. to lean back in a straight chair and stretch
I think we were going in a much better his feet out, and he laid the guitar on his
Obviously, these songs were all written direction. It has to get betterthe old knee, the butt-end of the guitar, and the
before the election, but they seem even saying, This too shall pass. But its a peghead went over his left shoulder, and

premierguitar.com
68 PREMIERGUITAR MAY 2017
For Brushwood: STRINGS & PICKS
Songs & Stories, NORMAN BLAKES GEAR Blake typically doesnt use standard string sets,
Norman Blake preferring to mix and match gauges depending on the
took a time-
guitar, situation, and his mood. And he sometimes uses
honored approach
to capturing his
GUITARS electric strings on acoustic guitars. Though his choice
voice and guitar. I 1907 Maurer of gauges can vary, he favors .012, .015, .024, .032,
sang all that stuff 1928 Martin 00-45 .042, and .054 or .056 for strings 1-6. His three
in one take. Ive 1933 Gibson L-Century main sets are GHS White Bronze, GHS Boomers
always felt the
1937 Gibson J-35 Dynamite Alloy (electric), and Martin Retro.
old bluesmen had
the right approach 1938 Martin 000-42 He also uses the back edge of his 1.5 mm
Photo by Christi Carroll

to that. You sing 1941 Martin 000-21 DAndrea Pro PlecTeardrop picks, rather than
off the guitar, and 1960s Yamaha FG-160 their point, although sometimes he uses a triangle
you play off the
2004 Martin 000-28B Norman Blake pick and rounds off a corner to make it more like a
singing.
Signature Model teardrops back area.
he strummed it with his right hand, and noted in I like a 1.5 mm [DAndrea] Pro Plec. Why use the rounded edge?
the usual way with his left hand. Hed make runs up And I use Dunlop some. Sometimes It just moves through the strings a little
and down the neck, even with his knuckleshe was I use the teardrop, and sometimes easier for me, and its a warmer sound,
really messed up physically. He had a sound, and he I use the three-cornered ones. For too. You do that on a mandolin a lot,
sang gospel songs. those, I usually round off a corner. I use the back edge. I played mandolin
use the rounded edge of a teardrop too over the years, and youre always
Did you do some shows with him? pick more than I do its point, but looking for a warmer tone.
Yeah, and hed give me money. I was just a kid. I you dont get as much projection on
remember one time, I had an old Gibson guitar, a microphone. I tend to use a sharper What was your experience like
a J-45 or something. I had a silver dollar stuck up pick when playing on microphones working on Will the Circle Be
between the tuning keys on the front of the peghead, than I would use just sitting around. Unbroken?
just under the strings. We were going to play at a
church and he says, You take that silver dollar off of
there. They see that, they wont give us any money.

I noticed you included a couple of ragtime


instrumentals on the album.
Yeah, I like rags. Ive gotten to where I play them
without any picks. You can do so much more [with
your fingertips] than you can with fingerpicks, too.

Do you use a thumbpick?


Im not using any picks, just bare fingers.

Are you using your nails at all, or just skin?


Mostly the skin. When Im flatpicking, I use my
nails on two fingers to pull harmony notes. When
Im fingerpicking, I suppose I may be getting a
little off of the nails, but not like a classical guitar
player would.

When recording Brushwood, did you sing and play


guitar at the same time?
Yes, and I sang all that stuff in one take. If youre
gonna perform with just a guitar, Ive always felt the
old bluesmen had the right approach to that. You sing
off the guitar, and you play off the singing. It all gets
to be one thing.

Youre a big fan of 12-fret guitars. Why?


To me they have a more open tone with a little
more separation between the strings. Ive always
been kind of clumsy, and a wider neck can be
advantageous on the fretboard. It can be not
advantageous as far as reaching around the neck.
The 12-fret guitar joins the body at the
octave, and Ive always maintained, though Ive
never heard anyone else say it, that helps create
harmonic things. When you have two more frets
sticking out there, you havent got that octave
right on the body. I think theres some kind of juju
that happens when the octave does sit there.

What flatpicks do you use?

premierguitar.com PREMIERGUITAR MAY 2017 71


Blake recorded I was playing with John Hartford and
his newest wed been off on a tour, and we came into
album at Cook
Nashville on a red-eye flight, and I was
Sound Studios
on Lookout sick. I had the flu. I went to bed at home,
Mountain in Fort and they called wanting me to come over
Payne, Alabama, and maybe play some Dobro, and I said,
which is also I just dont feel like it. I said, get Tut
where he cut
2015s Wood,
Taylor, who was playing Dobro with John
Wire & Words. and me in the band. So Tut went over
there. And they werent into what he did or
something, so they called me again. By that
time Id gotten waked up pretty good, and
so I went on over there. It was with Earl
Scruggs that they were going to use me.
Bill McEuen was producing it and in the
control room, and kept telling me how to
play a certain thing. I couldnt ever please
him, either. He kept wanting something
that I wasnt doing. I got pissed off because
I had gone over there and I didnt feel like
it anyway. So I threw the earphones up
against the control room glass and told him
to go to hell. Earl Scruggs stepped in and
told BillEarl had that real shaky voice
he says, Well, if you leave him alone, hell GATHERING BRUSHWOOD
play something good. Engineer David Hammonds on recording Norman Blake
So that was how it went down. It was
not as much of a fun thing at the time. Im
glad for the experience in the long run. It When it comes to recording Norman Blake, the old saw less is
probably didnt hurt my career at all. more is the guiding principle, says recording engineer David
Hammonds, who helmed the controls for Brushwood at Cook Sound
You did some music for O Brother, Studios on Lookout Mountain in Fort Payne, Alabama. (The facility
Where Art Thou? Apparently T Bone is owned by Jeff Cook, lead guitarist for country music juggernaut
Burnett is a big fan of yours. Alabama.) Hammonds has been working with Blake since 2006.
Hes been very kind, some of the things We used all Neumann microphones, Hammonds says. A U 87 on
hes said about me. And he used me there. his vocals, and Norman brought some really old micstwo Neumann
I appreciate him. In artistic ways and guitar mics, those pencil [condenser] mics. It was a pretty simple
financially its been good. O Brother was a setup. We used a Universal Audio 1176 compressor and some really
good thing for us. cool preamps. We just did a little X pattern with the microphones
I almost didnt do that. I was living on the guitar and close-miked his vocal with that U 87. You run into
down here where I am now, 140 miles from phasing issues like that, but it is what it is. Its a live setup, and its
Nashville. I said, I dont want to go over as simple as it can get from an engineers perspective. You hit the
there for a session. I figured it was just a record button and Norman Blake delivers.
three- or four-hundred-dollar session, like You might think an old-time acoustic music purist like Blake
most of them are. And they finally called would prefer recording to tape, but thats not the case. We didnt
me back with a real good figureWell do anything to tape, Hammonds says. It all went down to Pro Tools.
give you so-and-so to come over here and Norman seems to think that the Pro Tools rig sounds more like LPs
playand I said, Well, Ill be there. than actual tape does. Hes a connoisseur of collecting the old mono
Gillian Welch was helping him out a LPs and things like that from back in the day. And he likes the sound
lot at the time, and I think she might have of Pro Tools as well or better than tape. We do have tape available.
been responsible for me getting as much When describing what its like to record such a renowned musical
out of that as I did. Cuts on the record and force, Hammonds enthusiasm is palpable. This guys not like any-
all that. I dont know that for a fact, but I body else, he says. I swear to God I watch him play and Im thinking,
think she was definitely in my corner. how does he get all that to come out of a guitar at the same time?

premierguitar.com
72 PREMIERGUITAR MAY 2017
Tosin Abasi UN-WIND
Fishman Fluence
Multi-Voice Pickups
for Electric Guitar

Ive played active and passive


pickups in the past, Fishman
Fluence are neither of those
things but a combination of
both. These pickups fill the
space where a lot of traditional
pickups seem to let me down.
This is literally a new design
that is taking off from a space
where no other pickup has
ever come from.

Tosin Abasi uses Fluence Signature Series


6, 7, and 8 String Pickups

The 1st Real Advancement In Pickup System Design In Over 80 Years. For more information visit fishman.com/fluence
Roots-soul siren Valerie June
embraces her idiosyncratic
muse, builds a band of kindred
musical spirits, and blossoms
bright on her sophomore album,
The Order of Time.
| BY TESSA JEFFERS |

Photo by Danny Clinch

premierguitar.com
74 PREMIERGUITAR MAY 2017
he aura surrounding songstress in her words, and her idiosyncratic vocal Themes of space, chaos, and, Opposite page:
Valerie June
Valerie June feels almost yowls. With the voices behind the wheel, eventually, the aligning of lifes events
plays electric
otherworldly. Theres the eventually she wanted to accompany her float in and out of the dozen songs, both guitar, banjo,
goddess hair, the genuine gift on stringed instruments. literally and aurally. A track dear to Junes and ukulele, but
light that comes from her kind eyes and June is a late-bloomer when it comes heart is Shakedown, which features her Martin 000-
beaming smile, and the music she makes to guitar. Citing Mississippi John Hurt as guest vocals from her late father, Emerson 15 is her main
companion on
has an unmistakable, singular sound thats a main influence, she taught herself the Hockett, who passed last November, and the current tour
hard to place. And at the same time, the basics at 23 and kept building upon that two of her brothers, Jason and Patrick for The Order
good-vibes Humboldt, Tennessee, native, foundation as a way to support the songs Hockett. Its a vibrant hoedown featuring of Time.
who once dubbed her musical thing as she heard in her head. Now armed with African rhythms and call-and-response
organic moonshine roots, blends ethereal, her babiesan assortment of banjos, between the family members.
gospel-influences and down-home, guttural her Martin, and her new favorite, a 1960 The records lush, atmospheric
country-blues with formidable swagger. Guild M-75 Aristocratshes developed instrumentation is especially notable
As the final track on her new album aptly a rhythmic, primal, fingerpicking style to those familiar with Junes stage
testifies, shes Got Soul. thats resonated with blues fans. appearances, and should be applauded
And when she says, I hear voices, June says that working with Dan for accentuating, and not obscuring, an
she means it. Since she can remember, Auerbach on her first full-band artist whose foundation was built upon
songs have just come to her, arriving in production, 2013s Pushin Against a bare-bones banjo and guitar. Many of the
her minds eye seemingly out of nowhere. Stone, taught the self-described technical tunes are textured with carefully placed
Im just washing dishes, and Ill hear a rookie more about working with other pedal steel, tasteful and minimal guitar
voice and start singing along like if you musicians than anything else. This time solos, and more lively choices like horns,
were listening to the radio and started around, everything seemed to coalesce organ, and fiddle.
humming along [laughs], June says. And when she started collaborating with Matt That mightve been the hardest thing
then Im like, Oh my god, Im writing Marinelli [see sidebar: Studio Libero], to do on the recordtrying to figure out
a song. Okay! Then I start to write it who ended up producing her new album, how to do just enough embellishment to
down, or if I cant write it down, then The Order of Time. where it has an impact, but not too much
I just keep singing what Im hearing on Matt found musicians he felt would where it starts eating up all the space,
repeat until I get to a place where I can understand these particular songs and be Marinelli says.
write it down. Thats pretty much how it able to get in the room and bring some On a sunny February day, from her
happens for me. magic, June says. It was like, whoa home in Brooklyn before heading out to
Growing up singing in church, she we can go anywhere with this. But do errands, the charismatic June discussed
learned how to express herself through where do I want to go with this? Then her West Tennessee upbringing, how she
a voice that didnt always fit in. For this after that, they would interject ideas as learned to accompany that inner muse,
songwriter, everything comes from the well, so it became a collaboration at a and how tickled she was when her beloved
hip and the heart: the emotion is palpable certain point. father compared her to Jack White.

Can you take us back to the doing that thing. All the steps have dusty instruments Sharon Jones, you were a
moment you first knew that were pretty unclear, but I around the house. one-woman force out there
music was what you were knew that I loved singing and When I got into my early playing your banjo and
supposed to be doing? writing songs. 20s, my band broke up. I was guitar and singing. How did
When I was a little girl I used just singing and writing songs you go about finding your
to write songs about trees and What was your first for the band, I wasnt playing. voice as a musician?
frogs and rainbows and stuff instrument? So, when the band broke I believe that finding your
like that. I knew thats what The first instrument, besides up I had to learn to play an voice is an ever-present
I wanted to do when I grew my voice, was the guitar. I got instrument because I didnt experience. You have to be
up, but I didnt think it was an acoustic guitar when I was want to be in the middle of constantly walking into your
possible for me, because I was 15. My grandfather gave it the room trying to sing and voice. Because voices change,
just, like, this girl from a small to me but I didnt learn how thats all I can do. I felt I was and my voice as a little girl
town, so who cares about me, to play it then. I just had it out of business so I started is so different than my voice
you know? I just didnt know around and let it get dusty, teaching myself basic guitar. now, and my voice before I
how I was going to get from while I was out cheerleading went on tour for three years
my small town out into the and chasing football players The first time I saw you playing night after night is very
world to playing, singing, [laughs]. It happens: People perform, opening for different than my voice now.

premierguitar.com PREMIERGUITAR MAY 2017 75


June rocks a I listen to voices that I loveI love I just laughed so hard because, first of
custom 4-string Joni Mitchells voice and how her voice all, my dad, over the course of his life,
baby ukulele
just changed over the years, you know? I worked with so many entertainers. He put
banjo made
by Memphis love Stevie Nicks voice. And you cant tell on one of Princes first shows. He worked
banjo luthiers me that that womans voice doesnt sound with Bobby Womack on a show. He would
Tommy George different on the early stuff she did. The come home and tell us stories about people
and Christian Landslide voice is the older voice, but the he met. To me, this was another one of my
Stanfield. Her
collection of
early stuff is a voice that has a brightness and dads old stories, like, That old manhe
banjos includes its so different. I love the way voices change doesnt know what hes talking about. And
two vintage and the way time affects voices. To me, I then I looked it up and Jack White did play
ones that stay at can feel it in my voice in a day. I wake up in in Jackson, Tennessee, that night! It was
home: a 1930s
the morning and my voice is deep and low hilarious. Jacks brother invited my dad into
Gibson model
and a 1930s and I sound like a man, and Im like, I can the soundcheck, and he said they were the
Vega that Ry sing blues now! [Laughs.] And then later in sweetest people ever. He said, I couldnt
Cooder gave the day its higher, and I can put on Alison believe all them white folks standing up
to her. Krauss and sing along with her. The voice in there rocking out. It was hilarious just
just changes, and its every day that youre listening to my dadwhos this old black
discovering, Where is my voice today? man who grew up listening to R&B and
soul and gospellistening to him translate
What was it like touring with Sharon Jones? to me what he thought was similar to what
She was a force. I get inspired thinking about I do. And I thought, if Im getting through
it because, she was just, like, lm going to to my dad, and he doesnt even listen to
take my life and do what I wanna do with it, the kind of music I like, I might be getting
and what I wanna do with it is play music. through to other people. And that was way
Im gonna do it every day until the day I leave before Pushin Against a Stone came out.
this planet. And I dont care what anybodys
got to say about it, Im doing it. And so that Youve named Mississippi John Hurt as VALERIE JUNES GEAR
fearlessness, and being such a fierce woman, an influence. Who were some of your
and fighting back in so many ways through other guitar influences?
so many things, is just inspiring. I learned a The people I loved guitar-wise were folk GUITARS & BANJOS
lot. Im still learning from her. and blues, simple music, not shredding, New Martin 000-15M (live)
just playing a few chords with a couple 1960 Guild M-75 Aristocrat (live)
During an AmericanaFest 2015 variations. I started too late to even get my
Gold Tone 5-string banjo
performance, you shared this story about head around shredding. I couldnt even get
(studio and live)
how your dad said he saw a white guy my chord A to chord B to chord C [laughs],
Custom George 4-string
playing the blues and it sounded like so I had to lead with something thats a little
baby ukulele banjo (live)
you. It turned out to be Jack White. more straightforward and down to earth
1955 Martin 0-15 (studio)
What did you think about that when he with the changes. And I felt like the stuff
1962 Gibson ES-330 TDC (studio)
first said that to you? John Hurt and the Carter Family were doing
1930s Gibson Mastertone 5-string
Well, I laughed because I didnt really think was stuff I could do. And so thats where
resonator banjo
my dad got what I was doing. I was living in I started. But Ive always called it a roots
1930s Gibson EPB-150
Memphis, I had my 12 to 15 jobs, and I was kinda thing, like that was a root of where
Electric Plectrum Banjo
playing music and burning my own CDs, the music could go. If I start with this root,
and hustlin, trying to get em out. I just if I start with this foundation and simplicity
didnt think my dad really understood what and I get that down in my own way, then I AMPS
I was trying to do musically because his can begin to blossom out into other avenues Fender Deluxe Reverb Reissue (live)
framework was for R&B and gospel music. and see where it can really go. 1960s Fender Princeton Reverb (studio)
And so, I was like, What? My dad That was the start and from there it just 1970s Fender Super Six (studio)
kept trying to come up with the guys kept growing. There are so many musicians 1950s and 60s Magnatone amps
name. It started with a J and his last name who I love the way they play. It just keeps (studio)
started with a W. Maybe it was Johnny changing. I love Nick Drake; I love the way 1963 Gibson GA-79RVT (studio)
Photo by Jordi Vidal

Wilkins, I dont know? I kept guessing and he fingerpicks. I dont know if Id ever be
finally I said, Was it Jack White? And hes able to play that way but I just love it. Of EFFECTS
like, Oh yeah! course, I love Hendrix. Who doesnt? And Fulltone OCD (live)

premierguitar.com
76 PREMIERGUITAR MAY 2017
STUDIO LIBERO: Matthew Marinelli
Right: Its easy to understand why Valerie June calls her the tunea very simple, minimal
Matt Marinelli producer Matthew Marinelli a godsend. solo approach, he says. I always
produced Valerie
Junes sophomore Its one thing for a producer to interject, guide, and love country guitar solos where it
studio album, direct an artist, but its another thing entirely when basically states the melody with
and played guitar that same person instrumentally accompanies an artist little embellishment.
and bass on the on the record and the live performances. The Order of Time was tracked in
recording. While
Though he now favors bass, Marinellis been playing just under a week at Guilford Sound
playing in her
touring band, his guitar since age 12, and played either bass or guitar in southern Vermont with Andy MacLeod on guitar,
live workhorse is a on virtually every track of Valerie Junes The Order of Dan Iead on pedal steel, Pete Remm on keys, and Dan
1968 Ampeg AMB- Time. Hes also her current touring bassist, and most Reiser on drums. By the end of it, I dont think anyone
1 Scroll bass. of the guitars and amps used on the album are from wanted to leave, Marinelli says. We wanted it to just
his arsenal of vintage gear. This collaboration evolved be our new life where we just make music all day long.
naturally when Marinelli was doing front-of-house Having a tight band and already knowing the
mixing for June. They started playing music together foundations of Junes songs so well gave the pair
and dueting around town for fun, which proved to be a confidence to experiment with arrangements and
catalyst for Junes album. sounds in the studio. For example, Man Done Wrong
We ended up playing a couple of shows at a features two banjos, played by June, and two bass
friends bar in Brooklyn called Bar Luntico, says parts, played by Marinelli. Half of the parts are amped
Marinelli. We had to rush to put that set together, and and half are acoustic, with all four parts stacked into a
we decided to do a bunch of her new tunes. So we had suantering, distinguished blues-folk lead.
to figure out how to play some of these songs. As a That line is great, says Marinelli. I think Vals
duo, you hear things in your head and it came together approach to banjo is different than a lot of people
in our minds. Not all the tunes on the record were done who come out of a more traditional bluegrass or
that way, but we had a good idea. country background. Shes not afraid to play through
Two of the albums standout guitar solos, on Long an amplifier or try different things with it. So, on that
Lonely Road and Two Hearts, were written by tune in particular, there wasnt this overwhelming
Marinelli while accompanying June live before going desire to make it a pristine, accurate acoustic recording
into the studio. For me, if there was going to be a of a banjo. We were trying to create something where
guitar solo on the record, it was about having a different everything melded together and became some other
melodic section, more like a melodic development of instrument in the process.

I look at that and say, Oh my god, Im start to translate what Im hearing. Thats way I want it to. Of course, ultimately
35 now. Maybe by the time Im 105 Ill pretty much it. Ill be walking down the its my record so if I dont like the way
have it [laughs]! And I felt the same way street, sometimes waking up, sometimes the drummers playing I can just say
about a John Hurt song when I was 23. I sleeping, or washing dishes or whatever, something like, Thats a little too hard
was like, Hmmm, maybe by the time Im and Ill just hear a voice. Sometimes I for this song. I had something a little
80 Ill be able to play a John Hurt song. dont even realize that Im hearing it. more ethereal in mind, or whatever.
June wrote most So, Ive always kept the goals, and the idea I can use colors, like, It needs to be
of the songs on
The Order of Time of this coming into fruition as a faraway How was making The Order of Time a little more gray and then a little bit
over the course thing, but work every day toward trying different or similar to making Pushin cloudy and then maybe some fog I
of 10 to 12 years,
but the album
to get there. Because how cool would it be Against a Stone? use terms like that and Matt uses musical
started to develop to be 80, sitting around, and able to play a In general, I was saying what was on terms and was able to turn that into what
organically when Hendrix tune? That would be kinda great. my mind, versus with Pushin Against I was thinking as a musician. Matt knows
June and producer
Matt Marinelli a Stone I was more in a place that was me very wellwere basically best friends.
played many of Can you talk a little about your more inquisitive and learning how to There wouldnt be anybody who could
the tunes as a duo
in Brooklyn.
songwriting process? even speak to a musician. Having Matt in catch up as far as all the things he knows.
I really think its a lot like a person who the room on this record was really great, Hes almost like a mind reader.
writes arrangements for other people, or because Im still learning how to speak to
writes symphony arrangements where musicians. Id be talking to people that How did those arrangements come about?
they hear what the music is in their head. started playing when they were, like, 2 or Both Matt and I had notepads and we
They just hear a band in their head all 3, and I started playing when I was 23. I both wrote down what we heard on a
Photo by Chris Kies

the time. But with me, instead of hearing dont know how to read music so I cant particular song. So hed be like: I hear
a band or an orchestra, I hear voices. I really tell you what to do where, but I electric guitar, horns, organ, and pedal
hear the voices in my head first and then know when somethings not sitting the steel. And Id be like: I hear electric

premierguitar.com
78 PREMIERGUITAR MAY 2017
guitar, strings, fiddle, and pedal steel. Why do I remember you had a red Do you still have that guitar?
you hear horns? Why do you hear strings? hollowbody electric on tour I do, but Im going to give it to my
And then sometimes wed try both the horns with Sharon. school. I have a school of children
and the strings and having them both down wed Yeah, it was a Hagstrom Viking and that I work with in Milwaukee,
know which was the one. Sometimes it was both Luther Dickinson gave it to me. I was through the Turnaround Arts
of em that worked on the same song, so its all going on the road and he was like, program that Michelle Obama
just experimenting. Its very much like being in You need an electric guitar if youre started. And since I got my Guild
a scientists lab where youre, like, Hmmm going to play the Pushin Against a that Im madly in love with, I went
maybe Ill try a little bit of this. Well, that was Stone record. And I was like, Oh, back to Luther and said, Do you
an amazing explosion! or I dont know, that okay I dont have one. He was like, want your guitar back? And he was
didnt give me the lift I was hoping for so lets try Here, just take this one. like, Nope, give it to somebody
something different. You just stay in there playing
until you get it where you want it.

A few songs, like Shakedown and Man Done


Wrong, have an African rhythm and feel. Did
you have that vibe in mind or did it naturally
come out?

THE
I feel like those songs were coming from that same
place where I listen back and Im like, I hear
Africa in this. I hear Delta in this. I hear world

LOGICAL
in this. I hear roots in this. After youve released
the song and youve got it down, you can go back
and be like, Okay, what do I hear? What does

EVOLUTION
it remind me of? How did it get here? At that
point, I started to examine it and was excited
about this direction from which these songs come.
I feel like a lot of the songs, because theyre
going together, they come from certain places.
Front Door and Twined & Twisted and
another song I wrote that youve never heard
OF GUITAR
TECHNOLOGY
because Ive never recorded itthey all came from
another place thats iridescent and magical. And
then Somebody Love and With You came
from a more fuchsia placea more loving, WILLCOX ATLANTIS THINLINE | FLAME MAPLE
dreamy, place.
These are places where I go in my mind and High quality woods and components, acoustically
spirit whenever Im creating. Its really fun for me advanced design and boutique craftsmanship,
to go to these places and I wish I had control over combined with industry exclusive LIGHTWAVE
it, because I just love to be there all the time but OPTICAL PICKUPS, creates an instrument like
I cant. I cant control when its gonna happen. I nothing youve ever played before. Powerful and
just have to be grateful when Im able to go, and concise low end. Clear, sustaining highs. A vocal
be grateful Im able to bring something back. And and detailed midrange... the true voice of the
I hope that whenever I play it for other people, instrument at your fingertips. Come and
that somehow their spirit can go there, toothat it HEAR THE LIGHT for yourself.
might be like a door or a portal that opens so they
can go and enjoy that place I was when I created it.

Is the guitar youre playing in the Shakedown


video the same guitar you used in the studio?
Yes. Its a 1960 Guild Aristocrat. I love it so much!
I had access to a few other guitars and I cant
remember all the names, but Matts a vintage
guitar collector and he brought a lot.
Learn more at willcoxguitars.com/premierguitar

premierguitar.com PREMIERGUITAR MAY 2017 79


you know is gonna use it. And so, I dont like to take those on the road say its a great song. Some songs have nice
my school is full of all these amazing because theyre just amazing. Theyre hooks, and thats cool, I enjoy that, but I
children who dont have much art in really old and delicate. cant say I would call it a great song.
their school. They dont get anything
creative, as far as getting involved in Do you still name your instruments? What was on your mind while making
arts, from theater to music to creating I do, but I havent figured out a name for your new album?
art in general. So Im going to give them the Guild and the Gibson [banjo] yet. I I wrote the songs over the course of
my guitar, and theyre going to come to got the Gibson for my birthday last year, 10-12 years, so a lot of things wouldve
my soundcheck when I go to Milwaukee and I got the Guild a little bit before that been on my mind. But in making the
and play. I just have a lot of little events, so I think it takes a while sometimes to album, and the actual time I spent in
because I dont have very much time, get a name out of em. the studio recording the songs, I think
but wherever I can, Im trying to get thats where my brain started to go more
them into the arts and open them up so If your music had an odor, what would technical. Is this sounding like what it
they can be excited about all the great yours smell like? sounded like in my head when I wrote it
things they can do. Black pepper [laughs]. Its a little bit 10 years ago?
sweet and spicy. Every songs different But the part I love the most is the
Besides your Guild and Martin 000- though, so its hard to think about it songwriting and the story, and discovering
15, what other instruments are you all as one thing. It would be more like what is happening with the song.
traveling with? a casserole, than like an individual
I take my 5-string Gold Tone banjo on ingredient. Or soup! The full recipe Whats your favorite part about what you
the road, and a 4-string baby ukulele of something. do? Why do you keep making music?
banjo. At home I play an awesome 1930s I keep getting songs, so thats why I keep
Gibson banjo, and then Ry Cooder gave What do you think makes a great song? doing it. I keep hearing songs, and keep
me one and its a Vega, and its really I think the story. Its gotta be an amazing writing em. So whenever I dont hear em
great and from the 1930s as well. But story. If its not, then its hard for me to anymore I probably wont do it.

premierguitar.com
80 PREMIERGUITAR MAY 2017
ACOUSTIC SOUNDBOARD

Imperfect Pitch
BY ANDY POWERS

C
As shown on lose enough for rock n roll. Looking at these factors helps us
this Taylor 800 Weve all heard the phrase before understand what guitar makers do to
Series, one
and have likely mumbled it minimize the inherent inaccuracy of
of the ways
builders combat ourselves while hastily tuning our guitar guitars. Starting with the obvious one:
the inherent between songs. Tuning seems so funda- The closer the string is to the frets, the
inaccuracies on mental to playing an instrument that we less it needs to stretch since it doesnt
a instrument is assume guitars can perfectly render the have as far to go. In other words, low
to use a slightly
slanted saddle,
notes we desire. But reality disagrees, action tends to produce more accurate
which effectively so we often find ourselves conceding to intonation. And where the string is
shifts each close enough to keep our audience from stretched changes the apparent tightness.
frets position in waiting. Why is it so hard to be in tune? A tight string is stiffer near the ends
relation to the
The basic issue is that a state of than in the center. When the string
unfretted strings.
perfect tune, as wed like to think of it, is pressed near the guitars nut, the
simply doesnt exist. There are instead pitch-shifting effect is greater than
shades of being in and out of tune. A when stretched in the center, which is
music professor once taught me, There somewhat negated by the string usually
are no wrong notes, only different levels being closer to the frets near the nut
of dissonance. than farther up the fretboard.
Once upon a time, tuning seemed as A strings tension is determined by
clear as one plus one equaling two. Notes how long it is, the note it is tuned to,
were derived from perfect mathematical how much it weighs, and how strong
relationships. Youd start with a note and the wire is. Its interesting that the
double its frequency to get an octave weight of the string can be controlled
higher or other close fractions to yield independently from its strength by
related pitches that form our Western wrapping the primary wire with another
scales. While this math problem yields wire. The wrap wire doesnt contribute
our pitches, the distance between the significantly to the strength, but it adds three saddle points in a line, instead of
notes isnt actually uniform. Interestingly, a lot of weight. The actual strength is the four wound- and two plain-string
our ears tend to like it that way. When a determined by the primary (core) wire, groups used with most acoustic guitars.
new set of notes is derived to form a new so bigger and stronger wire will have a Many guitar makers will also try to
key, the uneven gaps need to change to greater pitch shift than small wire. account for the extra string stiffness near
new locations. To eliminate this hassle, The solution to offset the rise in pitch the nut by minutely cheating the nuts
guitarists evened out the space between each time a string is pressed is to shift position toward the bridge.
notescheating each of them a little so the relative position of the frets under When we look at the factors that make
they didnt seem very out of tune. This the strings, and this is usually done a guitar play in tune, its a wonder we can
allowed guitar players to change keys with a combination of two practices. feign an impression of true notes with all
without retuning or moving the frets on The most obvious place to start is at the the cheating we do. When you go to play,
their instruments. But it also introduces bridge end of the string. Were all used get that guitar as close as you can. Try
a slight error that we can still hear in to seeing a slanted saddle on a guitar, some harmonics, finesse the octaves a little
some chord shapes due to the altered often with a little scoop on the 2nd closer, play a few chords, and then let it
mathematical relationship between notes. string. This added active string length rip. Its probably as close as youll get.
Guitars and other stringed instruments effectively shifts each frets position a
present another challenge. Each time little in relation to the unfretted strings. ANDY POWERS is the Master
we press the string to a fret, the string The amount each string is compensated Guitar Designer at Taylor Guitars.
His expertise as a craftsman
stretches and makes a slightly higher has little to do with the strings actual blends a finely honed sense
of aesthetics with nuanced
pitch than we wanted. This stretch varies pitches. It is the result of each strings woodworking skills, building
based on how far the string has to travel graduated tension within the plain- or upon the rich heritage of previous
generations of instrument makers
before it hits the fret, where the string is wound-string types. This is precisely why while advancing the art form
stretching, and how stiff the string is to electric guitars using a plain 3rd string into inspiring new sonic territory.
For more information, visit
begin with. will have two predictable groupings of taylorguitars.com

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THE RECORDING GUITARIST

Click here to
hear soundclips.

Big Bad Baritone


BY JOE GORE

T
A bevy of baris his column was inspired by a fine higher notes are reasonably well-intonated.
(top to bottom): April 2014 Premier Guitar article: Its a far cry from the loose, sloppy
Yamaha Drop
6, a low-strung
Deep 6: A Brief History of the sound of the Waits track. But low-tuned
Baldwin Tragically Underused Electric Baritone standard-scale guitars dont always sound
Virginian, a Guitar by Thomas V. Jonesbetter so anarchic. Ive had great luck recording
1990s Fender known as TV Jones, famed pickup maker with a Baldwin Virginian, a standard
Bass VI replica,
and luthier. Toms right. Baritone is 25.5"-scale semi-acoustic that I snagged
and a Gretsch
Spectra Sonic. tragically underused. So lets ameliorate back in the 90s for a mere $90 (Clip 2).
None of these the tragedy with an overview of ways to If the Bass VI resonates like steel
models are arrange and record with bari. bridge cables and the low-tuned Tele is
currently Heres how Jones defines baritone like a clothesline flapping in the breeze,
available, yet
there are now
guitar: a long-scale guitar tuned below this is like a tightrope, maybe? Its no longer produces these, though Jones
more baritone standard E tuning, but not as far down as reasonably in tune, and the shorter sells them directly.) This creates a mutant
options than a full octave. Most baritone scale lengths scale facilitates chordal/fingerstyle 12-string effect.
ever, including are between 26" and 30". playing. I tune it AEADF#Blike The Spectra Sonic is a great
some reasonably
My definition is looser: any fretted dropped-D, but down a fourth. compromise guitar. It has sufficient
priced Bass VI
spinoffs. instrument that specializes in bridging the Clip 1 and Clip 2 were both recorded tension and scale length for classic
bass and guitar registers. That can include guitar-style, with amp, reverb, and tremolo baritone sounds, yet its relatively comfy
purpose-made baris like Jones describes, sounds. But there are other possibilities. for chordal and fingerstyle playing. I tune
6-string basses tuned E to E (the original Check out Clip 3, a quickie demo track it AEADF#B, same as the Baldwin.
tuning for Danelectro and Fender 6-string featuring drums, bass, acoustic guitar, and Did you know that Robert Smith used
basses), and even standard-scale guitars electric guitar. Theres no bariyet. Bass VI on many, many Cure tracks? But he
cranked down to B or A. With the latter Lets consider some ways you might rarely doubles guitar or bass parts. Instead,
option, string gets floppy and intonation incorporate bari here. In Clip 4, I double he plays simple, stepwise countermelodies
suffers. And sometimes thats awesome. the original bass line in unison using the that weave around the vocals and other
Heres an example on YouTube. I Bass VIthe same technique employed guitars. Sadly, Clip 6 sounds nothing like
recorded all the guitar tracks on Tom Waits on many vintage Nashville recordings. my beloved Cure, though the musical
Going Out West with a vintage Telecaster The Fender certainly brings out the bass concept is similar. Its the Baldwin again.
tuned down to B, without even installing line, especially against the deep, dark- This is far from a complete list of
heavy strings. The intonation is abysmal! Its sounding Guild Starfire bass on the baritone guitar techniques. We didnt
a sour-sounding racket! And Waits wouldnt primary bass track. This time I recorded even get into reinforcing distorted guitar
have had it any other way. The amp was a direct, straight into a preamp with no riffs with extra low notes, a long-running
blackface Super Reverb. Id applied reverb amp or effect simulation. metal/rock technique. But the real
and trem, but just before we rolled tape, I dont miss an amp sound here, adventure happens when you discover
Tom turned both controls up to 10. though it would probably sound just as your own techniques. You dont even need
The slippery slope. Baritone guitars good with one. Still, I manipulated the a dedicated baritone guitar to experiment.
musical uses are equally varied. On one track in the mix, filtering out a lot of low Just install a set of heavy-gauge flatwounds
end of the spectrum are low single-note end on the bari so it wouldnt muddy on a standard-scale guitar and tune B to
parts that might double a standard bass, the sub-200 Hz frequencies. I also added B. Or for a less traditional bari sound, just
or simple single-note melodies near or plate reverb and panned the parts slightly use your current strings. Intonation may
below the bottom of the guitar register, in stereo. Conventional wisdom says bass become an unobtainable fantasy, but youll
like, say the iconic Bass VI melodies tracks should be drya great principle have good anarchic fun.
Glen Campbell played on his 60s hits to violate! Here, though, blending dry
Wichita Lineman and Galveston. The bass and wet bari creates a cool ambience JOE GORE has recorded and
Bass VI in Clip 1 is tuned from E to E as while maintaining melodic clarity. performed with Tom Waits, PJ
Harvey, Tracy Chapman, Courtney
Leo intended. (As on nearly all baritone Clip 5 flips the equation. Here I Love, Marianne Faithfull, Les
guitar recordings from the 1950s and 60, double the electric guitar part an octave Claypool, Flea, DJ Shadow, John
Cale, and many other artists. Joe
the strings are flatwound.) below using a 29.4"-scale Gretsch has written thousands of articles
Thanks to the Bass VIs extended Spectra Sonic baritone, an instrument about music and helps develop
music tools for Apple and other
30"-scale, low notes are authoritative and created by TV Jones himself. (Gretsch clients. He blogs at tonefiend.com.

premierguitar.com
84 PREMIERGUITAR MAY 2017
SPEAKER GEEKS

Wiring Up a 4x12 Cab


BY C.J. SUTTON

Sometimes one
cab just aint
enough.

A 4x12 cab is typically


16 ohms, so when you
connect two of them
together in parallel,
the total load becomes
8 ohms. Most amplifiers
on the planet can run an
8-ohm load, so this
is desirable.

I
f youre like me, chances are with wiring said cabs. I am here to offer is desirable. I should mention that, for
youve had the opportunity to play my guidance, grasshopper. some reason, many venues arent happy
through a 100-watt tube amp and A typical 4x12 cabinet is rated at 16 when you show up with a full stack.
a 4x12 cabinet. Perhaps youve had the ohms. The conventional wiring is called Note: Some 4x12s have an 8-ohm rating
opportunity to play through three 100- series-parallel, and the speakers themselves and contain a quartet of 8-ohm speakers.
watt amps driving three 4x12s at the same are each 16 ohms. Fig. 1 shows how to This is still series-parallel wiring, so
time. Its awesome! Once you start playing connect four 16-ohm speakers in a series- following this diagram will still work.
through multiple cabs, odds are good parallel configuration. This is your classic Always be sure your amp head is set to
someone will ask you if you need all that 4x12 schematic. Red is positive (+) and the total load. So, for example, if you have
equipment, smiling smugly like it was black is negative (-). two 16-ohm cabs for an 8-ohm total, then
the first time youd ever heard that before. set your amp to 8 ohms. You could also use
My answer is always a very confident Fig. 1 two 8-ohm cabinets for a 4-ohm total load.
yes, usually followed by some quip about In that case, just set your head to 4 ohms.
how I actually need more. At one point, You never want to connect cabinets
I owned six 4x12 cabinets. (Im currently of different impedances because an amp
down to just two.) As Steven Fryette does weird stuff when it sees a mismatch.
pointed out in his recent Speaker Geeks If you were to connect a 16-ohm cab and
article (the March 2017 issues The Secret an 8-ohm cab to a head, then you would
Life of Guitar Speakers on premierguitar. have a 5 1/3 repeating-ohm total load, but
com), the size and shape of the cabinet has the 8-ohm cab will get twice the power
a great effect on a speakers performance. of the 16-ohm cab, which doesnt sound

Top: Photo by author Fig. 1: Courtesy of Weber Speakers


That said, I became so infatuated with awesome. If you have differing impedances,
how nicely the standard-sized 30"x30" use separate heads for each cab and
boxes stack together to build a wall, I simply set them to their respective cabs
grabbed anything I could get my hands The 4x12 cabinet is sometimes impedance. That will sound awesome.
on. I came to that outrageous number of referred to as a half-stack, and players
4x12 cabs because I bought them used or routinely connect two of them to a single C.J. SUTTON is the resident
speaker guru and graphic designer
empty, and then filled them with my own amp to create a full stack. A 4x12 cab is at Weber Speakers. He worked
speakers and wiring. typically 16 ohms, so when you connect alongside Ted Weber from 2004
until his passing in 2009, soaking
Maybe you want to build a wall of two of them together in parallel, the total up as much knowledge from the
speaker legend as possible.
cabs yourself and take the upgrade route load becomes 8 ohms. Most amplifiers on
like I did. Maybe you need some help the planet can run an 8-ohm load, so this

premierguitar.com
86 PREMIERGUITAR MAY 2017
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with two Celestion Vintage 30 speakers. The 2525 and 2536 are designed and made at the
Marshall factory in England. For more information, contact your Marshall dealer.
Logan Mader and Max Karon talk about Once Humans new
triple-7-string-guitar line-up, their formula for sonic domination,
Photo by Richard Marz

and how the bands new album, Evolution, truly is an evolution.


BY PAUL KOBYLENSKY

premierguitar.com PREMIERGUITAR MAY 2017 89


L
ogan Mader made a huge noise with the exceedingly That band is Once Human. Mader and Hart added bassist
heavy sound of Machine Head. The two albums he Damien Rainaud, drummer Dillon Trollope, and second
contributed to, the 1994 debut Burn My Eyes and guitarist Skyler Howren to their ranks, and released their
1997s The More Things Change, established the ruthless 2015 debut, The Life I Remember.
band as a major force to be reckoned with in the Once Human delivered a hard-edged sound that performed
90s metal scene. After parting ways with Machine a virtuosic balancing act between death- and groove-metal.
Head, Mader went on to tour with Max Cavaleras Soulfly, The sheer range and vocal power that emanated from
supporting that bands debut album. But in 1999, after Harts petite frame had more in common with Nordic black
success with two of the heavier groups of the 90s, Mader metal vocalists than it did with other female death-metal
stepped out of Soulfly and the touring world all together, powerhouses. It was this sound that gained the new band
rarely surfacing except for a brief stint in the Whitfield Crane- opening slots on Fear Factorys world tour. And it was this
fronted Medication. tour where Once Human first crossed paths with their soon-
While it may have appeared to fans that Mader had to-be third guitarist, Max Karon, beginning a new chapter.
disappeared completely, he was busier than ever. He dove With Karon now onboard, a new sound began to emerge that
headfirst into a prolific music production career that has would heavily inform the bands sophomore release. I brought
found him working with such luminary metal bands as Five more of a modern, Meshuggah-influenced side of things, said
Finger Death Punch, Fear Factory, and Gojira. Karon. And I really like Pat Metheny, which is totally out of
His production work led to a collaboration with left field. Its these influences that worked their way into Mader
Australian-born vocalist Lauren Hart. The two began working and Harts songs, injecting their fierce aggression with a fresh
on what was to be Harts debut album when they discovered dynamic that pushed everyone in the group to new heights.
they had a strong connection and were both heavily vested Once Human settled on the fitting title of Evolution for the
in the music they were creating. For Mader, the wheels of resulting album, and are setting out to prove that this band,
forming a new band were officially in motion. That was it, with three guitarists, is one of the most exciting and extreme
he relates. I had to do it. I loved the music we were making. creations in modern metal.

Evolution is the A big story in metal right now is The European black metallike Dimmu
first album to Return of Logan Mader. Logan, tell Borgir, old Opeth, and Devin Townsend.
capture Once me about your road back to recording Well, hes not black metal. And I was
Humans trio of
7-string guitars. and performing as part of a band. more kind of groove metal. So with
Logan Mader: After developing my the combination of our two styles, we
producing career to the point where I was worked to make something thats unique.
pretty well established, I did start to miss And then, bringing Max in on the second
playing live in a band. It took meeting record, hes a big part of how weve
Lauren. The music that we started doing evolved so much. Max is amazing. His
really brought me back. Originally, I musical mind is alien.
was just going to produce and develop Karon: I think a lot of their first album
the project, and something told me, I was very straightforward metal. What I
should probably do this. Im glad I did. brought was more of a progressive sound.
But I still produce and I still mix, and I I hate to say this, but I bring a little bit
love doing that. I dont plan on stopping. of a signature sound. Its really heavily brought a lot of the spacy-sounding leads
influenced by everything I listen to. into the picture.
Max, youre new to the band. Tell me Mader: Max influenced me a lot,
how you got involved with Once Human. Are there any spots on the album actually. Like now were playing 7-strings
Max Karon: I met them while I was a you would point to as examples of with the GCGCFAD tuning,
guitar tech for Fear Factory. I just hung your sound? which opened a spectrum of riffability for
out with them, we became friendly, and Karon: Theres a song called Drain us. And the caliber of the riffs that he was
they heard my stuff. I started sending that is in a strange time signature. writing, and the intricacies, and the fact
them demos, and one thing led to another. And there are some parts within other that they were so unique really pushed
songs that syncopate to 4/4 and arent me to make my riffs on par with that.
How did the sound of Evolution as straightforward. And a lot of my
come together? lead playings note choices have been What led to that alternate tuning?
Mader: It was organic. Lauren came in influenced by [Meshuggah guitarist] Karon: I was doing some writing in
with her influences. She leans towards Fredrik Thordendals solo album. I dropped C. Then I tuned the two

premierguitar.com
90 PREMIERGUITAR MAY 2017
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MAX KARONS GEAR

GUITAR
Ibanez K7 Korn Signature Model 7-string

AMP
Fractal Audio Axe-Fx

STRINGS & PICKS


Ernie Ball Slinky Cobalt 7-string sets
(.010.062)
Dunlop Ultex Sharp .90 mm

Above: Ive been playing the Ibanez K7


for a long time, says Karon. When I was a
young kid and very into n metal, I washed
a lot of cars and saved a lot of lunch
money and turned it into a K7.

LOGAN MADERS GEAR

GUITAR
Ibanez Iron Label RG 7-string

AMP
Kemper Profiler

STRINGS & PICKS


Ernie Ball Super Slinky 8-string sets
(.010.074)
Left: Photo by Harry Long Above: Photo by Brian Cox

Dunlop Ultex Sharp .73 mm

Left: Mader catches some air as he slams


chords during a Once Human concert. After
developing my producing career to the point
where I was pretty well established, I did
start to miss playing in a band, he admits.

premierguitar.com
92 PREMIERGUITAR MAY 2017
high strings down from A and D to G and C a proprietary mastering suite in his riffs in the studio that were like,
respectively. So, that made open C. And then I studio. I really love what he did. He Fuck, I cant even play this! Then
started working on I of Tongues [A new band with added some analog life and punch to it. I would practice it piece by piece.
former Devildriver drummer John Boecklin.] demos, Now, after practicing it, I can play it.
and it became GGCFGC. How is your playing on this album I think any musicians should always
Mader: When Lauren started getting the tracks, expanded from what youve done do that. Otherwise youre kind of
she was intimidated because it was so good. It in the past? idle and stagnant.
was like, Fuck. Ive got to really deliver on the Mader: Well, Ive gotten better, Karon: Every time I sit down to write
lyric, and the vocal performances. She really put because Ive had to push myself to Im hyper-aware of every one of my
her heart and her head into it and wrote some play riffs that are not the easiest kind writing ruts. There are lots of common
thought provoking, meaningful, powerful lyrics. of riffs to play. And I was writing patterns in my playing. So, Id say this
Shes evolved as a vocalist as well. Her vocal tones
are much deeper and guttural, and more powerful
now. We all raised our standards, and stepped up
our game. A lot of evolution there, you know?

Despite all the technical aspects of your music,


the songs never lose their groove or integrity. Its
never heavy for the sake of heavy, or technical
for the sake of technical.
Mader: Yeah, thats definitely a conscious effort.
Lauren and I really spent the most time on
arrangements. And Max would deliver a lot of riffs
and stream-of-consciousness-type pieces. And then,
of course, it was all about the song and making
sure that song felt right all the way through.
Karon: For me, it was exactly a result of all of us
being in a room and agreeing on what sounded
good. There was an objective: It was to make
something straightforward, easy enough to catch
on the first time, while heavy and complex enough
to be interesting, but not needlessly complex.

Logan, you had your hands in some pretty


influential music in the 90s and early 2000s.
And Once Humans previous album, The Life I
Remember, contained a more straightforward
metal sound. But when I listen to Evolution,
there are a lot of very modern sounds.
Mader: Well, the guitar tones actually came
from Max. They were an Axe-Fx. I think it was a
Fryette amp simulation that he had as one of his
presets. When I heard it, I really loved that tone.
It sounded like everything that a really aggressive,
modern, heavy guitar tone should be.

The album is extremely clear for how much is


going on. Logan, you normally mix, engineer,
and master, but you chose to go with Jens
Bogren for mastering Evolution.
Mader: I made sure to get a bigger low-end going
on this record and to really utilize the spectrum. Im
quite proud of the mix. But I wanted to work with
Jens Bogren because hes got a lot of analog gear and

premierguitar.com PREMIERGUITAR MAY 2017 93


line of Ibanez, but I love them. They play
amazing. I was really impressed when I first
picked it up. And I play EMG pickups.

There are places within the album,


especially on Eye of Chaos, where you
guys hit things that are just unbelievably
low and powerful sounding. Were you
When Mader using 8- or 9-strings?
began producing YOUTUBE IT Mader: No. Its all 7-string. But the
an album for The official video for Eye of Chaos offers a chance to eyeball tuning on the low string is G, so its
Australian Once Humans triple 7-string line-up shaking the studio. Catch the
vocalist Lauren unison melodies and listen for the octave pedal. almost as low as an 8-string. And theres a
Hart, they YouTube search term: Once Human Eye Of Chaos Official few spots we use a Roger Mayer Octavia.
quickly realized Music Video That thing gets ugly as shit.
it was actually Karon: It was a totally unlikely candidate
the beginning of
a new band
album challenged me to make something Mader: There are other times, too, for disgusting tone. But it worked!
and formed cohesive but different from song to song. where, if its a really busy riff, Ill play Basically, theres this Bloodbath album
Once Human. something similar to the bass line on called Resurrection Through Carnage, and
Including Skyler, Once Human is a rhythm, and it gives more clarity. It this is the closest I ever got to creating that
three-guitar band. Thats unusual in sounds better live to have two guitars kind of ugliness. Thats a big win for me!
music as heavy as yours. doing the riff and one doing that.
Mader: Yeah, its pretty fucking heavy. I Did you guys use any other stompboxes
love Skyler, and hes a good player and In the videos for Gravity and Eye of on the album?
a good dude. There are moments from Chaos, all three guitarists are playing Mader: Max has lead tone thats got a lot of
the album with main riff and octave riff Ibanez 7-strings. Is that a recent delay, I think a little bit of reverb on it. And
duplicating, and then lead going on top. development? beyond that there are only a few spots where
So there are three guitars recorded. And Karon: Ibanez is absolutely my guitar clean guitars are layered. Theres a couple
well distribute those parts between the of choice. I recently began a two-year of moments where I would put the volume
three of us live to replicate it organically. endorsement deal with Ibanez. So, as of halfway back. But I dont need any pedals.
now, I believe I am an Ibanez artist.
Max, have you done the three-guitar Were you also running into the Fryette
thing before? Congratulations. model on the Axe-Fx?
Karon: Its new. Its going to sound Karon: Yes. Feels good man. Ive been Mader: Yeah, but I recorded through a
bigger and better than having two guitars. playing the Ibanez K7 for a long time. Kemper. We profiled Maxs version of the
I know Skyler and I will be switching off Basically, when I was a young kid and very Fryette, which ran through a couple of Neve
for certain leads during the live show. So into n metal, I washed a lot of cars and modules for some pretty drastic EQing.
the rhythm section is always going to be a saved a lot of lunch money and turned it And then we profiled that into my Kemper.
little bit bigger as a result. into an Ibanez K7. Little did I know it is one So my sound has all the results of that.
of the finest instruments I will probably ever
With that much sonic information, own. Right now that thing is loaded with Are you planning to take the Axe-Fx
how do you track guitars in the studio? Lundgren M7s, which are the Meshuggah- and Kemper on the road?
Mader: I did most of the rhythm tracks design pickup. My guitar is like a sum of my Karon: Absolutely. We plan on having the
on the record. Usually its just two tracks. influences through the years: Korn guitar very minimum of gear onstage. I think
And Max does a lot of his leads with with Meshuggah pickups. But I am hoping we can get by with digital processing
main and octave. We never really quad to get one or two of those multi-scale guitars for guitars. It makes more sense to be
tracked. I think the intricacies and the from Ibanez before I hit the road. lightweight at this stage in the game.
subtleties and nuance is in the speed of
the riffs. It has a better clarity and is more Is the K7 what you used to track in Are you running live cabinets onstage?
effective to just do doubles. the studio. Karon: Not as it stands. I mean, theres
Karon: A lot of the leads are my recordings. Karon: Yes. Certainly for my leads. plenty of room for growth in the future,
Logan, being a very detail-oriented Mader: I switched over to Ibanez about a but the difference in shipping and
producer, locked in the guitars exactly how year ago. I love those guitars. Im playing renting backline, baggage costs when
we wanted them. But my lead playing was an Iron Label. Its not the custom shop. flying, and trailer spacebringing an
kept, with my weird tones and stuff. Theyre not the super-high-end expensive Axe-Fx is just easier.

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94 PREMIERGUITAR MAY 2017
Are you running the profilers onboard
effects as well?
Karon: Ill be running all my effects in
the Axe-Fx. Ill have two pedals: a Tech
21 MIDI Mouse switcher and a tuner.
But I need a MIDI Moose badly because
theres a lot of dancing involved, especially
navigating across multiple changes.

What string gauges do you use for


those super low tunings?
Mader: Im using Ernie Balls Super
Slinky 8-string set, and I just throw the
7th string away. Im using a .074, and
then it goes .064, .054, and down the
line to a .010. So its really heavy. And I
just started using Ultex Sharp .73 picks.
I like them a lot for the fast stuff that
were doing.
Karon: Lately, Ive been using .062, .052, CUSTOM REPLACEMENT PARTS FOR ELECTRIC GUITAR & BASS, MADE WITH PASSION AND PRECISION.

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Does the band have a lot of touring on


the horizon?
Mader: I cant announce anything,
unfortunately. My goal is to do enough
supporting slots during this album, so we
can do a little bit of headlining towards
the end of it. And then with the next
album, enough people will know about
us that we will have some good touring
right when the record comes out.
Karon: Were all a little bit stir crazy
right now, because were all dying to tour,
having written the album a long time ago.
Were ready to hit the road and stay busy.

Do you feel like the goal is to continue


to evolve from album to album, or have
you defined the sound of Once Human?
Mader: I feel like we really have a
unique identity now, with this new
record. And it feels good. I think we
can cruise within these parameters for
at least a few albums before we start
branching off. But I always just want to
be creative and not really have an agenda
when writing. So who knows where its
going to go?

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DIY: GUITAR SET UP

How to Set up
Jazzmasters
&
Jaguars
Offset addict Michael Adams (from Mike & Mikes
Guitar Bar in Seattle) reveals setup secrets for making
Fenders ingenious, sorely misunderstood axes sing.
BY MICHAEL ADAMS

I
n the second episode of overwhelmingly negative, and the upmarket prices of more A well-maintained
the Netflix documentary they were critically panned. In familiar, more desirable guitars. Jazzmaster possesses one of the
series Abstract: The Art the film, Tinker reflected on For nearly 50 years they were most stable and dynamic non-
of Design, the famed creator the shoe that nearly ended his misunderstood, maligned, and locking vibrato systems on the
of the Air Jordan, Tinker career: People struggle with marred by stories of string market, and all thats needed
Hatfield, muses on his years stuff they dont understand slippage, tuning instability, and for the guitar to operate as
at Nike, where he seemingly design thats different than impossible intonation. intended is a proper setup.
pulled iconic shoe designs out what theyre used to. Convicted in the court Whats hilarious is that decades
of the very ether. From the AJ That sounds a lot like my of opinion, the Jazzmaster of complaints and ire could
III to the AJ XIV, his work favorite guitars. was viewed as a flawed have been avoided had anyone
was universally acclaimed and My heart goes out to experimenta joke guitar actually read the manual
the company couldnt keep the Jazzmaster; it really that was nice to look at tucked into the case pocket.
the shoes on store shelves. does. Introduced at a time perhaps, but not to play. The In this article, Im going
A dramatic shift occurred when Fender was thinking sad truth of this underdog to give you some DIY tips
when the XVthe first of discontinuing the now- of Leo Fenders otherwise for keeping your offset guitar
release after Michael Jordans hallowed Stratocaster, what beloved instruments is that in perfect working condition
retirement from basketball began as a top-of-the-line its not the design itself thats so youll never have to worry
hit the streets in 1999. model eventually fell into problematic, but rather a about it again. But to truly
Consumer reaction toward obscurity, relegated to pawn lack of consumer education. understand this vexing vibrato
the stark black-and-Kevlar shop bargain bins and sold to Thats where this article system, were going to have to
aesthetic of the new shoe was musicians who couldnt afford comes in. Im here to help! go all the way back to 1957.

premierguitar.com PREMIERGUITAR MAY 2017 97


Jazz Odyssey 1 2
When Leo Fender began work on the
Jazzmaster alongside designer George
Fullerton and Hawaiian steel player
Freddie Tavares, he set out to create a
solidbody guitar with the geometry of
an archtop acoustic. It was an effort to
capture the jazz market, in which Gibson
had enjoyed overwhelming success.
Going through old patent drawingsone
of which is now tattooed on my left
forearmhis intent is obvious.
When viewed from the side, the string
path of a properly set up Jazzmaster (Photo
1) is reminiscent of an archtop, such as a
venerable L-5 or ES-175 (Photo 2). The
strings flow from the tailpiece and break
over the floating bridge at an angle, then
plummet down a pitched-back neck toward
the nut and tuning machines. In theory, the Neck Angle
3
downward force exerted on the bridge keeps Ensuring the proper amount of neck
the strings in place while the bridge freely angle relative to the body is essential
rocks back and forth with vibrato use. to getting the most out of your offset
Its important to keep all of this in guitar. Although the archtops that
mind when youre working on your inspired him were constructed with
Jazzmaster or Jaguar, as conventional setup a permanently inclined set neck,
techniques wont quite get the job done. the famously pragmatic Leo Fender
Whereas most other models tend to need addressed this by specifically designing
some bridge adjustment or a partial turn the Jazzmaster with shims in mind. If
of the truss rod, to play their best these youre not familiar with the process
guitars need to be treated differently and of shimming, its simply a thin spacer and then lay it down in the neck pocket,
considered as a whole. placed between the neck and pocket of in the semi-enclosed area closest to the
a bolt-on guitar, allowing its angle to be bridge (Photo 3). Position the 1 1/2"
String Selection easily adjusted. section so it lies across the neck pocket,
Being aimed at jazz players of the day, The goal here is to increase parallel to the saddles. Reattach the neck,
the Jazzmaster was built around the use downward force on the bridge. As string up, and then raise the bridge until
of heavy flatwound strings. The extra the neck is angled down away from you find the action comfortable.
tension of those sets helped keep the the bodylike a see-saw, imagine the Manufacturing being what it is, theres
bridge in place, while the darker sound headstock dropping slightly lower than no magic number of shims that works
produced by flats paired well with the the end of the fretboardthe bridge automatically. I usually start with two
brighter nature of the Jazzmasters wide, must be raised to achieve playable shims and add or subtract according to
flat single-coil pickups. But this doesnt action. This causes the strings to pass the needs of the individual instrument.
mean you have to use gigantic strings! over the bridge at a sharper angle (this It takes some trial and error at first, but
No, its quite easy to achieve a is called break angle), and thus adequate the more familiar you become with the
perfectly playable Jazzmaster with lighter pressure on the bridge is realized. This process, the better youll be able to assess
roundwound gauges. It just takes a bit pressure helps keep the strings in place your guitar.
more fiddling around with the setup. I while also increasing resonance. Note: If you happen to be using a
use and recommend .011.050 rounds Its quite easy to perform this tweak Mastery or Staytrem bridge, one or two
as a good starting point, but if .010s are yourself. Fender used to employ leftover shims should work just fine. Newer
your thing, thats absolutely doable. I do fiberboard pickup bobbin material, but Fender models such as the Classic Player
find it interesting that complaints about for DIY-ers, baseball or business cards and American Professional series even
bridge buzz started surfacing around the will do just fine. Simply remove the boast angled neck pockets, so if you have
time that ultra-light gauges became more neck, cut the material of your choice to one of these, you likely wont need to
commonplace, in the mid-to-late 1960s. fit (3/8" by 1 1/2" should do the trick), worry about shimming at all.

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98 PREMIERGUITAR MAY 2017
The Bridge 4
When I got my first Jazzmaster, the
bridge positively flummoxed me. It
seemed that, no matter what I did, I
could not get the thing to stop buzzing.
It wasnt until I discovered shimming as
part of the offset equation that I was able
to quell the beastly noises coming from
my guitar. Using heavier strings goes a
long way to cure this.
However, I also realized that with the
original bridge, the intonation screws that
poke through the middle of the saddles
can be just as much of a pain (Photo 4).
If the bridge isnt set up in exactly the
right way, those screws can make contact
with your strings, causing an unpleasant
sitar-like noise.
Every time Ive seen this happen, it was
because someone set the overall action
with the individual saddles instead of the
bridge posts. If you werent aware, the
offset bridge is height-adjustable by way 5 7
of two grub screws concealed within the
posts. Insert the appropriate hex key in
the postholes on the face of the bridge
and adjust the height of the treble and
bass sides of the bridge to taste (Photo 5).
The saddles themselves should only
be used to set radius. Doing so this way
will keep the saddles low enough that the
intonation screws wont hit your strings,
and itll make life easier down the road 6
should you decide you want to change
action. Two screws, after all, are much
easier to adjust than 12.

String Slippage and Bridge Buzz


Weve already addressed shimming as one
possible solution for slipping strings, but
with import bridges or worn saddles, it nothing out there that feels quite like
may be necessary to file a deeper groove it. With a wider range of pitch than
in them. Aftermarket bridges such as Bigsbys, but not quite as immediate as
the Staytrem deal with this by utilizing a the Stratocaster trem, its my opinion that
single, deep slot on each saddle, while the this is the most musical vibrato around.
string channels of the two-saddle Mastery The original bridge is meant to work in
Bridge guarantee your strings wont be bridge, it also introduces another point of tandem with the vibrato, rocking back and
going anywhere (Photo 6). friction between the vibrato and bridge, forth as the arm is actuated (Photo 7).
Another option is adding a Buzz and this can upset the feel and stability of This confounds some players, but believe
Stopan aftermarket part that bolts the system. me, its supposed to be like that. The
onto the vibrato plate and forces the bridge should zero out, but if youre using
strings down toward the body. This isnt The Vibrato lighter string gauges you may find this
my favorite solution, because it not only The Fender offset vibrato is hands-down somewhat unreliable. Wrapping the bridge
shoves the strings into the back of the my favorite unit on the market. Theres posts with foil or electrical tape to stop the

premierguitar.com
100 PREMIERGUITAR MAY 2017
8 Fig. 1

Diagram courtesy of Tom Arnold / offset.guitars


bridge from rocking is a common DIY anchor through the same plate as the the anchor plate down toward the spring,
mod (Photo 8). Of course, you could collet for the arm and the spring, which which, in turn, pushes back (Fig. 1).
substitute a Mastery or Staytrem instead. has adjustable tension. This assembly
If youve never removed the vibrato, hinges on a pivot plate, which is attached The Trem-lock
whats going on under the plate may not to the face of the unit by three screws. The most interesting feature may be the
be fancy, but it is effective. The strings When the bar is depressed, this pushes unassuming little button on the forward

premierguitar.com
102 PREMIERGUITAR MAY 2017
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premierguitar.com PREMIERGUITAR MAY 2017 103


edge, known as the trem-lock (Photo 9).
9
Many players erroneously believe that
engaging this button effectively hard-tails
the vibrato, but thats not at all correct.
In fact, with it engaged, you can still
depress the baryou just cant pull up.
And theres good reason for that.
The actual intended purpose of
the trem-lock button is as a sort of
mechanical memory for when a string
breaks. When a break occurs, the
decreased string tension causes the unit to
pull sharp. Sliding that button back (Fig.
2), the vibrato recalls the tension of
the remaining strings, returning them to
pitch automatically. Its all about balance.
To get the trem-lock working
properly, make sure your strings are
tuned, then depress the vibrato arm
until you can slide the button all the
way back. If you release the arm and
the pitch is lower than it should be,
youll need to loosen the spring tension
by turning the screw counterclockwise.
Return your strings to pitch, and repeat
until youve achieved balance. If you can
easily slide the trem-lock button all the
way back but still pull up on the bar,
then youll need to tighten the springs Fig. 2
tension by turning the screw clockwise.
Incidentally, setting up the trem-lock
button is also useful as a guide for the
overall feel and play of the vibrato. In
my view, doing so brings out the best
in the system, with plenty of upward
and downward pitch variation. Of
course, I recommend that players adjust
their instruments according to their
needs, so if what you want is maximum
downward travel, then, by all means,
tighten that spring.

String Breakage
If you break strings frequently on
your Jazzmaster or Jaguar, its probably
Diagram courtesy of Tom Arnold / offset.guitars
happening in one of two areas of the
vibrato itself. To properly diagnose these
issues, its important to pay attention to fix the problem is to use a small file world! Thread it through the hole in
how the string is breaking. to gently round off any sharp edges question and then use it to floss the
If the string breaks at the anchor on the perimeter of the string-through plate. Itll take care of this issue in no
plate, this could mean that a burr has hole. Mitchells Abrasive Cord, sold time flat.
developed where the ball end rests. A by StewMac and most woodworking The other main source of frustration
visual inspection is usually all youll retailers, is a godsend in this regardits when it comes to string longevity is due to
need to confirm this. The best way to the Soap on a Rope of the sandpaper the E strings not having enough clearance

premierguitar.com
104 PREMIERGUITAR MAY 2017
over the outermost screws that secure the
10
pivot plate. On vintage trems, these screws
have a flattened dome and arent an issue,
but for some reason the American Vintage
reissue vibratos have taller, fully domed
screws, which causes big problems for the
low E string (Photo 10). As the player
uses the vibrato, the string rubs against
the Phillips head of the screw, which
eventually saws through the finish wrap of
the string, causing it to unwind.
The two best ways Ive found to
address this are as follows. First, soldering
the finish wraps of the strings reinforces
them more than enough to withstand even
heavy vibrato use. Or, if youre handy, flip
the screws over. Simply remove the vibrato
from the body, unscrew the spring and
claw assembly, and set aside the anchor
plate. Remove the offending outermost
screws, re-insert them upside down,
tighten them down, and then reassemble
the entire unit as standard. With the heads
hidden, the threaded ends of the screws
will barely poke out of the body plate

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106 PREMIERGUITAR MAY 2017
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11 12

(Photo 11), leaving more than enough


space for strings.

A Call to Arms
Issues with the arm itself seem to be
universal, no matter which model you
own. Often it swings freely and is prone
to falling out of the guitara symptom
of poor contact between the arm and its
collet. Sure, you could order a Staytrem
arm and replacement collet (which is 13
amazing) or install a Mastery Vibrato with
its adjustable arm tension (also amazing),
but this article is all about that DIY
lifestyle, so lets get our hands dirty, yes?
Put the arm in a vice and clamp it
down with about 1" of the insert end
sticking out (Photo 12). One good tap
on that end with a hammer will put a
nearly imperceptible bend in the end of
the arm, and thats just enough to create
some positive contact. Repeat a few more
times if its still not quite right or you
want your arm to stay in place when you
let go. This is legitimately one of my
favorite and most-used tricks.
Im often asked why my vibrato arms
have such a graceful curve when they dont
come like that from the factory. A lot of
folks dont realize you can do that yourself!
The first thing I do when I acquire a new
instrument is bend the arm so it snakes
around the bridge and the tip sits in
my palm (Photo 13). Just hold the arm
in your hands and use your thumbs to
bend it. If youre worried about potential
damage, use a heat gun to soften the metal
first, but be careful not to burn yourself.
Look, I could go on. I really could.
While there are countless other, more
nuanced intricacies to discuss, its my
hope that this at least gives you a starting
point for wrangling the obtuse beast that
is the Jazzmaster. Good luck!

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108 PREMIERGUITAR MAY 2017
premierguitar.com PREMIERGUITAR MAY 2017 109
ON BASS

Woodshedding Before You Go-Go


BY VICTOR BRODN

C
Who could reators and fans of music alike The indulgent fun appears
forget this 1984 were deeply saddened by the loss in the post-chorus, where the
video? Be you of George Michael, a legend in band lands on the tonicin
a fan of George
Michaels music, his lifetime who never let genre define his this case, Cand Estus
or not, theres art. Just like Elvis, Ray Charles, Prince, unleashes what sounds like
no denying and other giants of years past, Michael improvised goodness. None
the powerful made songs in whatever style he damn of these fills are even remotely
low-end impact
well pleased, and he made music that standard, but they grab the ear
bassist Deon
Estus provided was neither white nor black. Even with of any listener and instantly
on so many his songs that werent overtly funky, there toughen up the song. The
mega hits. was always a funky undercurrent that still second post-chorus features a
speaks to me. quick dominant lick in the
Im fortunate in that writing this high register, and then drops down to the throughout both songs. As a result, the
column has given me several chances to low E in anticipation to walk all the way synth-bass lines in these two tracks are a
shine a spotlight on bassists who have up to C at the beginning of the solo. Ive perfect study in where to leave space.
changed the course of my bass path. This seen many an intoxicated person play air The Edge of Heaven. This is a
month, however, is a little different. Ill bass to these licks. Thats how contagious Pandoras box of bass candy. The fast pace
be talking about the work of a player who they are. and obvious Motown nod in the general
I recently discovered on a deeper level Bad Boys. This song might get feel and approach put this song into
after previously only being familiar with the trophy for containing the ultimate the same vibe category as Wake Me up
a few of his more famous lines. Deon slap-bass tone on a passive J. You can Before You Go-Go. The opening minor-
Estus isnt the only bassist associated with feel the physicality and power of the pentatonic lick gets doubled with vocals
George Michael, but he was a major slap attack come flying through your and is an instant earworm. The chorus
creative force and musical right-hand headphones. The song is anchored by a has an alternating F to G pattern that is
man for Michael for many years. Estus very even, straight-eighth-note pattern in either played with staccato stabs or walked
was sometimes referred to as the third the intros and verses that Ive been using though with a completely legato feel.
member of Wham!, and his bass lines to practice my thumb attack these past Switching between the two approaches
were often hooks on their ownplayed few weeks. And it contrasts beautifully almost every other measure in the chorus
with intensity and personality, and against the chorus patterns walking slap works as a tool to make the entire chorus
favored greatly in the final mix. line from Dm to G. For extra fun when feel funky and fluid at the same time.
Given that Ive spent significant time playing along to this song, try nailing This song also has that nice touch of
in the woodshed the past few weeks to the 16th-note low-synth lick starting on chorus pedal on the bass that was much
prepare for a 24-song, two-and-a-half- G in between the electric-bass phrases. more common in the 80s than it is today.
hour George Michael tribute show, Id Aggressive disco-funk at its best! As a bassist who played a monumental
like to share some of the gems I found in Everything She Wants and role in the songs that made George
these tracks for you to check out yourself. Monkey. These two tracks feature Michael a global superstar, I think Estus
Wake Me up Before You Go-Go. some of the gooiest, Moog-y synth-bass deserves big recognition. There is so
This song is likely known best among goodness Ive heard. As with many warm, much joy jumping out of those tracks
many musicians for its upbeat Motown- filter-heavy synth-bass lines, I can get in that emanates from the bass alone. Its
style bass line thats built around a major- the ballpark of the sound with an octave what pure fun sounds like.
pentatonic pattern. Estus turns the line pedal and an envelope filter when I dont
around in interesting ways during the have the luxury of a keyboard on a gig. VICTOR BRODN is a Nashville
bassist and producer who has
verses in order to make it back to beat Both songs are funky, slower mid-tempo toured and recorded with more
1 of the following chord. And some of jams in which the patterns have enough than 25 major-label artists,
including LeAnn Rimes, Richard
his turnaround treatments are applicable variations to feel singable as independent Marx, Casting Crowns, and Randy
Houser. His credits also include
almost anywhere. The pre-choruses hooks, but still retain a funky Grammy-winning albums and
feature a few lightning fast descending impressionistic feel. Some measures start numerous television specials
on CMT and GAC, as well as
runs that bring a gospel flare to the song with three straight quarter-notes, and performances on The Tonight
and take it to an almost opposite place because of the note values, the groove still Show and The Ellen DeGeneres
Show. You can reach him at
from the more rigid Motown-style verses. maintains a feeling of absolute funkiness vbroden@yahoo.com.

premierguitar.com
110 PREMIERGUITAR MAY 2017
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W W W .EBSSWEDEN.COM
BASS BENCH

Neck Joints, Science, and Sound Opinions


BY HEIKO HOEPFINGER

I
n my previous column, we looked at Fig. 1
a study that analyzed measurements
taken from a simplified instrument
that went through an unusual
transformation from neck-through to
bolt-on and, finally, set-neck design. (If
you missed it, search for Can You Hear
the Difference Between Various Neck
Joints? on premierguitar.com.) The
study found few tonal differences and
almost none in sustain, so it concluded
that although limited in scope, this
study does suggest that correlation
between sustain and neck joint type may
not be of practical significance.
Case closed? Not really, according
to another study by a team of scientists
at the French Acoustic Society (Socit
Francaise dAcoustique). They took
an alternative path and tested three
identical instruments with different neck
jointsneck-through, set-neck, and
bolt-on.
Before you say theres no such thing Fig. 2
as identical instruments, consider
this: The instruments were built in the
same European luthier-training center
and had the same hardware. Of course,
theres a difference between the same
and identical when it comes to possible
disparities in woods, hardware, and setup.
Still, once you are aware of this, and
build and adjust with care, the variations
should be small.
The measurements included 3-D
spectrograms of each model, rendered
with the signal taken directly from the
electric output while the same note was
played. Fig. 1 shows the spectrogram

Spectrograms courtesy of Socit Francaise dAcoustique


for a neck-through, Fig. 2 is for the
set-neck, and Fig. 3 corresponds to the
bolt-on joint. Spectrograms include a lot
of information, but theyre easy to read. different. In the graphs, we can see the tonal preconceptions most bassist have
These graphs plot volume and frequency long sustaining fundamental and first about these three constructions.
versus time, and they show a sustaining harmonics of the neck-through, the These scientists conducted a
note thats split into its decaying faster decaying and bumpy fundamental second experiment on driving-point
fundamental and upper harmonics. of the set-neck, and the even shorter conductance, which is a way to measure
As always, these graphs dont tell sustaining fundamental and longer first mechanical energy transfers between
us whether these three instruments harmonics of the bolt-on build. So the structures. Whenever such a transfer
have good tonejust that they are spectrograms pretty much confirm the happens, it sucks up vibrational energy

premierguitar.com
112 PREMIERGUITAR MAY 2017
Fig. 3

Sustain is often cited as a quality factor by players and builders, but the
popularity of instruments like the P-bass somehow contradicts this notion.

at a certain frequency from the string. Sustain is often cited as a quality middle ranking most of the time. In
A big transfer at the fundamental factor by players and builders, but the other words, many players preferred the
frequency would indicate a dead spot. popularity of instruments like the P-bass bolt-ons imperfect liveliness over the
The measurement is much like the tap- somehow contradicts this notion. In evenly sustaining neck-through. Another
tuning many luthiers do on wooden fact, the results of the driving-point surprise for the authors was how rarely
blanks, only its done on a full instrument conductance test might indicate why the term sustain was mentioned, especially
and is less esoteric. A hammer knocks on this type of bass is often plagued by dead considering its prominence in marketing
a certain part of the fretboard and the spots. But again, in no way does this and discussions about bass design.
mechanical response in frequency and signify good or bad tone. You can read the entire paper online,
amplitude is measured. Doing this for Fortunately, the researchers had using its title as a search term: A vibro-

Spectrograms courtesy of Socit Francaise dAcoustique


all notes gives you a full sonic map of 22 musicians subjectively evaluate the acoustical and perceptive study of the
an instrument, and it helps explain the instruments in their own words and neck-to-body junction of a solid-body
earlier spectrograms. rate them in such categories as clarity, electric guitar by A. Pat, J. L. Le Carrou,
So now that weve seen this data, timbre, and depth. In addition to B. Navarret, D. Dubois, and B. Fabre.
should we all head for neck-through having problems understanding what we
instruments? After all, youd think musos might mean when describing an HEIKO HOEPFINGER is a
German physicist and long-time
many bassists might be interested in a instruments sound and how this translates bassist, classical guitarist, and
long decay of the fundamentals because into physical terms, the researchers motorcycle enthusiast. His work
on fuel cells for the European
supplying these tones is part of our encountered something surprising: The orbital glider Hermes led him to
primary job. Shouldnt fundamentals top ranking was led by the bolt-on form BassLab (basslab.de)a
manufacturer of monocoque
always remain present as long as possible? with the neck-through falling into the guitars and basses.

premierguitar.com
114 PREMIERGUITAR MAY 2017
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How to Refinish Your Axe

DIY: GUITAR REFINISHING

StewMac tech guru Erick Coleman on how to give your


instrument a sweet new look in five easy stepssans fancy tools.
| BY ERICK COLEMAN |

Y
ou love your guitar. Youve been playing it for years, but the including most Fender, Ibanez, and Epiphone models. Some
time has come to give it a makeover. The color was cool manufacturers are now also using environmentally friendly
when you bought it (Photo 1), but now youd like a change. waterborne finishes that are safer to handle.
Its not too difficult to refinish a guitar. More than anything, For this project, we will be removing an existing
its a matter of patience. Taking the time to properly prep the polyurethane finish and refinishing the guitar with
wood and allow appropriate cure times can yield excellent nitrocellulose lacquer in aerosol cans, for convenience. In
results, even for the first-timer. addition to changing the appearance, this refin will likely result
There are several types of finish used for guitars. in a better-sounding instrument as well. A guitar with a thin
Traditional nitrocellulose finishes are found on many high- nitro finish will resonate better than one with a hard poly. But
end instruments as well as production guitars by Gibson nitrocellulose is flammable and hazardous to inhale, so make
and Martin, just to name a few manufacturers. Harder sure you have a well-ventilated work area and use proper safety
polyurethane finishes can be found on millions of guitars, precautions, like wearing a respirator mask.

premierguitar.com PREMIERGUITAR MAY 2017 117


DIY: GUITAR REFINISHING

2 3

First youll need to solder together and tape off the north coil Step 1: Disassemble the guitar
finish and south coil finish (this is the series link). Then, heres The first step is to take the instrument completely apart, remov-
a list of the items needed along with the parts numbers from ing all hardware and electronics (Photo 2). Keep all the parts in
StewMac.com and amounts of the products well use: one place as you remove them so you dont have to hunt them
down when you are ready to reassemble the guitar.
Hair dryer or heat gun to remove existing finish
Sandpaper in a variety of grits for wood prep and finish work Step 2: Strip the existing finish
(#5562) There are a few different ways to strip a finish. Simply sanding a
Aerosol lacquer (#5886 Sonic Blue x 1, #3881 gloss clear x 3) finish off can be very time-consuming and dirty, and using chem-
Polishing cloth (#1815 x 2) ical strippers can be very toxic and messy. Ive found the best way
Liquid polishing compounds (#1845 medium, #1846 fine) to cleanly and easily strip polyurethane finish of this type is to use
Respirator mask (#5885) a hair dryer or heat gun and a flexible putty knife (Photo 3).

premierguitar.com
118 PREMIERGUITAR MAY 2017
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DIY: GUITAR REFINISHING

Lightly scoring a starting point in the 4


finish with a sharp putty knife will give
you a good entry point once the finish
is heated. The idea is to soften and lift
the finish without burning it, so it is
important to keep the gun moving while
heating. With the gun set on the lowest
setting, start warming up the scored area
on the guitar. When you see the finish
starting to lift, work the knife under-
neath it and start removing it (Photo 4).
Once you get under the finish, the rest
of the job goes pretty fast. Use care not
to damage the wood with the knife or
scorch it with your heat source. Remove
as much of the finish as possible, includ-
ing that in the cavities (Photo 5).
5
Step 3: Prepare the body
When all the finish is removed, its time
to prepare the body for refinishing.
Inspect the body and neck for any dings,
chips, or other imperfections. Small dents
can be steamed out by placing a damp
cloth over the dent and applying heat
with a soldering iron. (For instructions
on steaming out dents, see Steaming
Out Dents in a 71 Medallion Flying V
on premierguitar.com.) Chips will need
to be filled.
Once youve inspected the body and
checked it for dings and chips, its time
to gather your sandpaper and sanding
blocks (Photo 6).

premierguitar.com
120 PREMIERGUITAR MAY 2017
www.allparts.com/joe-barden
DIY: GUITAR REFINISHING

Using a flat backing pad and starting you get a nice flat surface to build your body while you spray (Photo 8). They
with 120-grit sandpaper, sand the entire finish on. When youve finished sanding, also give you a way to hang the body
body working only in the direction of the wipe the body with a naphtha-dampened while it cures. Heres where being espe-
grain (Photo 7). Inspect the body to make rag to remove any oils or grease left by cially patient will pay off. A professional
sure you are removing any traces of finish your hands. From this point on, wear clean nitrocellulose finishing job takes weeks
or sealer left over from the original paint gloves so you wont contaminate the wood. to complete, but the end result is some-
job. After a complete sanding, wipe down thing you can be proud of!
the body with a damp cloth to raise the Step 4: Spraying Tip: Use warm lacquer, not cold. Pro
grain. Let it dry, then sand with 220-grit Its now time to spray your finish. For finishers spray heated lacquer because
sandpaper. Raise the grain with a damp this you will need some kind of handle cold lacquer spatters, requiring extra
cloth again and sand a third time, using for holding your guitar and a place to work to get a level finish. For best
320-grit sandpaper. Take your time and do hang it to dry. Pieces of scrap wood results, heat your cans in a sink of warm
a thorough job during these steps to insure make good handles for holding the water before spraying (Photo 9).

premierguitar.com
122 PREMIERGUITAR MAY 2017
9

premierguitar.com PREMIERGUITAR MAY 2017 123


DIY: GUITAR REFINISHING

10

Day one. Spray an initial light mist- lacquer at this stage. Clean off all the Day four. Lightly scuff-sand the fin-
ing or tack coat (Photo 10), followed sanding residue. Spray two to three uni- ish with 320-grit paper, leveling out any
several minutes later by a heavier wet coat. form color coats for complete coverage, imperfections in the process, and clean off
The tack coat gives the wet coat better allowing 90 minutes between coats. all the residue. Dont try to sand out all
adherence and lessens the chance of a Day three. Lightly scuff-sand the fin- the shiny spots yet. Be particularly careful
run in the finish. Spray two to three wet ish with 320-grit paper using care not to on the curves of the body. Its easy to sand
coats (but not runny, thick coats) on the sand through your color coats, and clean through the edges. Once again, spray four
body, 90 minutes apart, and let them dry off all the residue. Spray four uniform more coats of clear, 90 minutes apart. The
overnight. coats of clear lacquer, one hour between guitar now has six to eight topcoats of clear
Day two. Using a backing pad on the coats. Let the guitar dry overnight. lacquer. Let the finish dry overnight.
flat areas, lightly scuff-sand the body with Tip: If you get a run or drip in the fin- Day five. Scuff-sand the finish with
320-grit sandpaper to knock off the high ish, let the surface dry for 24 hours and 320-grit again. This time most of the shiny
spots in the finish. Sand just enough to level-sand the problem area. If you touch spots will disappear, leaving a uniformly
open the finishdont try to sand out wet lacquer, youll leave a deep impression dull look. Spray four more clear coats, 90
every shiny spot or sunken area in the that will be much more difficult to fix. minutes apart, and let dry overnight.

premierguitar.com
124 PREMIERGUITAR MAY 2017
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DIY: GUITAR REFINISHING

Day six. Lightly scuff-sand the finish 11


with 600-grit sandpaper, to help the sol-
vent escape. The body should now be left
in a warm and dry location for two weeks
to let the finish cure.

Step 5: Fine sanding and buffing


Dry-sand the body to a flat, dull sheen
with 800-grit sandpaper. Clean the resi-
due from the paper often. Orange-peel
texture caused by lacquer shrinkage as the
solvents cure out of the finish should be
removed, but dont over sand. When all
the little shiny low spots in the lacquer
have been removed, youre ready to go to
the next step, which is wet-sanding.
To bring the finish to a smooth satin
surface thats ready for final polishing,
wet-sand with 1200-grit micro-finishing
paper and water (Photo 11). Excess water
and residue should be wiped off the finish
with a clean dry soft cloth as you work.
Frequently rinse the sandpaper in soapy
water to remove hard specks that can
scratch the finish.

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126 PREMIERGUITAR MAY 2017
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premierguitar.com PREMIERGUITAR MAY 2017 127


DIY: GUITAR REFINISHING

Tip: Soak the micro-finishing paper 12


in water overnight before use. It will
scratch less and last longer. Always keep
it wet from then on.
Using soft clothsa different one for
each compoundpolish out the fine
wet-sanding scratches to a final gloss with
medium and then fine liquid polishing
compounds (Photo 12).
Once youve polished the body to
a high gloss, reassemble your guitar
(Photo 13) and get it back in action!

13

premierguitar.com
128 PREMIERGUITAR MAY 2017
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premierguitar.com PREMIERGUITAR MAY 2017 129


STATE OF THE STOMP

Embrace Your Secret Love


BY BRADY SMITH

F
At one time, ind what works for you. Find what wanted nothing to do with it. Until all
columnist Brady makes you play. Find what feels my words were politely packed into a shit
Smith reviled
the Stratocaster,
inspiring. And if its embarrassing, sandwich that I was forced to consume.
but nowthanks only play that thing in your basement And enjoy.
to this humble when no one is around. Let me explain. There was this Strat that my buddy
exampleits This starts the same way every few picked up through a Craigslist ad. It was
his musical
months. A looming deadline on the owned by some kid who put a bunch
drawing board
and best buddy. calendar regularly catches my eye. Ive of weird parts on it, including a strange
got a few specific ideas bouncing around metal-ish nut, spray painted the body
my brain cave that I fail to fully develop. an off-putting light blue, scratched
Feels like its mostly been talked about: patches of that spray paint off in an
the best overdrive pedal, the difference unnatural fashion, and then, intentionally
between delays and reverbs, how to or not, put a lot of what resembled
arrange your signal chain, and what bodily fluid stains all over it. This thing
power supply to use. The older I get, was garbage. And it was an American-
the more articles Ive read and the more made Fender. And it was $200. I bought
topics Ive seen covered. But theres one it from my buddy as a junker Strat to
topic Ive often thought of privately, but have around. I didnt realize I would write
feared to communicate publicly. every song and reasonable riff on that
The Fender Stratocaster is, for guitar from then on.
multiple reasons, an incredibly boring, This was my turning point. I started
dad-bedroom rock guitar in all the to understand. Strats are great-sounding
worst ways. And Ive started to feel versatile tools for making music. Seems
something that resembles an ashamed obvious, but I didnt care until I felt
love for them. the connection to one. I was too busy
Please, indulge me a moment to fully basking in my subjective yet unqualified
state and defend my positionone of judgment of an overproduced instrument
purely subjective disdain turned irrational to give it a shot. And I know theres a enjoy what it does for me. It stirs my
affection for the most commonplace, lesson somewhere in theresomething creative pot. It gets the results.
overproduced body style in the gear world. about not judging a book by its cover, or I believe in that. Its better to enjoy
Its not a new story. I, like many a guitar by its most prominent players. playing and feel good while making
guitarists coming of age in the late By leaning into the inspiration I felt from music than laboring intensively and
1990s and early 2000s, got an informal this guitar that I had a strong distaste punishing yourself to get results. I think
education about the latest and greatest for, a new season of 6-string creativity results will come naturally if youre
gear as well as the might never sell, bloomed for me. feeling creative and able to lean into the
because that instrument has been sitting Writing about it makes it seem like tools that get you thereStrats, stomps,
in the same spot for the last 12 months a collection of obvious duh moments or whatever. I guess thats what Im saying
list via the big box music stores. There of realization regarding a trivial, with this long-winded yarn. Its what
was the latest $99 Squier Strat sitting materialistic, non-important subject. But Im always saying. Grab hold of what
next to a $2,500 American-made Fender at the end of the day, I like playing that works for you, enjoy the journey and the
Custom Shop Strat with all the bells Strat more than anything else. I like the process, and make something cool that
and whistles and no discernible aesthetic songs that come out of it. And that is youre proud of. Thats all you can really
differences. Good for you, Squier. what matters. I can sit in my living room hope for in this world, probably.
I couldnt tell the difference. And I was and feel inspired and gather ideas with
turned off for years on Strats. Couldnt that guitar, knowing that whatever I did BRADY SMITH is the cofounder
of Old Blood Noise Endeavors
find any redeemable qualities. Any band next with those ideas could be played on and the Coffee & Riffs video
in a genre outside of the scope of my any guitar anywhere through any pedals series, as well as a part
time guitar tech. Despite his
personal preference was easy to picture and amps, and the idea would still feel deteriorating posture, he has a
playing a flaming red Stratocaster with good. At this point, Im not afraid of strong affinity for Jazzmasters
and aluminum necked guitars.
an untouched bright white pickguard. I what the Strat represents, but rather I And coffee. And sleep.

premierguitar.com
130 PREMIERGUITAR MAY 2017
MOD GARAGE

Two Easy Ways to Improve Tuning Stability on a Flattop


BY DIRK WACKER

I
Fig. 1. Comparing f youve been frustrated by string- Next turn the guitar over and use a 2
standard changing hassles or have issues with socket wrench to tighten up the hex nuts
bridge pins keeping your flattop in tune, youll that secure the tuners to the front of the
(left) to Ibanez
Advantage
be happy to know that there are a couple headstock. Again, its crucial to get a snug
Bridge Pins. of simple and inexpensive steps you can fit, otherwise the wrench will slip and
take to improve this situation. either butcher the hex nut or ding your
Tighten the tuners. The first is so guitar. Or both.
basic most players dont even think about I know this tuner business sounds
it until someone points it out to them. elementary, but its typically overlooked.
Consider this: We know an acoustic If you want to avoid tuning issues and
guitar is built to vibrate and resonate rattling noises, this should become
when you play it. This causes the tuners standard operating procedure every time You can damage your bridge pins and
to loosen up a bitespecially if the guitar you change strings. even the bridge plate.
gets played a lot. When we have a well- Photo 2 shows the correct way to
played steel-string in the shop for repair 1 insert the bridge pin and hold the ball
work, Im always surprised at how loose end. Fortunately, theres an easy mod
the tuners feel on the headstock, once that will ensure that your bridge pins
the strings are off. The remedy is simple: and ball ends look like this every time
Before you put on new strings, first you string up. Its so effective we do this
tighten your tuners. to every set of bridge pins we get our
The key is to carefully match your hands on while repairing or working on
tools to the tunersyou dont want to a customers flattop.
damage them or your guitar. Start with Modify your bridge pins. And while The solution is to bevel the tip of the
a screwdriver thats correctly sized to were on the subject of changing strings, bridge pins by filing off the end at an
fit the mounting screws on the back of heres an issue that can cause severe angle of approximately 45 degrees. The
the headstock. After confirming this, tuning problems, as well as damage bevel forces the ball-end up and away
tighten each screw. Exercise caution! Its your guitar. The problem lies with using from the pin, and thus helps guide it up
easy to break those tiny tuner screws. an incorrect technique to insert the to the bridge plate. After youve beveled
The next step after tight is super-tight, bridge pins. If youre not careful when
Fig. 1
followed by broken. restringing your guitar, the bridge pin
If you can spin a screw around especially if it has a deep groovewill
without it stopping, it means the hole snag the strings ball end, as shown in
is worn out and the threads dont Photo 1. See how the ball end is at the
have enough wood around them to very end of the pin? When you bring the
find purchase. There are two possible string up to tension, the ball end will
solutions for this: You can use a slightly tend to work its way up the bridge pin

Photos courtesy of singlecoil.com Fig. 1: Illustration courtesy of Ibanez


bigger screw if the hole in the tuners over time until it firmly locks under the
rear plate is big enough to accommodate bridge plate. There are several reasons
it. Alternatively, you can fill the worn- why you dont want this:
out hole with a small piece of toothpick
dipped in a little wood glue. After letting Youll have severe tuning problems
the glue dry for about 12 hours, reinstall while the ball-end is still hanging off
the original screw. the bridge pin or is in the process of
Depending on the toothpick material, working its way up to the bridge plate.
to prevent the screw from breaking when It can force the bridge pin to lift and
you insert it and apply torque, it may be come out of the bridge while youre
necessary to pre-drill a very small pilot tuning the string.
hole. For instance, we use super-hard The slipping string will act like a
bamboo toothpicks in the shop, and they saw, enlarging your bridge-pin holes
require pilot holes. over time.

premierguitar.com
132 PREMIERGUITAR MAY 2017
RETHINK
YO U R TO N E

Rob Lamothe
"'My Godin Montreal Premiere is the
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the bridge pin, theres nothing for the 4 5
ball-end to get hung up on anymore.
Beveled bridge pins are commercially
available. For example, Fig. 1 shows
Advantage Bridge Pins made by Ibanez,
and this illustration clearly shows why
theyre superior to standard bridge pins.
But hey, completing a useful mod feels
great, so lets discover how you can bevel
the standard bridge pins you already
have and get all the benefits without
spending a dime. 6
Im sure most of you already have all
the necessary tools:

A fine flat pillar file and a fine round


needle file.
400 grit sandpaper.

If you want to do this more


professionally, you should also have: 7

A small piece or block of wood.


A vice to hold this block of wood.

Photo 3 shows the required tools and


materials. Remember to protect yourself
with gloves and gogglesyou dont want
to jab a file into your hands, and you
dont want any flying debris going into
your eyes!
Okay, heres the four-step process:
and to perfectly smooth out the edges inspection mirrors are available from
1. Youll be beveling six bridge pins, so its (Photo 5). It helps to rotate the file luthier suppliers, but auto parts stores
well worth taking the time to craft yourself during this process. sell inexpensive telescoping mirrors that
a custom jig. Using a caliper, carefully 4. Finally, clean the pin up with 400 grit work well too.)
measure your bridge pin and then drill a sandpaper. It should look like Photo 6. Next month well tackle a new electric
matching hole into the wood. Push the Once youve beveled all six bridge guitar project. Until then, keep modding!
bridge pin firmly into the hole, then flip pins, restring your flattop and youll be
over the block and grip it in a vice with good to go. Photo 7 shows a modded
Photos courtesy of singlecoil.com

the end of the bridge pin facing up. pin with the strings ball end seated DIRK WACKER lives in Germany and
has been a guitar addict since age 5.
2. With the fine flat pillar file, slowly securely against the bridge plate. Its Hes also a hardcore DIY-er for guitars,
work a 45-degree bevel onto the end of always a good idea to use an inspection amps, and stompboxes and runs a
website on the subject (singlecoil.
the bridge pin (Photo 4). mirror to check the bridge plate area com). When not working at his
3. Use the fine round needle file to open after every restringing. This way you can guitar workbench, he plays country,
rockabilly, surf, and flamenco. Contact
up the end of the bridge pin groove again be sure everything looks right. (Guitar him at info@singlecoil.com.

premierguitar.com
134 PREMIERGUITAR MAY 2017
ASK AMP MAN

Troubleshooting an Epiphone Electar Step by Step


BY JEFF BOBER

H
Top right: ello Ask Amp Man readers. I Im going to substitute a plug-in solid-
Epiphone began know I usually answer ques- state module, as the tube rectifier will
producing amps
tions from you, but Im once not show any output until it reaches
in 1935 as part
of their all-in- again going to stray from the status quo. operating temperaturewhich will not
one Electar I had this cool old Epiphone Electar happen with low line input voltages.
Hawaiian lap- 1x12 combo, probably from the late Bringing up the line voltage, I see the
steel set. The 1940s, come across my bench and I B+ voltage coming up as well. I do
model in this
months column
thought it would make a great column, this slowly over the course of hours to
is likely from the so here you go. re-form the caps. Once I have it up to
1940s, but may The amp came to me as not working. a few hundred volts DC, Im confident
have been part Okaythat condition could have a that the filter capacitors, while maybe
of a similar set.
plethora of potential causes, but lets not optimal, are at least not shorted. I
Bottom right: troubleshoot one logical step at a time. also did take some resistance readings
The control First, I check the fuse. Yes, its good, but on the primary and secondary side
panel was its a 10-amp fuse, which Im pretty sure of the output transformer, and while
remarkably doesnt belong in what is probably a 10- this didnt tell me the full story on the
clean for its age,
but replacing to 15-watt amp. Just seeing this makes transformer, it did tell me that neither
the capacitor me think that the mains transformer may side is electrically open. At this point it
associated have been forced into expiration, but lets appears that all the major components
with the not assume. Ill put in a more appropriate are in working condition, so now Ill
tremolo control
fuse and keep moving. put the tubes back in and find out why
was a smart
pre-emptive Next, Ill pull all the tubes. Prior to theres no output.
improvement. doing this, one should remember to I look at my tube drawing, reinstall
make note of the position of each tube. tubes, turn the amp on, the pilot light
Sure, sometimes you can refer to a tube comes on, the fuse does not blow, I plug
chart either inside the amplifier or find a signal into the input jack, and turn up
schematic and tube chart online, but for the volume control and ... the customer
this amp neither of those niceties exist, so is correct. No output. Okay, the first install a 6SL7, turn the amp on, and voil,
its time to make a little drawing. Now, question I have about this amp is Why we have a tiny bit of sound. Progress!
with fuse in and tubes out, the next step does it have three 6V6 tubes? Generally, Its time to get serious and start
is to bring up the amp slowly with the 6V6s are used for output tubes and checking for bad components. I flip the
help of a Variac and monitor a couple key can occasionally be found as a reverb chassis over and start measuring resistors.
voltages. As the voltage is increased, both driver. This amp has no reverb, so whats The first one reads more than double its
the filament and the AC high voltages going on? In looking at the circuit, I value. Okay, so that one has drifted way
are coming up, so it appears that the determined that the socket with the third out of range and needs to be replaced.
mains transformer is still functioning. At 6V6 is the phase inverter, which drives Next one, same thing. Next one, even
120V input, the AC high voltage is in the the output tubes. Funny, Ive never seen worse. Next one, almost open. Turns out
expected range and the pilot light is on, a 6V6 used as a phase inverter. Ever! This almost every resistor, especially any that
so, hey, thats a good sign, right? tube just doesnt belong here. pass high voltage, has drifted so far out of
My next step is to power down, insert In looking at the wiring, I can see spec that the circuit is barely functioning
a rectifier, and bring the amp up slowly that its definitely not wired for a 6V6, at all. I replace almost all the resistors,
again, monitoring the DC high voltage. but is wired for an octal tube much more turn on the amp, turn up the volume,
Since this amp utilizes a tube rectifier, suitable for a phase inverter: a 6SL7. I and ... much better, but still weak and
not good sounding. I go back in and start
WARNING: measuring voltages around the signal
All tube amplifiers contain lethal voltages. The most dangerous voltages are caps. Turns out that most all the signal
stored in electrolytic capacitors, even after the amp has been unplugged from caps have substantial DC voltage leaking
the wall. Before you touch anything inside the amp chassis, its imperative that through. Caps are supposed to block DC
these capacitors are discharged. If you are unsure of this procedure, consult your voltage and these are doing a particularly
local amp tech. bad job. I replace all the caps showing

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136 PREMIERGUITAR MAY 2017
Fig. 1: DC 1 2
voltage
leakage was
one problem
with this amp,
but note the
easy-to-access
layout of the
capacitors and
wiring, which
made replacing
resistors and
caps easier.

Fig. 2: The
amps major
components
were built in two
parts, with the
control section,
in this photo, on
the top and the
main chassis,
and with the
DC leakage, turn on the amp, turn up 3
transformer and
tubes, on the volume and ... we have an amp thats
bottom. sounding pretty respectable. At this point
Ive replaced almost all the resistors and
Fig. 3: Once capacitors (Fig. 1), but it was necessary.
the amp was
working again, Now its time to check the tremolo,
the final touch which, of course, is barely working. I
was adding a swap out the tremolo oscillator tube,
hum balance but no improvement. This amp is
resistor at the
actually in two parts: the main chassis
end of each of
the filament on the bottom of the cabinet with all the
lines and transformers, tubes, etc., and the control
connecting them panel mounted to the top with the input
to ground. jacks, power switch, and all controls for
volume, tone, and tremolo. There is also
a capacitor associated with the tremolo
on this panel (Fig. 2). I replace the cap
and now we have a respectable tremolo.
All is good ... almost.
The amp, while now functioning hum coming from? I realize this amp the tubes. Once thats done, I add a
well, has a low-level hum. Well, Ive has an old-style filament wiring, found hum balance resistor at the end of each
gone this far and the customer tells me on many amps from this era including of the filament lines and connected to
he wants to use it for recording, so why some tweed Fenders. One side of the ground (Fig. 3). I turn on the amp, plug
not try to get it a little more, right? I filament winding coming from the in, and now the Electar is respectable
clip some additional filter capacitors mains transformer is tied to the chassis, sounding and probably quieter than
across the existing caps. If this minimizes with the other lead going from one tube when it was built. A little gem of the
the hum, then maybe the filter caps are to the next, connected to one of the past resurrected.
not up to snuff and need to be replaced. tubes filament connections. The other
Using alligator leads, I clip in some new filament connection is connected to JEFF BOBER is one of the
filter caps across those caps, turn the the chassis to complete the circuit. This godfathers of the low-wattage amp
revolution. He co-founded and was
amp on, turn up the volume, and ... the wiring configuration seems to induce originally the principal designer
same hum. a low-level hum in amps. My solution: for Budda Amplification, though
he launched EAST Amplification
So okay, the filter caps are doing an remove all filament connections to the (eastamplification.com) in 2010.
You can catch his podcasts at
adequate job on their own, as additional chassis, including at the transformer, ampsandaxescast.com or email
filtering doesnt help. But where is this and run the second filament line to all him at pgampman@gmail.com.

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138 PREMIERGUITAR MAY 2017
2017 PRS Guitars / Photos by Marc Quigley

Chuck Treece w/McRad @ FDR Skatepark

CONTROL YOUR TONE


The Sonzera family of ampliers from PRS Guitars
feature two independently controlled, foot-
switchable channels designed for maximum
versatility. The Sonzera is built in the spirit of
vintage amps that allowed you to control your
tone instead of the amp being in control. To
hear these amps and to see what our artists
are saying go to www.prsguitars.com
TOOLS FOR THE TASK
Look for this icon
to click and
purchase the gear.

Mini Pedal Tuners


With pedalboard real estate always at a premium, even an extra square inch can make a world of difference. Here are
10 mini-format tuners that might clear enough room to cram another stompbox underfoot.

1
VALETON
Coral Tuner
1
Efficient tuning is on tap thanks to the big display on this
mini, which is built to last with an aluminum-alloy die-
cast enclosure and heavy-duty footswitch.
$39 street 3
valeton.net

2
SONIC RESEARCH
Turbo Tuner ST-300 Mini
Driven directly by the analog input signal and a precision
internal-frequency reference, this minis LED ring is a true
stroboscobe and is intended to provide highly accurate
tuning with no latency.
$129 street
turbo-tuner.com

3
TC ELECTRONIC
PolyTune 2 Mini 2
This little box provides +/- 0.1-cent sensitivity in strobe
mode and features polyphonic tuning, which allows a
player to strum and tune all strings simultaneously.
$89 street
tcelectronic.com

4
MOOER
MTU1 Baby Tuner
The 108 LED display on this mini tuner is intended to
4
provide superior visibilitybe it in a dark club or on a
bright stage outdoors.
$59 street
mooeraudio.com

5
KLIQ
TinyTune
This rugged aluminum-housed tuner offers tuning
precision within +/- 0.5 cents, flat tuning from one to four 5
semitones, and a large multi-color display.
$35 street
kliqmusicgear.com

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140 PREMIERGUITAR MAY 2017
6
KORG
Pitchblack mini
This sleek tuner with a large LED display is outfitted with
6 stabilizers to prevent it from overturning and boasts a
7
tuning accuracy range of +/- 0.1 cents in strobe mode.
$69 street
korg.com

7
HOTONE
Skyline Tuner
This tiny tuner not only tunes with +/- 0.5-cent accuracy,
it also has a topside volume knob that provides up to 12
dB of clean boost.
$79 street
hotoneaudio.com

8
JOYO
9 JF-326 Irontune
This mini boasts a semi-transparent flip-top design and
brings high sensitivity and tuning precision together in
an uber-compact package.
$49 street
joyoaudio.com
8
9
DADDARIO
Chromatic Pedal Tuner
This mini boasts four times the processing power of a
standard headstock tuner for a fast and accurate readout
on its vertical-sweeping LED pitch display.
$69 street
daddario.com

10
IBANEZ
Big Mini
10 This mini is capable of drop tuning up to four semitones,
offers both needle mode and strobe mode, and provides a
calibration range of 435 Hz to 445 Hz.
$49 street
ibanez.com

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REVIEWS

Quick Hits
JONNY ROCK GEAR TC ELECTRONIC
Moby Depth Rusty Fuzz
By Shawn Hammond By Charles Saufley

Built by Jean-Ren When you get down to brass tacks


Gosselin in Montral, (and transistors and capacitors), theres
Quebec, the Moby not much to a Fuzz Face. And though
Depth spring-reverb the sum of good components and
emulator is driven by a expert execution can be something
Belton BTDR-3 chip and extraordinary, it stings to shell out
includes unusual features mega-bucks for what, on paper, looks
such as a side-loop for like a couple bucks worth of radio
inserting a chain of effects parts in a tin box. TC Electronics
thatll only be heard when Rusty Fuzz, which only sets you back
Moby is activated, and $59, is a perfect Fuzz Face-style stomp
a regeneration circuit for players fixated on this conundrum.
governed by a toggle and Tones range from good
a single knob. Other representations of vintage silicon Fuzz Face to excellent
controls: reverb level, decay, tone, and wet/dry mix knobs. onesparticularly when you crank the fuzz and use
Although certain settings can make Moby sound more humbuckers. Sustain is impressive with single-coils, too,
like a slapback echo, with the right mix and decay settings but humbuckers coax the most singing and stinging tones
it yields a nice spring approximation that runs the gamut from the Rusty. And its pure joy to lean into a full-step
from subtle/traditional to insanely underwaterin short, bend, consider the price, and laugh as the note hangs for an
offering much of what surf and outboard-reverb nuts crave. eternity. The tone knob adds versatility, and trebly settings
Gosselins design also deserves kudos for a carefully tuned are killer for stuttering unison bends and fast, punky chord
tone knob that yields warmth or splashiness, minus the sequences. Rustys weaknesses are few. It can sound thin at
treble overload of many spring emulators with wide-ranging, low gain and likes single-coils less than a pedal synonymous
hard-to-dial-in tone controls. And the bonus regen feature with Hendrix and Gilmour should. But at under $60,
(essentially like a delays feedback function) adds psychedelic, getting this close to classic silicon Fuzz Face tones makes the
lo-fi sound smudges that greatly expand Mobys mojo. Rusty a steal.

TEST GEAR Baritone Jazzmaster with Seymour Duncan Antiquity I TEST GEAR Fender Stratocaster, Fender Telecaster Deluxe,
pickups, Jaguar HC50 with Weber Gray Wolf speaker Silverface Fender Bassman, Fender Champ

PROS Compelling range PROS Sweet sustain. Killer


$220 street, jonnyrockgear.com of traditional to out-there $59 street, tcelectronic.com thrashy tones.
spring-verb tones. Cool
regeneration circuit. CONS Can sound thin with
Tones Tones
single-coils.
Ease of Use CONS Subtle pitch- Ease of Use
modulation artifacts. Regen
Build/Design Build/Design
footswitch preferable over
Value side loop. Large footprint. Value

CLICK HERE TO HEAR this pedal. CLICK HERE TO HEAR this pedal.

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142 PREMIERGUITAR MAY 2017
LUNASTONE EMMA ELECTRONIC
The Pusher Okto-Njs
By Jason Shadrick By Rich Osweiler

Its easy to dismiss one-knob Its been almost 10 years since Emma Electronic
wonders due to a perceived has introduced a new effects pedal, but the all-
lack of bells and whistles. Ive analog Okto-Njs octaver/fuzz is evidence theyve
been guilty of that before, but been hard at work. The left side of the psychedelic-
LunaStones the Pusher is a octopus-adorned pedal runs the octaver (Okto)
devastatingly beautiful clean section, which has separate level controls for the
boost that is bound to shatter dry and octave signals. Emma Electronic claims
some expectations. One big the octave effect can track down to a low E on
question when it comes to a a bass (many octavers cannot)and it does! I cant say the deep
boost pedal is if it simply ups the frequencies generated from the very lowest region of my 4th
volume or adds some extra gain, string would be that usable with the substantial serving of the
too. My preference is always for effect I had dialed in, but this octaver certainly showed its moxie
a straight volume boost, and with responsiveness, clarity, and note stability overall.
the Pusher understands that. The pedals alter ego lives in the fuzz (Njs) side of the
It gets me. With the knob at box. It also brings the heft of an octave effect and unites
noon, it gives a healthy bump it with the abundant grit it has on tap. The fuzz section is
without infringing on the tone of my amp or the job of its governed by a gain-tone-level trio, and on its own serves up
neighboring dirt pedals. a satisfying range of distorted flavorsbe it a light dusting
It also found use as an always-on pedal at the front of or an all-out sputtering grind. By engaging and flavoring
my board. The increased signal breathed some tonal life into the Njs circuits sub-octave through the Njs and color
my Strymon Mobius (especially on the filter mode) and my dials, I was behind the wheel of a fuzz/octave combo that
Truetone Route 66. An extra little signal boost helps even could be maneuvered from huge and spacey analog synth
out the various gain stages and gives more power to my tones to sticky, distortion-drenched low end with a bevy of
guitars volume knoba sorely underused tool. At less than unique ancillary noise and overtones. Run the Okto and Njs
a Benjamin, the Pusher is very affordable, doesnt under- sections together and you have the means to create some very
deliver, and, most important, doesnt get in the way. intimidating soundscapes. Maybe even earthquakes.

TEST GEAR Fender Stratocaster, Ibanez SZ320, Fender Hot Rod TEST GEAR Fender Precision, Gallien-Krueger 800RB head,
DeVille ML Orange OBC212 cab, Focusrite Scarlett 2i4

PROS A true clean boost. PROS Quick and precise


$99 street, lunastonepedals.com Plenty of power. Very quiet. $229 street, godlyke.com octaver effect, versatile fuzz,
with truly unique tones to
CONS No battery option. Not be explored.
Tones Tones
enough gain for some players.
Ease of Use Ease of Use CONS Its spendy if youre
not after both effects.
Build/Design Build/Design
Value Value

CLICK HERE TO HEAR this pedal. CLICK HERE TO HEAR this pedal.

premierguitar.com PREMIERGUITAR MAY 2017 143


REVIEWS

TAYLOR
Academy 10e
By Charles Saufley

A
lot of big guitar companies use a simple strategy for efforts are neither empty marketing gestures nor design half
building affordable flattops: take the blueprint for an measures. This is a thoughtfully built, fine-playing flattop that
existing model, find a factory overseas, and build the same consistently delivers sonic surprises and consistently feels more
guitar with less expensive labor and materials. Taylor, however, has expensive than it is.
always gone its own way. And many of the unique guitars that it
builds for entry-level buyersthe Baby Taylor, GS Mini, and Big Sound Build from South of the Border
Babyhave become front-line instruments for superstars. The Academy Series guitars are the first new offerings from
Given the success of those instruments, as well as Taylors Taylors new Tecate, Mexico, factory, and the build quality is
mid-priced, Mexico-built 100 and 200 series guitars, the solid and representative of Taylors knack for getting priorities
arrival of Taylors new entry-level Academy Series may come right. The setup is excellent, and despite trips from Southern
as a surprise. But the Academy serieswhich includes grand California to Iowa and back to California again in late winter,
concerts, a nylon-string hybrid, and the dreadnought reviewed the intonation is nearly perfect. While I personally might like the
hereis the welcome product of Taylors emphasis (obsession, action on the slightly lower side, the Academy is exceptionally
perhaps) with design refinement at the affordable end of the playable, feeling like a guitar from much further upmarket. The
flattop market. And my time with the 10e suggests that the few construction shortcomings I could findprimarily stray

Beveled arm rest


Taylor ES-B preamp
and pickup

Laminate sapele
back and sides

Solid Sitka
spruce top
Arched, un-braced back

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144 PREMIERGUITAR MAY 2017
glue around the wood band that stands in Midrange and More fingerstyle applications. The heavier
for traditional notched kerfinghas no The Academys somewhat unconventional flatpick approach that the 10e often
bearing on the guitars performance. small-scale dreadnought body shape and invites predictably reveals some of
I love minimalist flattop design, so short 24 7/8" scale lends the guitar an the systems limitationsenhancing
Id appreciate the Academys outwards interestingand surprisingly complex some of the 10es more nasal midrange
austerity under any circumstances. But tone profile. The 10e is strongest and tendencies while narrowing the
the lack of bling tells a tale of well- most defined in the mid- and upper workable, distortion-free frequency
considered design priorities. Like Taylors mid-range. But that doesnt mean the bandwidth. But in this price range,
GS, Baby, 100, and 200, the Academy 10e is just louder in that frequency band. the 10e is a welcome, easy to use, and
uses an arched laminate sapele back, Individual notes from the first through perfectly serviceable addition that will
which eliminates the need for back fourth strings genuinely sparkle with work well for all but the most aggressive
bracing. Its an effective cost-saving pleasing overtones that color arpeggios picking styles.
measure in manufacturing, but it also and extended chords and add extra
eliminates mass and, in the estimation resonance, atmosphere, and harmonic The Verdict
of many, improves resonance. Theres content to octaves in open tunings. The Taylors ongoing, evolving commitment
no binding, which lends balance and air same qualities (and the guitars excellent to building unique, high-quality,
to the elegant if slightly boxy lines and set-up and intonation) make capo-up playable, and toneful instruments in
proportions. And while the synthetic voicings sound fantastic, too, and its this price category is a very cool thing.
headstock overlay and plastic truss rod easy to imagine the 10e performing And the 10e is an imaginative and
cover look a little econo under close spectacularly in overdub situations where thoughtful guitar that clearly leverages
scrutiny, they look natural and well- you want to add dimension with a second lessons learned from Taylors already
integrated with the rest of the design with acoustic voice. fruitful endeavors in this range. In terms
just a few steps back. The emphasis on high-midrange of comfort and playability, Taylor should
The most overt deviation from the content (which in some respects and to be applauded for accomplishing their
Academys back-to-basics minimalism many ears is a signature Taylor sound) design objectives with style and grace.
is the seamlessly executed beveled arm doesnt exactly come at the expense of But the 10e has admirable musical
rest. Though this feature is typically low-end content. Bass tones are present breadth and complexity, too, and like
associated with boutique flattops (it adds and, in fact, quite resonant. They just the GS Mini and Baby, is likely to find
an expensive extra set of steps to the dont have the mass, power, or overtone admirers who use it in situations well
build process), the bevel is actually very color you would hear from a full-sized beyond the realm of beginners and
consistent with the Academys function- dread or jumbo. budget-minded players.
over-form ethos. It makes the guitar Delightfully, these tendenciesand
noticeably more comfortableespecially the balance between frequenciesshift
when playing seatedreducing strain on as you vary your picking intensity. The CLICK HERE TO WATCH A
the elbow and forearm. 10e exhibits great dynamic response, REVIEW DEMO of this guitar.
The ES-B preamp, pickup, and tuner which is not a compliment you can
system, which is powered by two 3V pay to a lot of guitars in this price
lithium batteries, is relatively unobtrusive. class. And a softer fingerstyle approach,
It occupies a space about the size of a which was really my favorite way to Taylor Academy 10e
large postage stamp on the upper bout. use the 10e, summoned a lot of bass
$599 street
presence from the shadows and added taylorguitars.com
an almost mahogany-like mellowness to
the midrange. On the flip side, strong Tones
attack with a heavy flatpick coaxed a
Playability
cool, punching-outside-its-weight-class
Build/Design
sassiness thats perfect for bluegrass
runs and country blues figures. The 10e Value
also responds well to aggressive flatpick
strumming, distorting in a pleasing PROS Surprising range of complex
way that reveals surprising headroom tones. Superb playability and setup.
Excellent ergonomics.
and harmonic detail.
The ES-B pickup and preamp CONS Electronics could use more head-
provide solid, reliable amplification, room and bandwidth.
and sound quite pleasing in light

premierguitar.com PREMIERGUITAR MAY 2017 145


tecampglobal.com

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146 PREMIERGUITAR MAY 2017
REVIEWS

MARSHALL
2525C Mini Jubilee
By Joe Charupakorn

F
orever famous for their association with
Push/pull rhythm Presence control
Slash, the original Silver Jubilee amps clip function
became coveted in the wake of their single
year (1987) of production. But the models
reputation has as much to do with sound as
rarity. For instance, Joe Bonamassa, who can
afford just about any amp he wants, uses a Silver
Jubilee alongside a Dumble Overdrive Special.
As an arena amp, youd be hard pressed to find
a more capable piece of machinery. But what
if you dont need a 4x12 cab or have roadies
at the ready? Marshalls new Mini Jubilee is an
excellent possible solution.
The Marshall 2525C Mini Jubilee is a 20W
rendition of the Silver Jubilee and is available as
a compact 1x12 combo (reviewed here) or head
(the 2525H). Its powered by three ECC83
preamp tubes and two EL34 power tubes,
anddecked out in signature silver and grey
vinyl and chromeit exudes all the coolness of
its big brother.

Brit Brute
While the Mini Jubilee is not the cheapest
20-watt combo out there, the price is not out
of line within its categoryon the high side,
perhaps, for a production amp, but on the
low-mid side for a boutique offering. Like
most things in life though, you get what you
pay for, and the Mini Jubilee, crafted at the
Marshall factory in England, is very well built
12" Celestion G12M-25
indeed. For one thing, its dead quiet. I didnt Greenback speaker
encounter any humming, tube rattles, or
extraneous noises throughout my test period.
The pots, meanwhile, have a smooth, gradual
taper that allows for balanced and organic
transitions across all volume ranges. A 12" Even with the input gain set as low
Celestion G12M-25 Greenback speaker lurks
in the closed-back cab. as 1, the Mini Jubilee feels ready for
The Mini Jubilees controls are familiar and
straightforward. From left to right, they are
action and itching for a fight.
input gain (with a pull switch for rhythm gain),

premierguitar.com PREMIERGUITAR MAY 2017 147


Footswitchable
still too loud for bedroom use, the low- Pulling out the clean channels
channels wattage setting in the Mini Jubilee and rhythm clip knob produces mildly
the gentle taper of its volume controls overdriven tone variations that make a
generate big-but-quiet tones that never great foundation for classic rock or dirty
sound neutered. blues. Chords take on a meaty crunch,
Its not just power thats preserved at and bluesy, single-note licks have bite
lower volumes. The Mini Jubilee also that the regular clean channel cant offer.
stays dynamic. And when I reached It would be very cool if Marshall made
for uncommon chord structures, like the rhythm clip footswitchable.
consecutive stacked fifths on a detuned
guitar with a considerable amount of gain The Verdict
lathered on, I heard clarity and felt picking The Mini Jubilee is both a great grab-
sensitivity that I really didnt expect. and-go amp and studio workhorse.
The Mini Jubilee loves it loud, too. At 41.8 pounds, its heavier than
I used it for rehearsal with a fairly many 20-watt amps. But if youre
aggressive power trio and, at the 20W after authentic Marshall tones, its a
setting, had no problems rising above great alternative to breaking your back
the din. Because a 1x12 combo just trying to carry a stack. The size-to-
cant move air the same way a 4 x12 sound ratio of the Mini Jubilee also
cabinet can, the Mini Jubilee didnt feel as makes it just plain fun. Whether this
massive as a stack. But I was able to really version will attain the cult status of
get the power tubes cookinggenerating its bigger predecessor remains to be
lead master, output master, treble, bass, fat preamp saturation at much lower seen, but if you consider the flexibility
middle, and presence. A footswitch is volume than I could with a 50- or 100- the Mini offers for modern stage and
included for going from clean to dirty. watt amp. Just as important: The amps studio applications, it definitely has
The rear panel has five speaker-out small size meant that, unlike a stack, I the goods to become famous on its
options (1x16 ohm, 1x8 ohm, 1x4 ohm, could actually lug it to a NYC rehearsal. own terms.
2x16 ohm, and 2x8 ohm) as well as a DI
outa nice feature that would be even House of Gain
nicer if there was a mute option for silent You can extract a lot of gain flavors
recording, as on Marshalls TSL122. from the Mini Jubilee. Even with
the input gain set as low as 1, the
Diminutive Demon Mini Jubilee feels ready for action
I tested the Mini Jubilee with an Ernie and itching for a fightdelivering
Ball Music Man Axis Sport, Fender detectible grind and sustain and the CLICK HERE TO WATCH A
REVIEW DEMO of this amp.
Stratocaster, and Gibson Les Paul, capacity for surprisingly screaming
along with a Line 6 M9 patched into solos. With gain above the midpoint,
the effects loop for some delay and the amp gets into hot-rodded, 80s L.A.
reverb. The Mini Jubilee offers two territoryinhabiting a heavy tone zone
power modes: high and low, which that can drive blossoming, detailed Marshall 2525C Mini Jubilee
are 20 watts and 5 watts. I started my chords (imagine the rhythm figures in $1,500 street
test at my apartment using the lead Van Halens Girl Gone Bad) or the marshallamps.com
channel and the 5-watt setting. Because articulate, nasty grinding sounds that
the Minis preamp section is similar propel low-string, boogie-rock riffs like Tones
in most respects to the bigger 2555X ZZ Tops Just Got Paid. Ease of Use
Jubilee head, it was no surprise that I While many guitarists will inevitably
Build/Design
could tap into the heavy tones that are gravitate toward the Mini Jubilee for
Value
the bigger amps calling card. With the heavy sounds at lower volumes, the
output master between 0 and 2, I was little Marshall offers much on the lower
able to get meaty tones at bedroom gain side of the spectrum. On the clean PROS Killer sounds across all volume
ranges. Portable.
volumes that could stand in for much channel, even with the input gain up
louder sounds in a recording situation. around 8, its still surprisingly very clean, CONS Slightly heavy for a 20-watt
And where many low-to-mid-power although heavy pick attack generates combo.
ampseven at minimum volumeare almost a Fender Tweed-like growl.

premierguitar.com
148 PREMIERGUITAR MAY 2017
REVIEWS

RIVOLTA
Combinata
By Joe Gore

H
ey, did you ever see that Italian movie from the 60s? I Which makes sense. The model is the latest creation from
think it was Fellini, or maybe Antonioni. Theres this American luthier Dennis Fano, who made his name with ber-
cute girl (or was it a cute boy?) zipping around Rome hip axes that mashed up various vintage guitar designs with
on a tomato-red Vespa, with a matching guitar slung across his/ gleeful abandontheres combinata for you! And Rivolta exists
her back. (Without a case, naturally.) Anyway, Im pretty sure thanks to a revolt of sorts against traditional guitar retailing:
thats where I saw the Rivolta Combinata for the first time. After selling the still-extant Fano Guitars brand, the luthier
What? Its a new guitar? Oops. And why was I thinking Italy? partnered with the Eastwood Custom Shop, which financed
Well, the name, obviously. Rivolta Combinata is Italian for the Combinatas development via crowd funding and pre-
revolting comb-over. Just kidding! Rivolta means revolt, and orders. Also, Asia-made Rivoltas are substantially less expensive
combinata means combined, as in hybrid. than Fanos U.S.-made Novo creations.

Two P-90 pickups

Chambered
mahogany body

12" neck radius

German-carve top

Binding on top,
back, fingerboard,
and headstock

Volume and
tone controls

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150 PREMIERGUITAR MAY 2017
Were not talking metal-type tones
(shocker, I know) so much as ringing
If you want to look chic while sonorities attractively aerated with lower-
promenading down the Via Veneto, this midrange nooks and crannies.
The Combinata is a great power-pop
guitar would be an excellent accessory. guitar, though that description gives short
shrift to the instruments versatility. It can
cough up funky blues/roots/R&B colors,
La Nuova Moda pickguard adds a touch of Mosrite and even attractive jazz tones with the
Many of Dennis instruments, with Ventures model. tone control pulled back. But no matter
their heavily distressed finishes, look The workmanship is terrific. The finish the setting, the Combinata sounds
like theyve been kicking around the rec and binding are flaw-free. The expertly happy. Unicorns and rainbows abound,
room for a decade or two. In the coolest installed vintage-flavored frets provide even when I play gloomy minor-key stuff.
possible sense, of course. But the glossy low, comfy action, while the neck has a
Rivolta finish is miles from that cargo- substantial, old-school C profile. Its easy The Verdict
shorts-casual style. If you want to look to haul ass on the speedy neck, yet you Rivolta Guitars is off to a splendid start
chic while promenading down Romes can still dig into notes and shape them with the Combinata. Its a festive salad
glitzy Via Veneto, this guitar would be with precision. The Combinata arrived of Rickenbacker, Gibson, and Mosrite
an excellent accessory. Our review model with an excellent setup and played great influences, vibrant and vibey in both
is pomodoro red metallic, though the right out of its included hardshell case. sight and sound. The workmanship is
Combinata also comes in handsome excellent for its price range. Tones are
blue, black, and burst finishes. It can also The Bright Stuff attractive and effervescent at all control
be ordered in a Deluxe version with a Strummed unplugged, the Combinata settings and gain levels.
Deusenberg Les Trem II vibrato. has airy, energetic zing and sweetly Look, Ive had the Combinata around
But is the Combinata more than a harmonious sustain. It feels alive for a week or so. It brightens every room
fashion statement? Abso-frickin-lutely! and responsive. The P-90s excel at it enters. Its hard to walk by without
telegraphing those qualities. Though picking it up. Glancing up at it now as
Rick Rolled as with all vintage-style P-90s, youll I type makes me want to blow off this
As always, its fun to pick out Fanos encounter some single-coil hum. In no review and just play. This guitar made me
vintage reference points. Rickenbackers manner is the Combinata overly bright. smile at a time when smiles were in short
Combo 800 and 600 solidbodies are the Its registers balance beautifully. But supply. I enjoyed every dose of this bright
predominant flavor hereevident in the theres a strong sense of treble headroom red happy pill.
body shape, headstock, and the German as the highs sparkle and sing. If jangle is
carve (the routed-out indentation near your angle, youll be happy here. CLICK HERE TO WATCH A
the tops perimeter) much as on the old But the Combinata isnt strictly a REVIEW DEMO of this guitar.
Fano RB6. But wait! The two P-90s clean machine. Even when tones are
and a wraparound bridge hail from heavily overdriven, you still perceive
Gibsonland, the super-sized position that buoyant, airy quality. Chunky
markers hint at Hofner and Roger- power chords are focused and sonorous,
brand solidbodies, and the offbeat vinyl reinforced by more-than-ample sustain. Rivolta Combinata
$1,199 street
Kluson-style tuners rivoltaguitars.com

Tones
Playability
Build/Design
Value

PROS Bitchin looks. Comfy to play.


Excellent workmanship. Lively, exciting
Set maple neck tones. Nice price.

CONS None.

premierguitar.com PREMIERGUITAR MAY 2017 151


REVIEWS

REVEREND
Mike Watt Wattplower
By Jordan Wagner

F
or appreciators of all things punk, the arrival of a Mike Watts Watt
Watt signature bass seems long overdue. Even if you Ill get right to the point: The Wattplower is a fine-looking bass.
havent heard his distinct musicianship and frenetic The satin emerald-green finish of our review model balances
playing with acts like the Minutemen and Firehose, youve most understated sheen and candy-like sparkle, akin to a 70s
certainly heard his influence elsewhere. (The Red Hot Chili Oldsmobile Cutlass. If you arent into green finishes, the bass is
Peppers, for example, dedicated 1991s Blood Sugar Sex Magik also offered in an equally tasteful, satin yellow finish.
to him.) In addition to helping lay the musical groundwork The Wattplower is comprised of a korina body and a 5-piece
for punk and alternative rock, Watts inventive DIY approach korina/walnut set neck thats crowned with Hipshot Ultralite tuning
to modifying his equipment continues to inspire musicians to machines. The 21-fret rosewood fretboard sports a ship-anchor
tinker with their own gear. inlay on the first fret as a tribute to Watts father (a Navy sailor),
Designed from the ground up with Reverends Joe Naylor, a Wattplower inlay on the 17th fret, and glow-in-the-dark fret
the Wattplower is the sum of Watts decades-long love affair and markers along its edge.
experimentation with short-scale basses. The double-cutaway, I was impressed with the level of resonance and how alive
short-scale design has its roots in Watts favorite bass of the the Wattplower felt when I played it unplugged. The 30" scale
pastthe early 60s Gibson EB-3but its material differences made the bass very comfortable to play while standing and it
and Watt-approved mods make it a unique animal. caused no strain against my wrist when I grabbed lower notes.

P-Blade proprietary pickup

Korina body

Hipshot A
style bridge Luminlay position-
indicator dots

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152 PREMIERGUITAR MAY 2017
For a short-scale bass, its balance was The P-Blade pickup conjured up was able to dial in a closer approximation
unexpectedly on point. That said, the an interesting take on the classic P-bass to a vintage P-bass thump by rolling off the
strap-button positioning behind the neck thwomp, albeit with a more modern and tone control about halfway and dropping
joint allowed the body to tip forward a bit relentless predilection towards a pummeling the bass, and boosting the midrange on my
when I wasnt holding it in place. low end. But despite having such a strong amp. But the distinctly warm midrange
The electronics are a straightforward focus on the lows and low mids, the tone honk just wasnt quite there. Granted, the
affair consisting of a Reverend P-Blade didnt suffer from the congested, woofy Wattplower wasnt really designed to cop
ceramic split-pickup and a pair of control gurgle that sends many players running that tone. I just would have liked it to be
knobs for volume and tone. The mid- away from shorter-scale basses. easier to coax out a touch more subtlety.
body positioning of the pickup echoes The Wattplower is capable of pretty
a mod that Watt performed on his 63 exceptional clarity and it could be argued The Verdict
EB-3 (which was sadly stolen while on that the use of korina plays a big part in The Reverend Wattplower is a pretty
tour with the Stooges), where he routed that. The decreased string tension that killer bass that delivers tones as unabashed
the body to reposition the neck pickup comes with shorter scale lengths typically as its name implies. Like Watt himself,
for more clarity and punch. Thanks to deadens high-end response, and as a result it wears its past influences proudly, but
the Hipshot A style bridge with a sustain- makes it much more difficult to coax that offers something wholly unique in return.
enhancing brass spacer, the bass can be satisfying snap that long-scale bassists enjoy. Even when you look past its high marks
strung through the body or top-loaded. Since the Wattplowers korina body and in playability, muscular tones, and jaw-
korina/walnut neck have somewhat brighter dropping beauty, the bass is just extremely
One Reporters Opinion tonal properties than, say, the mahogany fun to play. Its tones could benefit from a
Eager to put it through its paces, I plugged build of Watts favorite EB-3, the effect on little added warmth and refinement, but
the Wattplower into a Gallien-Krueger the tones treble range was quite noticeable. again, its purpose isnt to sound subtle.
400RB head connected to an Ampeg With the tone rolled all the way up, slap If youve tried short-scale basses in the
8x10, set the amps EQ controls at noon, and pop techniques and driving flatpicked past and were disappointed by a lack of
and dug into some loose rock riffing in the grooves alike revealed a high end with definition and bite, you should consider
lower registers. I was immediately taken enough presence to be heard, but not so giving the Wattplower an audition. And
aback by the tone, which delivered an much that the attack ever became harsh if youre a rock bassist who already favors
ample and focused midrange supported around its edges. And even after I piled on a shorter-scale basses, chances are good
by a generously thick low end. The necks ton of distortion courtesy of a modified Rat youre really going to like this one.
comfy profile and smooth, satin finish and a Bass Big Muff, the tone still managed
made playing feel effortless, and the tuning to retain a level of definition that would
held like a sunken rock under hard and have been respectable from a standard-scale CLICK HERE TO WATCH A
REVIEW DEMO of this bass.
heavy picking. The Wattplowers neck is bass under the same conditions.
truly one of the more satisfying necks Ive While the Wattplower excelled at
played on in recent memory. In fact, the delivering defined notes with exceptional
only thing that prevented it from being a power, tonal variety wasnt necessarily a
completely joyful experience was having to strong suit. The wide frequency response
hold the bass against my body to keep it coupled with the ceramic magnets of the Reverend Mike Watt Wattplower
from tipping forward, which wouldnt have P-Blade produces a very full sound, but $1,399 street
reverendguitars.com
been an issue if the left strap button had attempts at rolling back the volume and
been placed, perhaps, on the end of the using lighter picking didnt do much to
Tones
upper horn. calm down its no-holds-barred delivery. I
Playability
Build/Design
Hipshot Ultralite tuners
Value

PROS Resonant and lively sounding.


Gorgeous finish. Fat lows, pummeling
midrange, and a high-end snap thats
uncommon with short-scale basses.

CONS Strap-button positioning allows


the bass to tip forward. Pickup could
benefit from added sensitivity.

premierguitar.com PREMIERGUITAR MAY 2017 153


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154 PREMIERGUITAR MAY 2017
REVIEWS

UNIVERSAL AUDIO
Apollo Twin MkII
By Joe Gore

L
ike Cerberus of myth, Universal Audio is a three-headed
beast. The company manufactures pro audio hardware,
often inspired by the vintage designs of Bill Putnam Two balanced
founder of the original Universal Audio company and father of mic inputs
re-founders, James and Bill Jr. UA also concocts superb digital
versions of classic and modern analog gear. Then theres Apollo, Available with
a line of audio interfaces that double as plug-in hosts. These one, two, or
range from the flagship Apollo 16 to the small-footprint Apollo four SHARC
processors
Twin, recently updated to the MkII reviewed here. (Apollo
hardware/software runs on Mac OS and Windows.)
UAs heads are often intertwined. UAD plug-ins only
run on UA hardware. And the Apollo Twin MkIIs bundled
Built-in talkback mic
plug-in suite includes great-sounding models of the Universal
Audio LA-2A and UREI 1176 compressors, and the UA 610-B
preampwhich are all, to some degree, Bill Putnam Sr. designs.
The MkII also comes with a Fairchild limiter model and Two mic preamps
additional long-in-the-tooth legacy plug-ins.
You dont need to purchase additional plug-ins to make good
use of Apollo. You might simply use its gorgeous mic preamps
and A/D/A convertors to route audio to and from your DAW, a single processor lets you add a few favorite UA plug-ins to
relying on plug-ins you already own. Still, most Apollo users your mixes. The dual-processor version might shoulder much of
wind up purchasing additional software. I certainly did! I mixings processing demands, though you may need to incorporate
seldom fumble through a mix without my two favorites: Ampex native plug-ins on big mixes. The quad version may let you mix
ATR-102, a 2-track mastering deck simulation that makes using UA plug-ins exclusivelyat least on less-than-huge sessions.
everything bigger and warmer, and EMT 140, a drop-dead Additionally, all Thunderbolt Apollo interfaces can be linked. So,
replica of the sweetest plate reverb ever. In a touch of old-school for example, I can wire the Apollo Twin to my larger 8-channel
marketing savvy, UA also makes fully functional, two-week trial Apollo for extra I/O and processing power come mix time.
versions of all 89 UA plug-ins free. Apollo Twin MkII communicates with your computer
via Thunderbolt cable. It houses two pristine-sounding mic
Busy Box preamps, fed by two balanced mic/line inputs plus a 1/4"
The new Apollo is powerful enough to serve the I/O needs of a guitar input. Theres also a TOSLINK cable jack for up to
modest project studio, but small enough to bring to rehearsals eight additional input channels (digital only). There are
and gigs. As one of the few guitarists foolish enough to perform stereo monitor and headphone outs, two additional analog
via a laptop more than once, Ive been using the original Apollo outs (perfect for sending musicians a headphone mix). As on
Twin since its 2014 release. The software and hardware have MkI, you set all levels via the large encoder wheel and assign
performed flawlessly. The sound quality equals that of the large- functions via a set of physical switches.
format Apollo in my studio. And Ive been able to gig with
sounds that simply dont exist in the stompbox world. Console Me
Processing capacity differentiates the three MkIIs. The $699 The Apollo Twin package includes UAs extremely full-featured
SOLO has a single SHARC processor. The $899 DUO has two Console virtual-mixer app. You dont have to use Consoleyou
processors, and the $1,299 QUAD we tested has four. Processing can input directly to your DAW. However, Console unlocks some
needs vary from plug-in to plug-in. But at risk of oversimplifying, of Apollos coolest features. Insert plug-ins via Console, and they

premierguitar.com PREMIERGUITAR MAY 2017 155


have virtually no latency. Additionally, some talkback mic that lets you speak to
plug-ins (including several compressors, performers over the cue mixes.
preamps, and virtual guitar and bass amps) The coolest MkII feature may be this:
make use of UAs Unison Technology. no price increase. The single- and dual- CLICK HERE TO HEAR this
When using a Unison-enabled plug-in, processor MkIIs cost the same as the MkI audio interface.
Console changes the plug-ins impedance versions. (The quad-processor version is
and gain-staging to match the modeled new.) Also, note that since MkIs release,
hardware. Example: Select the Fender tweed UA has added a fine library of virtual
amp model (not included in the basic guitar and bass amps licensed from
bundle), and Console mimics the effect of Marshall, Fender, Chandler, ENGL, Universal Audio
Apollo Twin MkII
plugging into a high-impedance input jack. Friedman, and Ampeg. These arent
This can increase the analog realism of UAs included in the MkII bundle, but two- $1,299 street as reviewed with
quad-core processor (models start at $699),
already realistic models. week demo versions are available. uaudio.com

New for II The Verdict Tones


MkII offers several new and improved We raved about the original Apollo Ease of Use
features. According to UA, the A/D/A Twin, and the rave goes on. MkII has Build/Design
conversion has been redesigned for enough connectivity for ambitious
Value
improved sound quality. I dont doubt project studios, yet its small enough for a
the claim, though I confess I dont hear a gigbag. The audio quality is superb. The
PROS Superb audio quality. Compact,
massive difference when recording electric build isnt just studio-worthyits stage- solid, and ergonomic. Access to stellar
guitars. (It might be more apparent with worthy. Unless you specifically need the plug-ins.
fuller-frequency material, or to engineers new features, theres probably no rush to
with better ears.) Theres a nice new dump your MkI. But MkII is a perfect CONS None.
feature for project studios: a built-in entry portal for UA newcomers.

premierguitar.com
156 PREMIERGUITAR MAY 2017
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158 PREMIERGUITAR MAY 2017
REVIEWS

STUDIOUS
Moseley
By Joe Gore

I
f Nigel Tufnel wrote amp reviews, he might have said this A Different Approach
about the Moseley: How much more minimal could it be? Bryant Howe owns, designs, and builds Studious amps. Unlike
And the answer is nonenone more minimal. other builders obsessed with mid-20th-century design and
As is so often the case, Nigel wouldnt be 100 percent correct. circuitry, he doesnt name his models after classic cars or NASA
This amp would be even more stripped-down if it lacked its rockets, but historic scientists. His 42-watt Boulton is a tribute
volume knob, treble, and bass controls, and speaker impedance to M.P.W. Boulton, the inventor of the aileron, while his single-
selector. Still, this is about as simple as boutique combo amps get. 6L6 Selye memorializes Hans Selye, who studied stress responses
And thats clearly by design. Moseley, an 18-watt combo in organisms. Moseley is named for Henry G.W. Moseley, who
from Chicagos Studious Amplifiers, is practically an exercise did pioneering work in atomic physics before dying young at
in design simplicity. Its a dual EL84 combo housed in a plain the Battle of Gallipoli.
yet beautiful solid-wood, dovetail-jointed cabinet. (Our review Howe got his start converting old stereo receivers into guitar
models cab is pecan, but Moseley is also available in walnut, amps, and the home-stereo influences here arent merely visual.
maple, Brazilian cherry, and bamboo. It also comes in a head- While Moseleys dual-power-tube/phase-inverter design isnt radical
only version.) It looks a lot like a DIY hi-fi project from 1961 per se, it sounds nothing like a Vox AC15 or Marshall 18 watt, the
and I say that with the utmost fondness. It manages a hip, mid- amps that probably spring to mind when you think dual EL84s.
century modern look without being kitschy. Moseley has a broader frequency range than either amp, with

Solid wood cabinet

premierguitar.com PREMIERGUITAR MAY 2017 159


with effects, and Moseley responds nicely
to drive and distortion pedals. (I added a
germanium overdrive pedal for the final
part of the demo clip, starting at 01:53.)
A peek inside Moseleys chassis reveals
a decidedly handmade instrument. Small
parts are arranged on turret board. The
components are solid, standard-issue
stuff, with a nice pair of ClassicTone
transformers. The soldering and lead
dress seem dependable, if not as virtuosic
2-band tone control as on some handbuilt amps in this price
ClassicTone (treble/bass) range. The two 12AX7 preamp tubes
transformers are Tung-Sols, while the matched EL84s
are from Tube Amp Doctor. Large metal
knobs lend the perfect period touch.

The Verdict
Dont make the mistake of comparing
Moseley to better-known dual EL84
amps such as the Vox AC15 and Marshall
18 watts from
18 watt. The amp has a voice of its own:
two EL84 tubes full-frequency, present, and fizzy on
top when overdriven. Moseley is on the
pricy side for such a simple, stripped-
down amp, though is does boast a lovely
minimal look and exceptional cabinetry.
One 12" 50-watt Its overdrive tones wont suit all
Celestion Type
A speaker tastes, though I dig its ultra-present
drive. I can imagine many uses for
Moseleys unique voice.

CLICK HERE TO HEAR this amp.

Studious Amplifiers Moseley


strong, defined lows and boldly present push the volume. There are no gain or
$1,600 street
highs. Theres also less-than-usual midrange master volume controls. High-gain tones studiousamplifiers.com
scoop, which nudges the response closer to have less treble roll-off than on most
that of a hi-fi amp. Its a bit like plugging low-wattage combos, with a pronounced Tones
into an old tube-powered portable PA upper-mid fizz. Everything is exceedingly
Ease of Use
head. Its a tone profile you may love dynamicno problem setting the amp
Build/Design
or hate (I tend toward love), but its volume high and controlling the drive
undeniably a fresh sound, full of character. with your guitars volume knob. Value
The 2-band tone stack is simple
Fizzy Biz but effective, and ideal for nudging PROS Bold, full-frequency tones.
Moseley isnt particularly loud or gainy, tones closer to normal dual-EL84 Lovely looks. Great dynamic response.

though its powerful enough for small tones. Nixing lows tightens and focuses
CONS Treble-rich overdrive tones not
gigs with an understated drummer. Clean crunch sounds, while trimming treble for everyone. A bit pricy for such a
sounds are crisp, balanced, and sonorous. de-emphasizes that signature fizz. The minimal amp.
Distortion comes on linearly as you amps wide frequency range works well

premierguitar.com
160 PREMIERGUITAR MAY 2017
Giveaways

Supro Gear Package Includes:


Supro Westbury Electric Guitar
Supro 1610RT Comet 6/14-watt 1x10" Tube Combo
Supro 1305 Drive Eects Pedal

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REVIEWS

Master control

SPACEMAN
Gain control

Titan II
Tone control

6-transistor circuit

By Charles Saufley

I
ts not for nothing that Spaceman Effects enjoys a following fastidiousrouted in readily
that verges on cultish. The pedal builds are typically traceable right-angle routes
immaculate. The designsloving homages to early-60s from their points of origin
aerospace control panelsmake you feel like a test pilot when to the circuit board. The 9V
youre just dialing in a little extra treble. Above all, Spacemans AC jack is side-mounted,
effects usually deliver sonic originality thats rare amid the clone but that location keeps it
clutter in the stompbox cosmos. far from the circuit board
The Titan II is more straightforward than many Spaceman and makes it easy to replace
fuzzes, at least in terms of controls and circuitry. And while you in the unlikely instance of
hear hints of familiar fuzz touchstones at many settingsearly failure. You can also power
Big Muff, MkIII Tone Bender, and RAT textures are all part Titan II with a 9V battery.
of the Titan II tapestryit is never quite any of those things. The pedals exterior is
Through its combination of burly, spitty, gruff, and even classically Spaceman. It uses the same engraved-plastic-faceplate-
sophisticated voices, the Titan II delivers sounds and tactile over-steel-enclosure configuration that you see on mid-century
feedback that feels fresh, open-ended, and inspiring. avionics as well as a red Fender-amp-style indicator lamp. The
pots turn with precision and satisfying resistance. And like every
Spaceman pedal, its fitted with a cool aluminum label thats
The tone of the Titan II feels stamped with the units serial number.
uncompromised, making the Full Thrust Fuzz
level control seem more The Titan II is not a subtle fuzz. Even at the lowest gain
settings, it still exudes the menace of a growling dog on a chain.
like a floodgate than a simple That doesnt mean its incapable of nuance, as well see. But you
potentiometer. learn fast that Titan II is louder and more explosive than a lot of
standard-bearing fuzzes.
With gain and tone controls at noon, unity gain arrives with the
Built for the Outer Limits level between 9 and 10 oclock. Whats really impressive, though, is
Even if you never open a stompbox except to change a battery, how much ceiling and boost the Titan II makes available beyond
its worth a look at the inner workings of the Titan II. Like that mark, and incrementally increasing output can feel a little
all Spaceman effects, its a textbook study in how to make a hairy as Titan II drives your signal to speaker-rattling volumes. The
stompbox circuit clean, serviceable, and attractive. The discrete remarkable thing is that, beyond whatever natural compression
circuit is carefully and flawlessly laid out on a through-hole your amp generates in response to this much signal, the tone of the
circuit board, which Spaceman glams up with star-engraved Titan II feels uncompromisedmaking the level control feel more
silvery overlay. Many of the components themselves look cool, like a floodgate than a simple potentiometer.
like the gleaming Fine Gold capacitor thats typically used in hi-fi Titan II balances all that high headroom with a fuzz flavor
applications. The part count is appropriately small for a 3-knob thats varied, rich, and certifiably nasty. Its particularly mean
fuzz, though the Titan II is driven by six silicon transistors at extreme gain settings, where it takes on some of the spitty,
presumably to generate the copious gain well discuss in a minute. fractured-harmonic overtones of amp and speaker pushed to
The circuit board is mounted so it seems to float free within their limits. That said, these arent the compressed tones that
the enclosure. This design also insulates the vital components you associate with, say, a Fender tweed at the verge of implosion
from the force of blows on stage and during travel. Even the (though there are hints of it). Instead you get a unique
wiring from the enclosure-mounted footswitch and jacks is composite of Shin-Ei Super Fuzz octave-up fizz and triangle

premierguitar.com PREMIERGUITAR MAY 2017 163


Big Muff heat (among other things). Its can typically extract a quintessentially
a splintered and huge sound, but with a Big Muff- or Tone Bender-like sound
surprising amount of air and detail, and a using one of those pedals and a Champ,
fat wide-spectrum foundation. the Titan II felt constrained when paired
This latter feat is what makes Titan II with the smaller amp and speaker.
sound distinctive when you A/B it with CLICK HERE TO HEAR this pedal.
other fuzzes. It also helps the Titan II shine The Verdict
when you attenuate your signal via guitar The real beauty of Titan II is its
volume and tone controls. And while the distinctiveness. I love the idea of using it to
Spaceman may not have the same warm lend contrast and dimension on one side
overdrive growl as, say, a germanium Fuzz of a stereo recording rig or for doubling Spaceman Titan II
Face in these situations, it delivers a brawny, leads or bass lines. And though the very
$249 street
complex overdrive sound and exhibits sensitive controls can almost feel vague spacemaneffects.com
uncommon sensitivity for a silicon fuzz. in certain situations, they lend a lot of
Though it might seem obvious, it flexibility. With practice you can find tones Tones
bears mentioning that Titan IIs high-gain that approximate familiarand easier- Ease of Use
sounds are usually best communicated to-controlBig Muff and Tone Bender
Build/Design
through bigger speakers. Out in front sounds. Whats more, it stacks beautifully
Value
of a piggyback Bassman with a 2x12 with these types of pedals to generate
cabinet, the Titan IIs balance between massive Frankenstein tone concoctions.
relatively bruising low end, sizzling, But Titan IIs airy, open, and harmonically PROS Unique, versatile fuzz sounds
youd be hard pressed to find elsewhere.
chaotic top end, and growling midrange complex sounds are just as powerful on
Beautiful build quality.
was very impressive. That balance their own. And I wont be surprised if many
translates less well in small-speaker, low- players make this pedal a launch pad in CONS Expensive.
wattage combos, however. And where I pursuit of their own signature sounds.

premierguitar.com
164 PREMIERGUITAR MAY 2017
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premierguitar.com PREMIERGUITAR MAY 2017 165


REVIEWS

GIBSON
EB 4
By Jordan Wagner

S
ince its introduction in 1953, the Gibson EB has been no EB name. If anything, the elongated upper horn, offset compact
stranger to change. Its original short-scale build included body, and pickup placement struck me as more Tobias-esque
a solid violin-shaped mahogany body (complete with after I pulled it out of its included gig bag. While on the subject
painted f-hole and telescoping endpin), mahogany neck, and an of cases, I was a little disappointed that it didnt come with a
oversized single-coil butted up against the neck. Its loose and hardshell case like the previous EB model didespecially since
bottom-heavy tones werent necessarily a huge hit with bassists at theyre the same price.The EBs swamp-ash body is available
the time (Fender already had a two-year head start with the ven- in two satin-lacquer finishes: vintage sunburst or natural. Our
erable Precision), but the EB did offer a unique palette of tones review bass was finished in natural and I really liked how the satin
that set its path for decades to come. sealer made the wood grain pop while still looking somewhat raw
Gibson continued to tweak the EB formulamost notably and understated. Gibson says on their site that the body is 2-3
in the 60s by using an SG-derived body shape and then a pieces, which could give some players pauseespecially if you
complete rework in 2013 by incorporating an offset-style design are considering spending a grand on a bass and want to know
and modern electronics. Fast-forward to today and the new EB exactly what youre getting before placing an order. Our tester had
4the companys most focused attempt at building an EB that a 3-piece body and was assembled very well with no bumps or
excels in tone, clarity, playability, and versatility. ridges in the finish or at the joints.
The 3-piece, glued-in maple neck is capped with a rosewood
Old Dog, New Tricks fretboard thats lined with 24 medium-jumbo frets (which adds
The new EBs body shape is even less Gibson-like than its 2013 four frets to the previous models 20). The smooth and natural
predecessor, and nothing like other past iterations bearing the texture of the EBs neck felt great in my handlike the handle

EB alnico-5
humbuckers

Swamp-ash body

Babicz Full
Contact bridge

3-piece maple
set neck

premierguitar.com
166 PREMIERGUITAR MAY 2017
of a broken-in Louisville Slugger. The delicate passages, the frequencies tended to the low end enough without becoming
frets were even, well dressed, and their relax and put less focus on the sound of my excessive (about 75 percent). Pulling on
edges perfectly flush with the fretboard. fingers striking the strings. Likewise, when the neck-volume knob to engage its single-
Topping the bass is a Thunderbird-shaped I switched gears and struck the strings coil mode cleared up the congestion and
headstock with a black-paint cap that with more force, the upper mids jumped gave me the perfectly balanced tone I was
sports a set of high-quality 20:1 ratio out and focused the attackinstantly looking for, and also tightened the low end
Grover tuners. morphing the tones vibe from bluesier rock at the same time. I noticed only a minimal
A string-through, Babicz Full Contact to a more aggressive, prog-friendly thump. amount of noise when using either
bridge holds the strings down firmly at The neck felt so good that it distracted pickup coil-tapped, and that disappeared
the body, and individual Allen screws lock me from moving on to explore the neck immediately after blending in a touch of
the saddles in place to prevent intonation pickup and coil taps for a while. Both volume from the opposing pickup.
drift and help vibration transference. For its rounded contour and gradual taper
electronics, the 2017 EB uses the same felt like they were perfectly in sync as I The Verdict
pickup and control appointment of the deployed quick scale runs up and down The redesigned 2017 Gibson EB moves
previous EB model, which consists of dual the fretboard. At the same time, the neck even further away from the models
alnico 5-powered passive humbuckers that had enough mass for my fretting hand to that predate it. Its new getup makes it
are governed by two individual volumes quickly grab onto for box-position riffing. a wildly different bass than the 60s-era
(with push-pull coil taps) and a single Those detailscombined with its great EBs known for being heavy in terms
master-tone control. fretworkcaused me very little fatigue and of their necks, excessive lows, and
made the next-generation EB a joy to play. congestion. On the flip-side, however, the
An Axe to Grind With the volume settings reversed characteristically warm, mountain-sized
A big advantage that the new EB has over (neck pickup dimed and bridge at 30 growl that made the EB famous was the
its older brethren is balance. I detected percent), the tone naturally became result of a combination of things that
no hint of neck dive, which is a not-so- much more ample in the low end. The the EB 4 doesnt havenamely a short-
uncommon gripe from players about walls shook as I played molasses-slow scale neck and a thumpy pickup placed
60s-era SG-style EBs. Gibsons 2013 EB grooves on the necks lower registers, so close to the neck that clarity could be
addressed the issue, but the 2017 version and there was a noticeable clarity in the difficult to achieve. With all that said, the
perfects it thanks to the elongated upper- high end of the tone that wasin my new EBs balanced weight, crystal-clear
horn helping to redistribute the weight experienceuncharacteristic of a passive pickups, and superb neck make it a much
across a longer area. It also helped in bass that produced this much output more versatile, comfortable, and playable
making the bass feel lighter than it really and power. The low end, however, did instrument for modern bassists.
is. I had a hard time believing it was over show a mild case of EB-itis (a nod to
8 pounds until I weighed it. the muddy low-end intrinsic to older
CLICK HERE TO WATCH A
After I plugged the EB into a Gallien- EB basses), but I was able to dial it REVIEW DEMO of this bass.
Krueger 400RB and Ampeg 8x10 pairing, I out quickly and effectively with a few
dimed the bridge volume and master tone, adjustments to my amp.
and lowered the neck volume to about 30 The coil taps were effective in regaining
percent. The cabinet roared with a bright definition if I found my lows getting out
and articulate sound that was supported by of hand. For example, one of my favorite Gibson EB 4
an ample amount of thunderous low end. heavy rock tones started with the master
$999 street
The EBs upper-midrange frequencies were tone rolled off slightly, the bridge-pickup gibson.com
particularly responsive to changes in my volume maxed, and the neck pickup dialed
pick attack. When I gingerly fingerpicked in right at the point where it would fill out Tones
Playability
Build/Design
Value

PROS Balanced and lightweight.


Fantastic neck. Superb modern-bass tones.

CONS Neck pickup lacks suitable


warmth for classic EB tones. Hardshell
case not included.

premierguitar.com PREMIERGUITAR MAY 2017 167


REVIEWS

MICHAEL KELLY
CC50 Deluxe
By Adam Perlmutter

F
or legions of players, T-style guitars are the archetypal, a black alder body looks a lot like George Harrisons rosewood
prototypical, and ultimate solidbody. The basic design Telecaster, and the subtle maple trim accents add a unique,
is versatile, rugged, simple, and enduring, which is why boutique-style touch.
theres such a dizzying number of homages out there today A close look at the CC50 revealed a few shortcomings in fit
from boutique to budget models. At just under 700 bucks, and finish. For starters, the setup could be better (there was a fair
the CC50 Deluxe from Michael Kellys expansive 1950s series bit of fret buzz) and one of the pots was loose. The fret buzz was
comes from the higher side of the affordable range. But the mostly corrected with a quick tweak of the truss rod. And though
guitars cool switching options mean you can extract a lot of these details arent necessarily deal breakersaffordable guitars
versatility from the intrinsically basic T-style design. often need a setup after shipmentwe see a lot of inexpensive
guitars dialed in well at the factory these days. At almost 700
Distinctive Departures bucks it would be nice to see more attention to detail.
If you love the elegant profile of a T-style body, but like a Thankfully, many other design details are inspired. The satin-
more distinctive finish, the CC50 is a great alternative to the finished maple neck has a modern C-shaped profile and the
same-old butterscotch blues. The clear-finished ebony cap on rosewood fretboard has a 10.5" radius. Its a nice cross of vintage

Seymour Duncan
Hot Rail pickups

Striped ebony cap


on alder body

4-position switch with


Coil-splitting volume in-series settings
and tone controls

premierguitar.com
168 PREMIERGUITAR MAY 2017
The neck pickup sounds darker and
warmergreat for jazz lines and chord-
melodieswith nice definition and
presence. And with both pickups engaged
in series I got glassy tones that are perfect
for funk rhythm workouts.
When I cranked up the Carr to
the point of breaking up and set the
pickups in split-coil mode and in series,
I got thick, singing sounds tailor-made
for heavy Chicago-blues soloing. Both
pickups sounded much more aggressive
profile and flatter, more modern radius Duncan Hot Railsare controlled by when I set them for humbucking mode.
that adds up to a comfortable, thin- a 4-way switch, which adds an in-series The bridge pickup alone delivers killer,
but-not-skimpy neck that encourages pickup configuration to the mix. articulate but crunchy rhythm tones,
swift single-note runs and stretchy barre Meanwhile, the master volume and tone while the neck pickup brims with
chords. The 22 medium jumbo frets are knobs include push-pull pots for switching overtone-rich sustain.
nicely seated and polished as well. With a the pickups between humbucker and
proper pro setup, our test guitar would be single-coil mode. If youre counting, this The Verdict
very nice to play. makes for a total of 12 pickup settings Michael Kellys CC50 Deluxe is a
instead of the traditional three. solid, and distinctive T-style that
A Broad Tone Palette In sonic terms, the CC50 delivers on delivers a much broader range of tonal
The original Telecasters wiring scheme its promise of versatility. I first tested possibilities than many of the more
evolved over the years to the simple but the guitar in single-coil mode (both traditional and basic T-styles you will
familiar setup as we know it today: a the volume and tone knobs pulled up) find in this price category. Id definitely
3-way switch that allows the two pickups through a Carr Skylark amplifier set like to see much closer attention paid
to be selected alone or in tandem, and up for a clean tone. The guitar delivers to setup and detail work for nearly
master tone and volume controls that classic T-style tones in spades. The bridge $700. But if youre searching for a
adjust the sound of both pickups. pickup is bright and twangy, but not T-style guitar that goes beyond the
The CC50 Deluxe takes the potential overly so, and it sounds equally great tonal limitations of two traditional
of T-style pickup wiring to another level. for Bakersfield-style pedal steel lines and single-coils, the CC50 is an excellent
The guitars twin humbuckersSeymour open G Keith Richards rhythm stabs. departure point.

CLICK HERE TO WATCH A


REVIEW DEMO of this guitar.
10.5" fretboard radius

Michael Kelly CC50 Deluxe


$699 street
michaelkellyguitars.com

Tones
Playability
Build/Design
Value

PROS Excellent pickups, useful


switching options, and cool tones.

CONS Factory setup could be


much better.

premierguitar.com PREMIERGUITAR MAY 2017 169


STAFF PICKS

Question & Obsession


We were so pumped up about our heroes stories of the albums that rocked their core [see pg. 37],
that we had to join the fun. Todd Albright and PG editors name the defining albums of our lives.

What album changed your life


forever? Describe the recording thats
integral to your musical makeup.

Todd Albright Neill Dumont


Guest Picker Reader of the Month

A: Last Session, Blind Willie A: Im a dinosaur (Im 65),


McTell. It took a ghost from so Surrealistic Pillow by
the 78 rpm-era and suddenly Jefferson Airplane introduced
he was human and I was me to the psychedelic sound.
there in the room with him. Somebody to Love kicked
Between the rags and the my ass, but Comin Back to
hillbilly numbers were plenty Me introduced me to
of jokes, drinks, and total what Ive always called
horse-shit lies. I think it was magic music.
the moment when I realized
that many blues players of Current obsession:

Below: Photo by Ken Settle


that period ironically only My current guitar-related
played the blues some obsession is to see Joe
of the time. The blues isnt Satriani play. Im bedridden in
just musicits a heavy a nursing home, so this might
and complex storyand not be so easy to fulfill.
hearing McTell embody that
legacy with such clarity was
transformative.

Current obsession:
The history of the country
blues. I want to know it all.
Lately Ive been rereading
a few of my favorite books,
Blues People by Amiri Baraka
and King of the Delta Blues:
The Life and Music of Charley
Patton. The music carries
the weight of each personal
experience, which is what
fascinates me.

premierguitar.com
170 PREMIERGUITAR MAY 2017
Andy Ellis Ted Drozdowski Jason Shadrick
Senior Editor Senior Editor Associate Editor

A: Hanging on my wall is a A: When I heard the A: In my most formative


canvas print of 20 album soundtrack to Deep Blues, years, I kept blues music at
coversLPs that transformed Robert Mugges 1991 arms reach. It wasnt until I
me as a guitarist in my documentary that captured came across Eric Claptons
late teens. But of all the the sounds and lives of the From the Cradle album that I
magnificent records in this most vital, badass traditional decided to fully embrace the
collage, its Kenny Burrells blues musicians then-living raw power that tweed Fender
1963 Midnight Blue that between Memphis and amps could dish out. Over the
keeps me striving to improve Bentonia, Mississippi, I knew last 20 years, connections to
my fretwork. On every gig I had to go there. Especially that album consistently pop
whether Im playing acoustic to the North Mississippi up and force me to dig it out
or electricBurrells slinky hills, where I was befriended and jam along. Its not only an
double-stops and organ- by R.L. Burnside, Jessie inspired take on how a classic
inspired comping (or my Mae Hemphill, and Junior blues tune can feel modern,
best approximations thereof) Kimbrough. They enlightened but it served as a roadmap
find their way into my parts. me, inspired me, rewired the to uncovering the roots of
Timeless. way I make and think about Claptons influences.
music, and are why I moved
Current obsession: to the South. Current obsession:
Coiled guitar cords. They keep Bassist Janek Gwizdala and
things neat underfoot and Current obsession: saxophonist Bob Reynolds
bring back fond memories of Amps. Lately Ive been are two of the most prolific
rockin in the 60s. revisiting the world of tones musicians around and their
my vintage and modern amps respective daily vlog series
create, and how they can help are both humbling and
me expand my music. inspiring. I literally cant
recommend them enough.

premierguitar.com PREMIERGUITAR MAY 2017 171


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174 PREMIERGUITAR MAY 2017
Introducing

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176 PREMIERGUITAR MAY 2017
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180 PREMIERGUITAR MAY 2017
ESOTERICA ELECTRICA

SX4U
BY JOL DANTZIG

Y
The Ovation ou cant judge a book by its commands the respect of other players.
Breadwinner, cover, but maybe you think you They are fully aware that the shelf life of
affectionately can assess a guitar by its name. a guitarists influence may be short-lived.
referred to at
the factory Would you pass by an axe called the There is also the danger of utilizing
as the Flying Executioner? Might you be attracted to the name of someone few have heard
Porkchop, an instrument christened the Patriot? of. How many times have you seen an
didnt exactly Guitar makers are always trying to evoke advertisement featuring a guitarist from
bring home the
bacon. Ahead of
some response from the git-tar-shopping an unknown band? Do you wonder if
its time, it was publichopefully clicking the buy now maybe you should check out the band
discontinued button. So, whats in a name, and why do to determine if you like the guitar?
in 1979. builders choose ones like SR300EOFM Wow, thats a lot of work. What about
or Breadwinner? endorsements by flash guitarists who
Perhaps you cant imagine a time had some big hits 30 years ago and have
when the name Les Paul meant very little emerged from rehab to play the state-fair
to the guitar community. By the time circuit? Do you view those endorsements
Gibsons almost forgotten, single-cutaway as legit as someone riding the crest of
Les Paul began its rise from the ashes to todays pop-music cycle? During my time
superstardom in the late 1960s, it had working within large music companies,
been abandoned not only by Gibson, but marketing and sales people often spoke a numerical designation, which can be
by many in the hip, younger crowd of of finding the next [fill in your choice construed as a nod to the military, or
rock musicians. Les Paulthe manwas artist here] as a marketing strategy. If perhaps just to German cars. Gibson
pretty much ignored by the general class only it were that easy! In the meantime, models sometimes refer somewhat
of longhaired rockers. Likewise was the corralling a bevy of artists with varying obliquely to their configuration, such as
guitar that bore his name. The LP, with degrees of artistic or commercial currency the ES-125 TCD, which is obviously a
its old-school violin look, was considered seemed to be the backup plan. thin, electric Spanish with dual pickups
a quaint, antique instrument from the Then theres the business of naming and perhaps a cutaway, that retailed for
age of squares that played decidedly the products. If you arent going to use an $125. (Dont quote me on thisI was
uncool music. artists name, any proper name will do. never good at math.) Rickenbacker is a
The branding problem was severe I like automobile racing, so I suggested good example of a manufacturer using
enough that Gibson scrambled to a lot of names that were related to that internal codes for model names, which is
distance itself from the single-cutaway while I was at Hamerfamous cars, semi-ordinance-like. I once jokingly came
LP by redesigning it into what ultimately racetracks, and the like. I enjoyed the up with SX4U when discussing names
became the SG. Then a few years down reference to speed and daring, and it for a bass model, and I find it kind of
the roadwith the help of players like created continuity for the brand. I didnt surprising that it hasnt been used for an
Mike Bloomfield and Eric Claptonthe always get my way, however. And notable instrument that I know ofyet.
original Les Paul overcame its mid-life missteps were many, I suppose, like Regardless of whether a builder names
stumble to become a staple of the rock calling a model Sunburst or the ultra- its products after cities, personalities, or
pantheon despite its name. In fact, I inspired Archtop. Ive actually received bill-of-material codes, theres always some
would wager that the guitars resurgence email inquiries from folks who thought method to the madness. If you study
actually filled Lester Polsfuss sails with they had a pre-production collectible closely, you can get good at amazing
the wind that carried him for the last part because wed used the name Prototype your friends with your translation skills.
of his career. Today, the name Les Paul for an entire model range. A few of the I suppose thats half of the fun. And
has taken on a meaning that dwarfs its companys models were also named after everyone should have a hobby.
originas important as he was. Japanese family cars while I was out of
The Les Paul story is one where an the room. (I assume this happened during JOL DANTZIG is a noted
designer, builder, and player who
endorsers signature model lived on after a traffic jam on the way to the office.) co-founded Hamer Guitars, one of
the artist had lost favor with the public. Sometimes companies choose names the first boutique guitar brands,
in 1973. Today, as the director
Thats a concern for guitar companies that begin with the same letter, which of Dantzig Guitar Design, he
in general. Marketers want to cash in is something the automotive industry continues to help define the art of
custom guitar. To learn more, visit
on an artist with high visibility or who does as well. Other instruments receive guitardesigner.com.

premierguitar.com
182 PREMIERGUITAR MAY 2017
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LAST CALL

Sound Like You


BY JOHN BOHLINGER

F
Picasso took a or a guy who makes his living that became Birth of the Cool, starting
bicycle by the in the arts, Im not particularly in 1949, when Davis was just 22. (The
horns in 1942
creative. tracks were eventually compiled and
and created
his Bulls Fifty percent of my guitar bag is filled released as the album in 1957.) Birth of
Head, applying with all those riffs we have to learn as a the Cool stood out because it deviated
his singular right o passage into Guitardom. (Heres from the bebop trend. If Miles had
artistic vision to ya, Chuck Berry!) Thirty percent is Dizzys chops, the album might not have
to transform
everyday objects
composed of phrases somebody showed sounded so fresh. At that point Miles
into historic art. me that I tweaked to make it easier for style was a product of his limitations, but
my sausage-like fingers to muddle their what he didnt have, he didnt need.
pudgy way through. The remaining 20 By the late 50s, bebop had become
percent of my bag is stuff I kind of came so complex and flashy that it felt lifeless,
up with on my own. Its fun, but not like early-90s shred guitar. At age 32,
groundbreaking. Miles brought his band into the studio
For groundbreaking, look to Van with nothing but some rough sketches of
Halen. The first time I heard Ed, I wasnt changes and almost no rehearsal. They point. Once you play with Miles, you are
even sure I was hearing a guitar. When recorded the improvisational Kind of Blue forever changed, but what you become is
I eventually saw him play, I experienced in two days, often keeping first takes. what you really are, Hancock said.
a paradigm shift. At that moment, I Kind of Blue did to jazz what Nirvana did We are built from our past
understood that true creativity means to hair metal. It revealed how trite and experiences. The creators take what
approaching music with no boundaries. bloated the current trend had become. theyve gathered and manifest something
No rules. Inspired, I went on to try to Total game changer. new. Picasso took a bicycle seat, added
copy all the same stuff everybody else Eleven years later, Miles released some handlebars, and made Bulls Head.
already played. For most of us, learning Bitches Brew. Some critics thought he Critics argued, Thats not art. I could
to play music is like learning to talk. We was selling outdenying his blackness have made that. But they didnt. Thats
listen to others, build our vocabulary, and and bowing down to white rock. They why those critics are anonymous and
eventually construct our own sentences complained that Miles new work Picassos work is ubiquitous.
once we have the tools, but it takes some sounded nothing like the guy they had We all have the same basic tools at
time to get there. championed. In response to the Miles- our disposal, but truly creative people are
Miles Davis went to Juilliard to try to does-not-sound-like-Miles complaints, alchemists who turn the ordinary into the
gain those tools. While a student in New Davis said, Sometimes it takes you a extraordinary by refusing to be satisfied
York, Davis hunted down Charlie Parker, long time to sound like yourself. with what others have done before them.
worked his way into some jams with the Sounding like you takes time not just For the last few years, on every gig,
Big Apples jazz elite, then dropped out of because you need to put in the hours every session, and every video, Ive
school when he landed the gig replacing to learn the craft, but, more important, made an effort to play something Ive
Dizzy Gillespie in Charlie Parkers you must first become you. When we never played before. Ive had plenty of
band. Miles was 20 and must have been are young, most of our philosophies, disastrous notes, but also the occasional
terrified. Diz was six years his senior vocabulary, and spiritual leanings are rewarding results, and when Im
and way past his 10,000 hours. Diz and absorbed from those around us. If we stretching, for better or worse, I sound
Parker blew a lot of fast, frantic notes and honestly evaluate the information weve like me. Maybe a little lost, but picking

Photo by Runion des Muses Nationaux-Grand Palais


pushed their instruments to the top of gathered as we amble/stumble/wander up clues and forging ahead. As Van Halen
their ranges. through life, we come up with our own said, You only have 12 notes. Do what
It was not a fair fight. Davis knew he worldview. We discover ourselves when you want with them.
did not have the chops to cop Dizzys we go beyond repeating what weve heard
sound, so he went another direction, and start thinking for ourselves. JOHN BOHLINGER is a Nashville-
based multi-instrumentalist best
sticking to the middle notes and working Former Davis band member Herbie known for leading the band on
in more space and slower lines, like a Hancock said that Miles wanted to NBCs Nashville Star and serving
as music director for the CMT
painter leaving parts of his canvas blank. capture the spirit of discovery in his Awards and specials on PBS
The gig gave Miles the leverage to recordings and performances. If you know and GAC. When not filming Rig
Rundowns and gear reviews for PG,
land his own deal, leading to the sessions the music too well, you get beyond that John plays pedal steel for Lee Brice.

Premier Guitar ISSN 1945-077x (print) and ISSN 1945-0788 (online) is published monthly by Gearhead Communications, LLC. Principal office: 3 Research Center, Marion, IA 52302. Periodicals postage
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