Premier Guitar - November 2015 VK Com Stopthepress

DIY MODS IRON MAIDEN DEAD WEATHER EAGLES OF DEATH METAL
NOVEMBER 2015
NOVEMBER 2015
No Backup Plan
DIY!
SOLDERING LESSON
POT & CAP TONE TWEAKS
RIG RUNDOWNS
MY MORNING JACKET
& ZZ TOP
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EDITORIAL
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TUNING UP
A Call to Literate Guitar Dweebs

BY SHAWN HAMMOND @PG_shawnh
F
or the last few years PG has been fortunate to have some of the best, most knowledgeable
guitar-playing writers and editors on the planet. If youve been a fan of quality guitar
journalism for the last two or three decades, you know its a big deal to have names like Andy
Ellis and Joe Gore (both PG Senior Editors) grace our pages and pixels. These guysas well as
the rest of our editorial staff, and regular contributors like Ted Drozdowski, Tzvi Gluckin, Emile
Menasch, and Joe Bossoeat, drink, and breathe music.
This month we bid a bittersweet farewell (of sorts) to our pal Joe Gore. Hell still be enlightening
us with Recording Guitarist and gear-review insights, but hes embarking on more playing and
recording adventures and wont have time to continue in the same capacity. We wish him the best and
look forward to more quirky observations, provocative shoves, and twisted riffs here in PG.
One of the most bitter parts of this farewell is being reminded (again) of guitar journalisms
perplexing reality. Theres no shortage of 6-string freaks who eat, drink, and breathe guitar nerdery.
Youre everywhereand smarter and more diverse than ever. But theres something confounding going
on. How can there be so many die-hard guitar junkies, yet so few who consider plotting a path to a
career of talking, reading, and writing about it?
Ambitious guitarists and bassists arent in short supply, but the ones seeking a related career that
doesnt fall under the Rock Star 2015present heading on a resume seem strangely fixated on a path
thats just as unrealistic and precarious. Like becoming a YouTube or social-media sensation.
Dont get me wrongYouTube, Twitter, etc., are fantastic tools that PG and other businesses would
be fools to ignore. But any degree of fame a guitarist might achieve there is both incredibly fleeting
and virtually devoid of a predictable revenue stream. If youre doing that stuff for fun, thats cool. More
power to you. But if you think its a solid career path, you might as well switch goals to something more
realistic, like lining your 37-room mansions den walls with platinum records.
Again, not ragging on this stuff. For some, maybe itll bring in enough money to supplement other
endeavors and help you get by. But otherwise, aiming to achieve fame as a video and social-media guitar
guy is setting your sights low. In my opinion, its also a bit shallow, shortsighted, andin the grand
scheme of thingsdeceptively easy. You can trail off mid-sentence, have horrible grammar, and use not-
so-sound metaphors and logic, but as long as youve got decent recording fidelity, impressive dexterity
and genre command, and a casual vibe, people will watch. Same basic idea goes for social-media
parameters. But A) whos going to pay you a living wage for that? And B) what are you gonna do when
notoriously fickle crowds find a new fetish?
Why not put as much discipline into a guitar-dweeb career path as you already put into your
woodshedding, songwriting, and recording? Why not opt for something with potential for more stability?
Why not get serious and get the know-how it takes to be a real-deal guitar-media guru? Video and social
savvy are important, but if you want to be in this for the long haul you need more serious chops.
Read. Read some more. Read voraciously. Learn to love wordslearn to see the written word as
music. Study rules of grammar, syntax, punctuation. Theyre the scales and chords of this music.
Practice your word tunes religiously. Become deft at editing them, just as with your guitar-based ones.
I wont sugarcoat it: This isnt a get-rich field. And like any job (including bona fide rock star) it
has its pains in the ass and occasional drudgery. But hell, whats not to dig about getting to meet and
interview great musicians, writing about gear you dig (or dont), and being inundated with new music
that enriches your life in ways unquantifiable to a true music addict?
I mean, unless you have your masochistic heart set on eventually surrendering to an exciting career on
the barista circuit or with a huge, soulless corporation.
Shawn Hammond
Chief Content Officer
shawn@premierguitar.com
premierguitar.com
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FEEDBACK LOOP
Market gig where I filled in for a artist, theyre not always Socialize
cancellation. I turned the echo + eloquent speakers! Tessa
reverb setting way up, and copped asked all the pertinent
with Us!
one of the licks as an intro from questions I wanted to know
something like track 4, Proof, and kept the interview on
on Rhythm of the Saints. track. Huge kudos to her!
And I did cross-picking and Thanks for the time and effort @JohnBohlinger
holding the notes of the chord you guys go through to bring us @premierguitar
down while changing on just these interviews, it really helps! @mondocongo
one string at a time. And yeah, Dennis Cooper,
I still have my first
it sounded a lot like your video via premierguitar.com
everything guitar
lessons. Then I just went into related. Boss OD I
hip-swaying jungle strum for the Nili Brosh Modes got used in1983
rest of the song. I was still getting I had to read this lesson three #stillontheboard
compliments from that entire gig times before I understood @Frisco_Butch
when I went there last week, and it [Future Rock: Speeding
Im playing againthis Sunday. Down the Modal Interchange @premierguitar
Thanks for putting that Highway, September 2015]. @mondocongo
information out therethat is a That makes it my favorite lesson An EHX treble booster
fantastic sound that really grabs so far this year. You explained was my first pedal,
peoples attention, and it isnt that a lot of what I wasnt getting but I wish Id bought
hard to do, once you get it. Cool! about Scott Joplins rags. A real a MXR Distortion+
Joel Baechle, Jackson, California plateau-buster. when it came out the
TRVolk, via premierguitar.com next year!
We are You @Red_Shoemaker
I hadnt heard of these guys Some Advice
A Lesson in the before this article [METZ: Alex Who the hell does Al Di Meola
Key of Kora Edkins Relentless Aggression, think he hiswho died and
Its funny that you would have September 2015]. Thanks for made him king [Al Di Meola:
the article and demos about the making the introduction. They The Mixer, October 2015]?
Kora now [World Gone Shred: remind me a little of Drive Like For making an absurd comment
Kora Power!, August 2015]. I Jehuwhich I almost never find about Jeff Beck he probably
heard acoustic performer Walter myself saying. This is pretty sticks his nose up in the air at
Strauss mention it a couple of exciting, if youre me. Zappa, too. Well Al, give a listen
years ago with Alex de Grassi at a Nik Farr, via premierguitar.com to Dont Eat the Yellow Snow.
house concert in Ukiah. I figured Jim Porter, via premierguitar.com
out that it must be what I hear on Morse Code
the Paul Simon albums Graceland I just wanted to leave a quick Correction
and The Rhythm of the Saints (plus note. I watched the Rig Our October 2015 Slayer feature How to get the Raw
guitar and thumb piano). Then, I Rundown that Tessa Jeffers did included some mistaken gear Power sound: 1) Turn
heard the Fathers and Sons band with Steve Morse on YouTube, information. Gary Holt has the gain up to 10.
(a spinoff of Dark Star Orchestra) and I was extremely impressed been an exclusive ESP endorser 2) Record it with the
at Terrapin Crossroads do Paul with her level of knowledge of since late 2014. We apologize for preamp volume on
Simons The Boy in the Bubble not just guitars and setups but any confusion. 10. 3) Turn the mixer
on July 18, after blues-ing it up also how they interact with the volume up to 10. 4)
just a little so they could play it rest of the band and venues. Keep those Turn everything up a
as a 5-piece. I was first in, front Quite a few times I noticed, she comments coming! bit. 5) Turn everything
row, dead center, watching. And finished Steves sentences and Please send your suggestions, up a bit more. 5) Keep
that inspired me to try playing it helped him along and she was gripes, comments, and good words going. 6) Done.
two weekends ago at a Farmers always right on. Steves a talented directly to info@premierguitar.com.
Charly Rabbitt
premierguitar.com
CONTENTS November 2015
ARTISTS
48
Gary Clark Jr.
The innovative
bluesman says he wasnt
made for these times.
65
Iron Maiden
Adrian Smith, Dave
Murray, and Janick
Gers find magic in the
moment.
81 37 117 133 145

The Dead Israeli Luthiers Soldering 101 Potentiometer Strat Pickup
Weather Despite limited Learn to solder like & Cap Swapping Roundup
Dean Fertita and resources, lutherie has a pro in this easy-to- Frank Falbo shows you We test five high-end
Jack Lawrence discuss caught on in Israel and follow, visually guided how to tweak your tone sets in a carefully cali-
Dodge and Burn. the scene is growing. demonstration. for next to nothing. brated guitar.
91
REVIEWS
Eagles of Ive noticed
Death Metal
166 EarthQuaker Devices Park Fuzz Sound
that the longer
Jesse Hughes on the 166 MXR M238 ISO Brick my beard gets,
grooves he makes with
friend Josh Homme. 167 Ultimate Ears UE 7 In-Ear Monitors the better
167 Maxon BD10 Hybrid Bass Driver my builds.
Benjamin Millar,
169 Peavey 6505 MH
103 Israeli Luthiers, p. 37
173 Catalinbread Fuzzrite
Mary Halvorson
A Guild, a RAT, and a 176 PureSalem El Gordo
Line 6 DL4 fueled her 179 Mission Engineering Delta III Si
new solo album.
182 Michael Kelly Triad 10E
185 JColoccia Big Cannoli
188 Dean Zelinsky Mule Bass
191 Stomp Under Foot Rhinosaur
premierguitar.com
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before adding it to our collection, so youre always choosing from the best.
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Compare sound, appearance and weight Side-by-side comparisons over the phone
866-926-1923 musiciansfriend.com/privatereserve
On the Cover: DIY MODS IRON MAIDEN DEAD WEATHER EAGLES OF DEATH METAL
NOVEMBER 2015
Gary Clark Jr. with his
NOVEMBER 2015
Gibson SG Standard.
Photo by
CONTENTS November 2015

No Backup Plan
Jon Weiner DIY!
SOLDERING LESSON
POT & CAP TONE TWEAKS
RIG RUNDOWNS
MY MORNING JACKET
& ZZ TOP
12
GEAR REVIEWS
premierguitar.com
+ STRAT PICKUP
ROUNDUP
20 Gear Radar
23 Opening Notes
164 Tools for the Task
194 Staff Picks
206 Esoterica Electrica
208 Last Call
As Stevie Ray GEAR

Vaughan said, 28 Rig Rundowns
Pray through 32 Vintage Vault
your guitar.
34 Bottom Feeder
When words fail,
music speaks. 62 Tone Tips
John Bohlinger,
Last Call, p. 208 HOW-TO
78 Acoustic Soundboard
126 Guitar Shop 101
128 On Bass
130 Bass Bench
156 State of the Stomp
158 Mod Garage
160 Ask Amp Man
Top left: Photo by Rich Osweiler
premierguitar.com
I count on them sounding bright
and fresh, show after show.
I use nothing but Elixir Strings.
- Eric Church
Elixir Acoustic Guitar Strings

Great Tone - Long Life

Guitarists choose Elixir Strings Acoustic Phosphor Bronze for their
distinctive tone full of warmth and sparkle, together with the extended
tone life that they have come to expect from Elixir Strings.
Elixir Strings is the only brand to coat the entire string, protecting not
only the outer string surface but also the gaps between the windings.
As a result, Elixir Strings retain their tone longer than any other string,
uncoated or coated.*
Eric Church plays Elixir Strings

www.elixirstrings.com/phosbronze Acoustic Phosphor Bronze
*Elixir Strings player survey
GORE, ELIXIR, NANOWEB, POLYWEB, GREAT TONE LONG LIFE, e icon, and other designs are trademarks of W. L. Gore & Associates. 2015 W. L. Gore & Associates, Inc. ELX-384-R2-ADV-US-JUN15
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FUTURE ROCK
Intervallic Intuition
By Nili Brosh
ACOUSTIC ADVENTURES
A Twist on the Traditional
By Dustin Prinz
Steve Vai Takeover WORLD GONE SHRED
At this point in his 30-year career, theres not much about Steve Vai that hasnt been covered before. Sarod Madness
Luckily, some of our more astute Facebook fans kept Vai busy for nearly two hours as he took over By Jared Meeker
Premier Guitars Facebook page to field questions. The guitar guru was extra candid, opening up COSMIC COUNTRY
about a smorgasbord of topics ranging from the influence of his former boss Frank Zappa, to some Get Rhythm!
setlist spoilers for his upcoming Rock in Rio gig, to the bee colony that Bette Midler gave him. And By Daniel Donato
just so you know, Vais 10-hour guitar workouts are a thing of the past. If I still did those, I would
BEYOND BLUES
be as good as some people think I am, he says. Check out highlights from Vais expansive Q&A in Scott Henderson
our feature 10 Things We Learned from Steve Vai online now at premierguitar.com/nov2015. By Levi Clay
NEW FOOTAGE
Double-Stop It!
In our video series, What Bohlinger Plays
Premier Guitars Nashville correspondent
John Bohlinger reveals his personal playing
tips and tricks in short, bite-sized lessons. In
the latest installment, the Lee Brice sideman
pairs a hybrid-picking technique with
sophisticated sounding chromatic-scale moves
you can easily move around the fretboard in a
variety of styles and keys. Go watch Hybrid
Pickin Double-Stoppin Chromaticism right
now to see what one PG subscriber called
full-on sickness.
premierguitar.com
APOCALYPSE
A lethal convergence of aggressive looks and sound!

The unique tri-field design of the Apocalypse-VI combines Alnico-V with dual flanking Ceramic-8s, thus yielding
overwhelming power across the entire sonic range of your instrument. It can be extremely loud and robust,
without sacrificing clarity and definition, also available in 7 and 8 string versions.
GUITARDOMS
TOP TWEETS
Can you name an artist that was
broken out by a guitar company?
Nope, me neither.
@DantzigGuitar
Hear them now
www.schecterguitars.com
...In other news heres a jaw dropping

59 Les Paul Reissue.
@_Brendonsmall
Black Sabbaths 2016 farewell tour

doubles as the 16th anniversary of their
last farewell tour.
@greeneandy
Mini-pedal board v1 assembled.

Next step: wiring. @tcelectronic
@jimdunlopusa @ibanezofficial
@Xoticusa
@daveweiner
Listening to Van Halen soundcheck

across the neighborhood with the
windows open. You can tell when it is
Eddie and when it isnt. So great.
@EmilWerstler
premierguitar.com PREMIERGUITAR NOVEMBER 2015 19

GEAR RADAR
New products on the horizon.
5
3
1 2 3 4 5
IBANEZ PURESALEM MOD KITS DIY QUILTER VICK AUDIO
AVC4VMS GUITARS Ring Resonator 101 Mini Head V-2
Part of the Artwood Cardinal Deluxe Packed into a two-pound Built with Bat41 silicon
Vintage Series, this PureSalems newest rock These DIY-enablers now head is a solid-state diodes, a 3PDT true bypass
Grand Concert model n roll machine features a offer an all-analog octave- workhouse that can go up switch, and Neutrik audio
is surrounded with mahogany body and neck, up fuzz that captures to 100 watts on the clean jacks, this hand-wired
mahogany back, sides, and a rosewood fretboard, those quintessential settings. Also included: dirt box is designed to
top along with a bone nut Grover tuners, a Vibrola late-60s psych tones effect loop, headphone replicate the tones of the
and open-gear tuners. trem, and the companys via transformer-coupled jack, and a Tri-Q voicing Cornish G-2.
$600 MSRP custom-wound pickups. germanium diodes. control. $139 street
ibanez.com $1,015 street $75 street $299 street vickaudio.com
puresalemguitars.com modkitsdiy.com quilterlabs.com
premierguitar.com
9
10
6 7 8 9 10
ANALOG ALIEN TC ELECTRONIC AMPEG VENTURA VALVE ERNIE BALL
Joe Walsh RS115 Bass PF-20T AMPLIFIERS MUSIC MAN
Double Classic Cabinet This modern interpretation VVA50 St. Vincent
The first signature multi- This 8-ohm, 600W of the companys classic The 50-watt head is Signature Model
effect pedal from the cab features a warm, low-watt, all-tube design available with either Designed in conjunction
classic rocker combines deep sounding 15" boasts 50 watts via a pair 6L6GCs or EL34s. It has with guitar innovator
the companys Classic driver custom made by of 6L6 tubes and a 12AU7 a 4-stage preamp, a Annie St. Vincent Clark,
Amp circuit with a natural- Eminence. The RS115 pairs preamp tube. switchable boost, and it features a trio of mini
sounding compressor. perfectly with other RS $1,260 MSRP it comes with a limited humbuckers, a 5-way
$299 MSRP cabinets via TCs vertical ampeg.com lifetime warranty. switch, and Schaller
analogalien.com stacking concept. $1,299 street locking tuners.
$599 MSRP vvamps.com $1,899 street
tcelectronic.com music-man.com

READER GUITAR
OF THE MONTH
Name: Charlie Johnson

Location: Lusby, Maryland
Guitar: Hallmark Swept-Wing
Charlie Johnson acquired his

Hallmark Swept-Wingwhich
he nicknamed Ginger after the
Gilligans Island redheadvia
Craigslist in 2013. The story
starts with an MIJ Fender Jaguar
that made its way through a
couple of my friends who couldnt
get past the troublesome bridge,
Johnson shares.I received it as
a birthday present and I fixed
the bridge issue, but it just never
grew on me. I decided to put it
on Craigslist for sale/trade to see
what I could get.
Johnson received a
response proposing
a trade for this
futuristic-looking axe.
I had to have it,
he says. The guitar
had a string missing,
but Iknew there
wassomemojo there.
I took it home, set it
up correctly, and voila!
I played it at myband
Dont Call Me Shirleys gig
thatnight!
The story gets deeper:
The guitars former owner
had previously found a beat-up,
unplayable 1960s Swept-Wing at a yard
sale. He contacted Bob Shadethe man
who resurrected the brandin Greenbelt,
Maryland which is about 1.5 hours from
where I live, Johnson says. Bob traded
him this new one for the old one.
Johnson says his guitar is one of a limited
run of 10that Hallmark made in orange
sparkle.The 25.5"-scale guitar has 23 frets
and features a mahogany body,maple
neck, rosewood fretboard, and custom Bob
Shade hardware.Its meant to be a surf
guitar, but Ive played just about every
style of music with it. The custom pickups
cut through any mix and the neck is as
comfortable as it gets.Great craftsmanship
from Hallmark all around!
Send your guitar story to

submissions@premierguitar.com.
premierguitar.com
22 VintageKing_PG_0615_Guitar_PRINT.indd
PREMIERGUITAR NOVEMBER 2015 1 6/16/15 11:45 AM
OPENING NOTES
Matt Mason
August 9, 2015
Golden Gate Park
San Francisco, CA
Photo by Rich Osweiler
The DMAs lead guitarist gets

the final day of San Franciscos
Outside Lands festival rolling
with his current No. 1 thats on
loan from Gibsons New York
HQ: a stock (sans the removed
pickguard) 2007 ES-339 with a
fat, 50s-style neck.

OPENING NOTES
Jason Isbell
August 12, 2015
The Wiltern
Los Angeles, CA
Photo by Lindsey Best
The alt-country rock stalwart

brings the goods with his
numero uno, the 2011 all-stock
Duesenberg Starplayer TV
goldtop he favors for its excellent
playability, Bigsby-style vibrato,
and pickup configuration. I love
having a bright, fat single-coil in
the neck and a hot humbucker in
the bridge, Isbell tells PG.
premierguitar.com
OPENING NOTES
Marcus Mumford
August 7, 2015
Golden Gate Park
San Francisco, CA
Photo by Rich Osweiler
The Mumford & Sons frontman

fires up an Outside Lands crowd
while armed with one of his two
main Martin D-28s. Mumford
calls this particular dread Ashley,
and its outfitted with a Fishman
Rare Earth Humbucking pickup
and set up to accommodate his
playing style, which his tech
describes as hitting the strings
incredibly hard with low tunings.

OPENING NOTES
Kevin McKeown
July 31, 2015
Grant Park
Chicago, IL
Photo by Chris Kies
The guitar half of duo Black

Pistol Fire takes flight during
their Lollapalooza set with his all-
original 89 Epiphone Sheraton
II. McKeown loves its humbucker
sound and tells PG, It was my
first guitar I ever bought with my
own moneygot it at a vintage
guitar store in Toronto with my
pops when I was about 16 or 17
years old.
premierguitar.com
RIG RUNDOWNS
Dusty Hill and Billy Gibbons
ZZ TOP FACTOID
In 1968 Hendrix
gave Gibbons a pink
58 Strat as a token
of admiration.
The kings of Texas
boogie, ZZ Tops
Dusty Hill and Billy
Gibbons, have used
many of the same
pieces of gear for
decades, but PGs
Tessa Jeffers recently
met up with their
longtime tech,
Elwood Francis, to
get the scoop on
whats new.
GUITARS & BASSES

Top: Dusty Hills new
No. 1 bass matches Billy
Gibbons No. 1 guitar, and
both are chambered John
Bolin creations. The new
designs are called the
Peeler guitar and bass,
because of the paint-
peeling look, which is a
laminate sticker design
that was inspired by the
peeling finish of a flood
damaged 56 Precision
bass. All of Hills basses
are 50s slab-body
Precision basses that
feature Babicz bridges
and stacked Seymour
Duncan Precision reissue
pickups. The bridge
pickup in Gibbons
T-style is a Cream T
Billy Gibbons signature
Banger and Mash.
Bottom: As a gift for

Hill, Francis custom-
painted a mural of Hills
hero, Freddie King, on
the back of this bass.
Francis outfitted the
bass with knobs from an
old camper, and Francis
daughter found some
rusted metal for the
pickguards. Francis says
a future project might
be painting a B.B. King
guitar for Gibbons.
premierguitar.com
GUITARS & BASSES
CONTD
Far left: The newest
guitar in Gibbons
arsenal is this
chambered T-style
made in tandem with
luthier Charles Whitfill.
The pickups are made
by Onamac Windery,
both the visible one in
the bridge, and a hidden
pickup near the end of
the fretboard.
Left: Gibbons current

encore guitar is Lil
Red, a 61 Reissue
Les Paul SG with a
disconnected sideways
tremolo. Francis says he
disabled it because its
a tuning nightmare, but
he left it visually intact
for the mojo. The bridge
pickup is a Seymour
Duncan Pearly Gates
and the stock neck
pickup is disconnected.
Gibbons uses his
signature Dunlop Rev.
Willys Mexican Lottery
strings (.007, .009, .011,
.020, .030, .038) on all
of his guitars.
PEDALS
The few pedals Gibbons
currently uses live
include an MXR Bass
Octave Deluxe, an MXR
Carbon Copy for slap
delay, a Tech 21 MIDI
Mouse, and a Peterson
tuner. A Jimi Hendrix
Octavio Fuzz runs
through the Boss GE-7
Equalizer separately on
one channel.

RIG RUNDOWNS
Carl Broemel
MY MORNING JACKET FACTOID

In 2007, Broemel
made Rolling
Stones list of 20
New Guitar Gods.
Premier Guitars
Perry Bean met
with MMJs Carl
Broemel before the
bands Nashville
date in support of
their latest album,
The Waterfall, to
get the latest on
their road rigs.
GUITARS
Top left: Broemels No.
1 is his 1988 Gibson
Les Paul Standard with
an added Bigsby and
Gibson P-94 in the
neck. All of his Gibsons
are strung up with
DAddario 115s.
Top right: This semi-

hollow Duesenberg
Starplayer TV was
obtained right before
the band started to
work on Circuital. And
all his Duesys are
loaded with DAddario
Light Top/Heavy
Bottoms EXL140s.
Bottom: When
Broemel wants a more
rocking version of his
Starplayer he reaches
for this Duesenberg
Caribou.

AMPS
Broemel normally uses
a Carr amplifier but
while the Carr is in the
shop, hes switched
to a 70s-era Fender
Princeton, which he
runs into a Mesa/
Boogie 2/12 cab with
Warehouse Guitar
Speakers 75-watt
ceramic speakers.
PEDALS
Middle: Broemels
board is clean,
stacked, and packed
with goodies. The
control center is a
GigRig G2 switching
system that lets him
control a number of
different settings
and combinations
depending on the
song. His board also
includes an Analog
Man CompROSSor, TC
Electronic PolyTune
Mini, Hudson
Electronics Stroll On,
Spaceman Saturn V
Harmonic Booster,
Fulltone Full-Drive
2, Boss RV-5 Digital
Reverb, Empress Tape
Delay, SIB Mr. Echo,
Electro-Harmonix POG2,
Fulltone Supa-Trem, an
Ernie Ball volume pedal,
and a pair of Eventide
H9s. (One H9 routes to a
separate MIDI controller
and the Boomerang
Wholly Roller.)
Bottom: For his pedal

steel musings, Broemels
board includes a Hilton
Electronics volume
pedal, Sarno Music
Solutions Steel Guitar
Black Box, MiniMoog
MF Delay, an Eventide
ModFactor, EarthQuaker
Devices Dispatch
Master, and a Durham
Electronics Sex Drive.
He controls all the
effects via a Voodoo Lab
Pedal Switcher.

premierguitar.com
VINTAGE VAULT
1948 Gibson L-5 Premiere Natural

BY DAVE ROGERS, LAUN BRAITHWAITE, AND TIM MULLALLY
W
ith their carved tops and to L-5C (for cutaway). Due to a postwar The current value for one in excellent all- Opposite page:
backs, Orville Gibsons ebony shortage, the fretboard on this original condition is $12,500. This 1948
fretted musical instruments example is Brazilian rosewood. Regular use Sources for this article include The Gibson L-5
boasts a carved
were inspired by the construction of ebony for L-5 fretboards commenced Gibson L-5: Its History and Its Players spruce top and
methods used for violins, and by the late again in 1950. The rest of the guitar has by Adrian Ingram, The Gibson Super figured maple
1890s his groundbreaking designs had traditional L-5 features, including a carved 400: Art of the Fine Guitar by Thomas back and sides.
brought the company he founded great spruce top with single-ply bound f-holes, A. Van Hoose, Gibson Shipment Totals
Below:
success. Lloyd Loar, Gibsons acoustic figured maple back, rim, and neck with 1937-1979 by Larry Meiners, and Gibson
This 48 L-5
engineer, took Orvilles inspiration a step multi-ply binding, gold-plated Kluson Guitars: 100 Years of an American Icon by is one of the
further in the early 1920s by designing Sealfast tuners, and a gold-plated Art Walter Carter. last to sport
a family of high-quality instruments Deco tailpiece. Gibsons prewar
with violin-style f-holes. This Master From the time of its introduction in 1922 script logo.
DAVES GUITAR SHOP
Model group created by Loar and his until today, the L-5 has been considered one Dave Rogers collection is tended by Laun Braithwaite
and Tim Mullally and is on display at:
team included the F-5 mandolin, the H-5 of the finest jazz guitars. Jazz greats Eddie Daves Guitar Shop
mandola, the K-5 mandocello, and the Lang, Allan Reuss, and Wes Montgomery 1227 Third Street South
La Crosse, WI 54601
L-5 guitar. played versions of this classic model. davesguitar.com
The first 16"-wide L-5s were made Gibson shipped 21 L-5CN guitars Photos by Mullally and text by Braithwaite.
at the end of 1922 and received similar in 1948. The 1949 list price was $465.
decorative adornments to the F-5,
including the famous flowerpot headstock
inlay. The 16" L-5 began to change
subtly after Loar left the company in
1924, with the most obvious cosmetic
difference being the addition of pearl
block fretboard inlays replacing the
original plain dots. The L-5 evolved from
its original 16" width to its current 17"
width in 1934 in response to Epiphones
line of Masterbuilt archtops. Epiphones
high-end models measured 16 3/8"
wide at the time, so Gibson retaliated
by widening its leading archtops (and
unveiling the 18" Super 400). Another
innovation (besides offering a natural
finish option) occurred in 1939 when a
rounded cutaway was added to the body
on the treble side to allow easier access
to the higher frets. The L-5 Premiere was
such a hit that the standard non-cutaway
L-5 was discontinued by 1958.
World War II nearly brought guitar
construction to a standstill while the
Gibson factory concentrated on the war
effort. Full production was not resumed
until 1947.
The L-5 featured this month was
made at the end of 1948, and is among
the last to have the prewar script logo on
the headstock. The inside label still reads
L-5P, which by 1949 would be changed

BOTTOM FEEDER
To hear this guitar,

head online to
2001 Epiphone Firebird VII premierguitar.com
BY WILL RAY
O
ddly enough, Ive never owned It rang out nice and strong and for a
a Firebird. I suppose I just solidbody, it had a nice acoustic tone. I
never cared for the shape and plugged it into the Vox DA-5 portable
the pickups, which are usually mini- amp that greets every new guitar in my 1
humbuckers. But a while back I was house. The neck and bridge pickups
doing an eBay search for Epiphone guitars both sounded pretty good, but bringing
and ran across this one (Photo 1). Its a in the middle pickup seemed to throw
2001 Epiphone Firebird VII 63 Reissue everything out of phase.
in vintage sunburst. But heres what
interested me: Someone had swapped out
the original gold mini-humbuckers for Of all the pickups from
black dog ear P-90s.
Of all the pickups from the Gibson
the Gibson side of the fence,
side of the fence, P-90s are my favorites.
Theyre fat-sounding single-coils with
P-90s are my favorites. Theyre
a nice midrange bark. So when I saw fat-sounding single-coils with
this Firebird, the picture spoke to me.
Something about the tobacco sunburst a nice midrange bark.
with gold Vibrola and hardware, reversed
headstock, and the look of three P-90s just I could have whined to the seller about
wowed me. Its one of those things you the wiring, but the guitar does exactly what
cant explainguitar love at first sight. I need it to do. Besides, if I turn the middle
The only bad thing was that the pickup down (each pickup has its own
previous owner had done a rather poor volume control) and just use the selector
job enlarging the pickup cavities for the switch like on a normal two-pickup guitar, I
P-90s and had gouged the wood in a few get my main sounds. Down the road when
places around two pickups (Photo 2). I have more time, Ill reverse the wiring
I figured once the guitar was onstage, of the middle pickup, which I suspect
no one would ever see the damage, so I is simply out of phase. Until then, the
decided to keep an eye on it. At the last Firebird works just fine with the two main
minute I sniped it, winning it for $340 pickups: neck, bridge, and both.
plus $45 shipping. The price was a bit Bottom Feeder Tip #235: Pick
above my usual bottom feeder range, but your battles. If a guitar is inside your
something told me to go for it. acceptable zone and you really like it,
I received it a week later. After let little things slide.
carefully unpacking it, I just sat and So is it a keeper? Yeah, for now, because
stared for a moment at the beauty of it has a nice Gibson P-90 sound, plus it
the guitar. Then I played it unplugged. just looks cool! What else is there?
WILL RAY is a founding member

of the Hellecasters guitar-twang
trio. He also does guitar clinics
promoting his namesake G&L
signature model 6-string, and
produces artists and bands at his
studio in Asheville, North Carolina.
You can contact Will on Facebook
and at willray.biz.
premierguitar.com
I N N O V AT I V E
SOUND SHAPING
QUALITY
WALRUSAUDIO.COM
premierguitar.com
BUILDER PROFILE
Despite limited resources, lutherie has sprung up

in Israeland the scene is growing.
BY TZVI GLUCKIN
I
sraelthe land of milk, honey, and guitar building. Obviously.
Modern Israel isnt what most people expect. It isnt a backwater of biblical ruins, a desert
wasteland, or what you see in the news. Israels cities are diverse, cosmopolitan, and multicultural.
They support a thriving and eclectic music scene and produce some of the worlds top artistic talents.
A small clique of repairmen and techs services Israeli musicians. They make
modifications, suggest improvements, repair damage, service instruments,
andin a somewhat recent phenomenonbuild new guitars.
Tsahi Grimberg, an Israeli guitarist, technician, and builder, introduced
Premier Guitar to the Israeli luthier scene. Over the last 10 years, a lot of
people have started building guitars, he says. Israel has a very small market
and some of these guys do great work. But they dont get any exposure.
The Israeli scene is hyper-innovative, diverse, eclectic, and growing. Its
Tsahi producing quality, high-end instruments, but its also a tight-knit scene.
Grimberg, According to Grimberg, Its one big family. Everyone knows each other and
an Israeli hands off clients to each other.
guitarist,
technician, Premier Guitar spoke with a number of these Israeli builders to find out
and builder. more about whats happening in guitar on the other side of the planet.

Yaron Naor Guitars
I worked in industrial
design, Naor tells Premier
Guitar. I was supposed to
solve these problems. I dealt
with the interface between the
machine and the operator. I
Right: Luthier Yaron Naor lives and builds guitars in Bat thought about ergonomics. I
Yaron Naors Hefer, an Israeli village north of Tel Aviv made things comfortable. He
bracing is
inspired by and inland from Netanya. did that for machines, so why
the tree leaf. Naors guitar designs are quite not for guitars? So he decided
You have the innovative. Radical bracing, floating to build one.
main vein in fretboards, unorthodox soundhole It helped that his hobby
the middle,
placement, and other features are was woodworking. I
he says. It
has joints and attracting the attention of musicians and spent a lot of time in New
branches that builders alike. England for my job in high
grow off Naor builds acoustic and electric tech, he says. But I spent
the stem. guitars, including bodiless, electric most of my time traveling
versions of traditional acoustic to woodworking shops in
instruments, Baroque and Renaissance- Massachusetts, New Hampshire, and His original design had an unusual
era instruments, and new-fangled Maine. He took classes. He talked shape, but was otherwise a standard guitar.
contraptions, such as an electric to people to learn what they did. He I only changed the shape of the soundhole,
mandola-oud and a double-neck 9-string accumulated a wealth of woodworking contour, and shape of the headstock, he
mandolin joined to an 11-string fretless know-how and even had a woodworking says. I didnt make any changes to the
guitar. His innovations arent just merely studio in his house. structure, design, or the inside.
cosmeticthey aim to enhance the He knew how to work with wood But some things about traditional
instruments tonal characteristics, boost by building cabinets and furniture, guitar design now bothered Naor, quirks
dynamic performance, and improve but woodworking and guitar building that most people dont question. He
playability. They make ergonomic are different crafts. Naor didnt know thought the soundhole was a problem.
sense, and he says some of them project much about guitar construction and he The guitars top, the soundboard, produces
significantly louder than other guitars. wasnt about to take a luthiery course in the guitars sound. Its similar to a speaker
Naor is Israels most innovative builder, Cremona, Italy (home of Stradivarius and cone. You wouldnt cut a hole in a speaker,
says Grimberg. the mother of modern luthiery). So he so why cut a hole in the middle of the
But guitar building wasnt always on read books, watched a few videos, and soundboard? He asked other builders,
the radar for Naor, who studied industrial got to work. but no one had a good answer. It was just
design at university and worked in high His friends, ever the cynics, told him something you did: The guitar has a hole
tech for 19 years. He bought his first it would take a year to build a guitar and in the middledeal with it.
guitar when he was in his early 40s it probably wouldnt work. He finished in Worse, that hole weakened the top
(hes 51 now). He wasnt interested in three months, andsurpriseit worked! and necessitated additional bracing to
becoming a virtuoso: He just thought it Not only that, it sounded great. keep the instrument from collapsing.
would be fun to strum chords at night People said, This guitar sounds Most builders use an X-shaped brace, but
around the campfire. fantastic, Naor remembers. They asked Naor doesnt like it. He feels the X-shape
But Naor likes to tinker. He noticed me, Who built this? And I said, Me. isnt an organic brace found in nature and
that his guitar wasnt perfect. It bothered He built four or five guitars based on his it offends his aesthetic sensibilities.
him that his forearm stuck to the upper original designs, first for friends and then Another problem was that most
bout when strumming and that its edge for clients. It was something he did at builders glued the part of the fretboard
left an annoying indentation in his skin. night after work. He didnt quit his job in that extends past the joint where the neck
And the neck bothered him toohe high tech yetbut he didnt have time to is attached directly onto the soundboard.
thought it was too thick. make furniture anymore. That doesnt make sense either, Naor
premierguitar.com
38
TRANSITIONING BETWEEN TONES
Nadav Bachar is an Israeli multi-instrumentalist who plays the guitar, oud,
and other Middle Eastern instruments. His music often necessitates switching
instruments mid-song. That can be confusing, especially since the instruments
are tuned differently. He needed an instrument that would let him transition
between sounds more easily, with at least two necks in standard guitar tuning,
but designed to mimic the timbres of the oud and other non-guitar sounds.
Bachar heard that Yaron Naor did good work and that his prices were
reasonable. They met, discussed the instrument, felt a connection, and decided
to give it a try. I explained my fantasy and he told me what he could do,
Bachar tells Premier Guitar. Naor explained the different obstacles he would
have and what was possible and what wasnt.
They built a doubleneck 9-string mandolin/11-string oud. The upper neck, the
mandolin, is tuned EADGB and except for the low E, the upper four strings
are doubled. The lower neck, the oud, is fretless and tuned like a standard guitar.
The upper five strings are doubled (not in octaves like on a 12-string guitar but in
unison like on an oud). Each bridge has an under-saddle piezo pickup.
Naor had to experiment to get the bracing right. The tension of 20 strings
is very strong, and we didnt know what it could handle, Bachar says. It took a
few attempts to figure that out. It also took a few live performances to settle
on the best way to configure the pickups. Each neck can be isolated or ring in
sympathy with the other.
You need to be crazy if you want to build that kind of instrument, Bachar
adds. Its an adventure. You dont know what is going to be.
But it seems to have worked out for everyone involved. The result is a
typical Naor creation: leaf bracing, easy to play, minimal ornamentation.
Search YouTube for Nadav Bachar Yaron Naor to see this
According to Bachar, it has a full, rich sound andunlike most fretless guitars
special instrument in action. the fretless neck boasts warm tones and significant sustain.
says. Gluing the fingerboard to the He ran a few tests. He recorded

soundboard is like sticking your finger on samples, uploaded them to a sound-editing
the speaker cone. You wouldnt do that. program, and compared them to samples
His interest piqued, he got to work. of other instruments. According to his
He examined natural membranes. He measurements, his guitar was 30 percent
looked at tree leaves. He collected about louder. It had better sustain, too. And it was
100 leaves, dried them, scanned them, a better sustainthe pitch stayed stable and
and looked at them in Photoshop. I didnt warble or go flat as the note lingered.
tried to find the repeatable pattern that Plus, his guitar was comfortable and easy
you see in a leaf, he says. A leaf is an to play. It was properly balanced. He even
example of natural bracing. You have the rounded the upper bout so it didnt dig into
main vein in the middle. It has joints and his forearm.
branches that grow off the stem. That experimental guitar was a
Naor wanted to try some of his watershed for Naor. He took those
ideas so he built an experimental guitar, insightsleaf bracing, floating fretboard,
developing a bracing system based on unorthodox soundhole placementand
the bracing he noticed in these leaves. applied them to other instruments. He
He created a fretboard that floats over built ouds, mandolins, mandolas, classical
the soundboard instead of touching it. guitars, and more. The results were the
He made the guitar in the shape of a same: louder, more and better sustain,
teardrop and put soundholes in the upper easy to play. He was onto something. His
and lower sides, near the neck joint. design aesthetic is most noticeable on
And he added a woodblock to make the fretless instruments, which often produce
instrument easy to play when seated. a quiet thud. Naors fretless guitars have
premierguitar.com
40
increased sustain, volume, and full-
bodied resonance. Gluing the fingerboard
Naor quit his high tech job in 2009 to the soundboard is like
and now builds guitars full time, working
alone to produce between 20 and 24 sticking your finger on the
handmade instruments a year. He usually speaker cone. You wouldnt
works on two or three instruments
at a time, and one of those is usually do that. Yaron Naor
experimental. He doesnt have an assistant
or an apprentice (though he does have made it difficult to play quarter-tones.
students) and he hopes to keep it that way. Naors solution was the mandola-oud:
He builds his own jigs, bridges, a mandola (an alto mandolin, tuned a
and wooden tuners for his Baroque, fifth lower) but fretless and with a ninth,
Renaissance, and traditional instruments. undoubled bass string like an oud. The
I make everything except for the strings mandola-oud is electric and bodilessit
and the machine heads, he says. His has just the wood outline of an oud
aesthetic is minimal and his instruments bodywith a piezo pickup under the
have almost no ornamentation. I like bridge. The result is a rich, full-sounding,
to keep it simple. I dont like binding. adaptable instrument.
I dont like glue filling. He doesnt do Naor uses spruce tops for his
fancy inlays either. acousticsany spruce will doand
Naor also builds radical electrics isnt picky about the woods he uses for
guitars. In addition to solidbody electric the bodies and necks. He cant be, since
guitars (including the Fenderson: Strat- most woods have to be imported into
style body, two humbuckers, and a Les Israel. When he traveled for his high-
Paul-scale neck), he builds bodiless tech job, he bought his wood overseas,
electric versions of traditional Middle but today he orders it online.
Eastern instruments and innovative He says his biggest setback is Israels
hybrids. One example is a solution he isolation. If I lived in the States, I
devised for Israeli mandolin virtuoso would have a waiting list, he says. I
Yaki Reuven. dont have that in Israel. The market just
Reuven found it a challenge trying to isnt big enough.
blend the mandolins high register in an Despite that challenge, Naor is a full-
ensemble of traditional Middle Eastern time builder who has the freedom to
instruments. It was too shrill, and the frets innovate and experiment.
premierguitar.com
42
Reverberation Machine Mini-Ultimate Overdrive Analog Octave Up Dual Resonant Filter
Hand Made Effects Pedals | www.earthquakerdevices.com

Bloody Johny Guitars
New York where everyone is formal, he

says. Israel is informal and its an easy
way to get things done.
Tsfatys first meeting with a customer
is like a hangout: They listen to music,
drink coffee, and talk guitars. Next, he
watches the customers play, observing
Johny Tsfaty Johny Tsfaty is Bloody Johny Guitars. His how they sit and hold the guitar. He
only builds instruments have radical shapes, unusual looks for quirks and idiosyncrasies
what he wants.
inlays, LED-illuminated fretboards, an and tries to understand his customers
If a customer
really wants a ber-hip ox skull logo, and are available playing style. He makes a mock-upa
Les Paul, Johny in colorful and diverse tonal choices. first draft of the designand uploads
wont build Tsfatys customers tend to be metalheads that to his computer. They email back
it, says Tsahi and bass-thumping funkateers, though he and forth, discuss the instrument, make
Grimberg. He
tells him where says hell build anything for anyone. improvements, and meet a few more
he can get a His instruments arent all about times. The process takes about three
Les Paul. looks thoughTsfaty wants them to be weeks. Once I have the simulation and
versatile, playable, and personal. The full specs, then I start building, Tsfaty
hallmark of Bloody Johny Guitars is his says. I argue with my customers, too,
distinctive, one-of-a-kind stamp. I create if its what is best for the instrument.
solutions and solve problems, Tsfaty Though they dont always agree with me.
tells Premier Guitar. I build something Tsfatys instruments are handmade. He
unique, tailor-made for that customer. uses electric tools for the obvious stuff
Tsfaty got his start winding pickups, cutting the rough body shape, routing the
but found that work to be monotonous. cavity for the electronicsbut otherwise
(Or as he put it, I got really bored he uses manual tools: planes, knives,
winding pickups.) He learned carpentry chisels. Working this way is best for a
as a kid and had a knack for it. I played small shop like mine, he says. I have
in a band and loved the guitar, he says, the most control. In a big factory, making
but I realized that my contribution thousands of instruments, a glitch isnt
was going to be as a craftsman, not as a a big deal. You can just discard it. But I
performer. dont have that luxury.
He decided to give guitar building a Like other Israeli builders, Tsfaty cant
shot. He read Building Electric Guitars by be too picky about wood. Basic woods
Martin Koch and got to work. He also such as mahogany, maple, walnut are
befriended Herzel Raz, known as Israels available, as are some African woods. But
guitar doctor and a legend within Israels exotic tone woods and figured woods are
insular circle of guitarists, repairmen, and rare and cost a fortune to import. Just the and even send each other business. In a
builders. Tsfaty showed Raz his guitar at raw wood can cost $250, says Grimberg. way, those limitations give them freedom.
different stages during the build, and Raz Scarcity and limitations of materials Johny Tsafty only builds what he wants,
offered advice and encouragement. That is a big challenge, but not the biggest Grimberg says. If a customer really wants
first guitar was a success. I thought it one. Tsfaty finds that Israels small music a Les Paul, Johny wont build it. He tells
was going to be a disaster, he says. But scene makes it difficult to earn a living him where he can get a Les Paul.
it wasnt. My friends kept borrowing it. just building instruments. Most take Tsfaty only builds about six guitars
Theyre still borrowing it. other work doing setups, repairs, and a year, and the customer is involved
He built guitars for friends, his friends mods. And some builders have day jobs in every step of the process. Im not
told friends, and soon Bloody Johny (Tsfaty builds cabinets). selling a guitar, Tsfaty adds. Im selling
Guitars was open for business. Tsfatys But despite this, the scene isnt a relationship. I have a lot of musician
business model is casual. It isnt like cutthroat. Israeli builders stick together friends now.
premierguitar.com
44
Benjamin Millar Guitars
choose to use doublenecksbut he also situations, we find solutions, Grimberg

wanted to preserve the integrity of an adds. But that may mean building your
acoustic bouzouki alongside a solidbody own tools. You have to be creative.
electric. Millars creation does just that: Millar is optimistic. He has a great
A traditional, acoustic bouzouki is fused reputation for building high-end
to a solidbody electric. The instrument instruments, and his business is growing.
looks like a normal doubleneck from Plusand he thinks this is significant
Right: One Benjamin Millar Guitars is based in behind, but two separate instruments hes growing a healthy beard. Ive
of Benjamin Givatayim, a city just east of Tel Aviv. from the front. noticed that the longer my beard gets, the
Millars
more radical
Millar has a small shop where he does The first Bouzoukitara was built in better my builds.
designs is the repairs, mods, and setups, but building 2011. After a few years of use live and
YS-II. Its a is his passion because he likes pushing in the studio, Sassi wanted an upgrade.
bouzoukitara himself. He builds instruments that The next generation, the YS-II, is a
a doubleneck other builders wont attempt and his leaner, meaner Bouzoukitara. Its smaller,
bouzouki/guitar
created for clients include Oriental rocker Yossi lighter, thinner, and easier on the body.
musician Sassi and bassist Or Lubianiker (Marty Millar set the different necks at different
Yossi Sassi. Friedman, Gus G.). angles. He sloped the upper bout
Millar started out in the early 2000s. inward, making it easier to pick. He also
He was in a band and one of their upgraded the electronics to give Sassi
guitars needed work. I made a few more sonic control.
modifications, he tells Premier Guitar. Millars instruments are handmade
I made a few weird mistakes, too. and he works alone, but he finds the
He worked in piano restoration, a job environment stimulating. When you
that gave him access to a workshop build a completely new instrumentan
and tools, and took a guitar-building instrument that doesnt have a reference
program at the Algranati School, a one- modelyoure the only one who can say
year luthiery course based in Ramat if its good or if you should wait, he says.
HaSharon. The teachers at Algranati liked Its a constant mind struggle. But thats
Millar and hired him to do setups and why I like thisyou dont stagnate.
repairs after he completed the program. He likes building the guitars, but he
Between piano restoration and working doesnt like ordering materials. Waiting
for Algranati, Millar honed formidable for parts creates an unnatural lull. You
guitar-building chops and went solo in agree to a design, you collect the money,
2009. He opened his small shop, kept you place the order, and you wait, he
doing repairs, and built a few instruments says. How long is up to the Israeli postal
for friends. In the past five years, hes service. It can be a slow process.
built up a base of clients. Millar also has trouble getting
One of Millars more radical designs equipment. Guitar-building tools are very
is the Bouzoukitara, a doubleneck specific and not available in a small market
bouzouki-guitar combo he built for Yossi like Israel, and taxes and tariffs can often
Sassi. Sassi often switches instruments double the price. Millar makes do, but
mid-songa reason many people some Israeli builders improvise. For most
The Future
The guitar-building community in Israel is relatively small. Israeli luthiery is in its infancy, says Naor. We dont have a hundreds-
of-years tradition. But Israel is catching up. Israeli builders are innovating, experimenting, and producing quality instruments.
Builders are frustrated by some limitations within their country, but no one is thinking of leaving. Every builder would love to go
to the States because the market is so much bigger, Grimberg says. But we stay because Israel is home.
premierguitar.com
46
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Photo by Jon Weiner
premierguitar.com
At the vanguard of the new blues revival,
Gary Clark Jr. is earning buzz and accolades for
The Story of Sonny Boy Slim. But the innovative bluesman
says he wasnt made for these times.
BY JOE BOSSO
J
ust in case this whole hotshot the Austin native is anything but a engineers, Bharath Cheex Ramanath,
axe-man thing didnt pan out, strict traditionalist, and on the new set Jacob Sciba, and Joseph Holguin.
Gary Clark Jr. had a backup he weaves psychedelic and Delta blues, Its a whole different vibe making a
planmore than a few of chillaxed retro-soul, acoustic gospel, and record on your own than working with
them, in fact. My mother used to say gonzo garage rock into a personal sonic producers, Clark notes. The guys in
to me, What if you cant be a guitarist? tapestry thats as daringly au courant as it the studio would sometimes say, No,
What then? So I told her, If the guitar is classic. dude, that wasnt good enough or That
doesnt work out, then Ill play drums. I love playing guitar, but I get a was cool. Thats the take. We did have
If that doesnt work, Ill play bass. If that lot of satisfaction from playing other those conversations. But I do think
doesnt work, Ill play keys. And if that instruments, too, Clark says. My sister working on my own changes the way I
doesnt work, Ill play trumpet. Or what- started playing drums when I played play a bit. I feel more freeI feel open,
ever. The backup plan was always music. guitar. She kind of lost interest, so there like Im at home. If I can feel completely
There was never any two ways about it. was this nice shiny drum kit waiting for comfortable, like I can take my shoes off,
The funny thing is, Clark made me. I just sat down and figured it out. We thats when I work the best.
good on most of his promises. While he had keyboards in the house, so I started Clark will soon open a string of arena
doesnt play trumpet on his musically playing them, too. I wanted to record my dates for the Foo Fighters, and then hell
diverse and compelling new album, The own demos, and little by little, just by be supporting The Story of Sonny Boy
Story of Sonny Boy Slim, the 31-year- doing gigs, I acquired enough gear to get Slim with a headline run that currently
old singer-guitar star gives pretty much things going. Nobody showed me how to stretches into April 2016. Before hitting
everything else a go, functioning as a recordI figured it out by myself. the road, he sat down with Premier
veritable (and astonishingly versatile) one- Clark put his self-taught production Guitar to dissect his playing on the new
man band, tackling drums, keyboards, chops to the test on The Story of Sonny album and trace the evolution of his early
bass, finger snaps oh, and, of course, Boy Slim. Whereas his 2012 major-label years woodshedding with his friend Eve
the guitar. The album brims with the debut, Blak and Blu, was a Los Angeles- Monsees. He also discussed his beloved
kind of fiery, emotive, and imaginative based, three-way co-production between Epiphone Casinos and Fender Vibro-
6-string work that has prompted himself, Rob Cavallo, and Mike Elizondo, Kings, along with other guitars and gear,
some writers to compare Clark to Jimi for the follow-up the guitarist set up shop while positing the notion that he wasnt
Hendrix and Stevie Ray Vaughan. But at Austins Arlyn Studios with a trio of born in the right decade.

Though Clark Its widely thought that blues players
says hes a dont spend a lot of time practicing
better player
with a flatpick,
technique or studying theoryits all
his early feel. What are your practice habits?
influences Well, yeah, I could study up on that
in Austin more. I dont practice as much as I
were fellow
could, to be honest. When Im up
Texan Jimmie
Vaughan and onstage playing and I hit a bum note
the legendary you know, it happensIll think to
Chicago myself, You see? Youve got to practice
bluesman a bit more before you get up in front
Hubert Sumlin,
both of whom
of all these people. Its a struggle
were all sometimes. No matter how much
fingers. practice you get in, you could always
do more.
Is it true that your first guitar was

an Ibanez RX20 you got after seeing
Michael Jackson?
Thats right. That was great.
Did you want to be a shredder like

Jennifer Batten, who was playing with
him at the time?
I did, I did. But as soon as I got my
guitar and I couldnt play the solo to
Beat It, I thought, Thats it. I might
just need to move on to something
else. [Laughs.] Sure, I wanted to be a
shredder after I saw that concert, but
I also loved clean, soul guitar tones. I
remember when I asked my parents for
a guitar, I said, You know, so I can get
that muted kind of sound. I wanted
a mute guitarI didnt know what
things were called. I didnt understand
what a hollowbody was or a semi-
hollow or a 335 or anything like that. I
just wanted to do cool, soulful hammer-
ons, things like that.
When you were a kid, you formed

an incredible friendship with a girl
named Eve Monsees. You two would
spend hours in her garage playing the
guitar. What kind of things did you
jam on?
We would jam on 12-bar blues,
basically. We would go back and forth
between major and minor keys. We
thought we were really advanced for our
Photo by Joe Russo
age. [Laughs.] We were into Jimmy Reed

and guys like that. And thered be rock
n roll stuffthe Ramones. But most
premierguitar.com
Rea l K l o
n, or wan
na- be K l on? Le
t s f i n d o
u t .
ria.com
klon- sibe
GARY CLARK JR.S GEAR
GUITARS
Epiphone Casino (red with Bigsby)
Epiphone Gary Clark Jr.
Blak & Blu Casino (prototype)
Epiphone Casino (burled red,
bought in the U.K.)
1961 Gibson Les Paul/SG Standard
(gift from the Foo Fighters Pat Smear)
Gibson ES-330
Gibson ES-125
2000 Fender Stratocaster
1970s Fender Telecaster
Fano JM6
AMPS
Fender Vibro-King
20th Anniversary Edition combo
Fender Vibro-King head
with matching 2x12 cabinet
Fender Princeton
EFFECTS
Fulltone Octafuzz
Hermida Audio Zendrive
TC Electronic PolyTune
Strymon Flint Tremolo & Reverb
Dunlop GCB95 Cry Baby Wah
Fulltone A/B box (runs two amps)
STRINGS & PICKS

DAddario Custom Nickel .011.049
(lower-tuned guitars use .011.052)
Dunlop Poly Medium picks
Known for of the time, it was just us hanging around Then I started going to blues jams. I note for note. Did you ever do stuff
playing and playing pentatonic stuff, learning met these older guys who would sort of like that?
Epiphone how to play solos over 12-bar blues. school me about where the music came I did, sure. I went straight for Hendrix
Casinos onstage,
Gary Clark Jr. I remember Eve was into listening to from. My first blues album was Stevie and Purple Haze, and Stevie Rays
now has his own these two stations on the radio91.7 Ray Vaughans Texas Floodmy neighbor version of Little Wing. Those are the
signature model, and 90.5. One deejay, Larry Monroe, Fred Wheeler gave it to me. After hearing ones that I tried to get note for note. All
dubbed the Blak hosted a blues hour. Thats how we Stevie Ray, I was like, Oh, shit. What is I would think about at school was, Man,
& Blu Casino.
discovered guys like T-Bone Walker and this? It was eye-opening. From there, I I cant wait to get home and figure out
Albert Collins, Jimmy Reed, and Muddy started learning about Albert King, and I that second verse.
Waters. Larry really educated us. If I just kind of went backwards.

missed a show, Eve would record it off Is that how you learned to build a solo?
the radio and give me a tape. You didnt Eddie Van Halen has talked about A lot of it was watching and listening. I
hear this. Check it out. I was so into it. learning Creams version of Spoonful have to give it up to guitarists like Alan
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Gary Clark Haynes, Derek OBrien, Johnny Moeller,
Jr. credits his
and Mike Keller. Those are the guys in YOUTUBE IT
rhythm guitarist Gary Clark Jr. gets into an especially nasty soloing mood during this
Eric Zapata (left) Austin I would see here and there. Just
extended version of Grinder at the 2015 Toronto Jazz Festival.
for introducing their improvisation and how dynamic they YouTube search term: Gary Clark Jr Grinder Live at Toronto Jazz
him to his would beyou give them 24 bars or a Festival 2015
amp of choice, 36-bar solo and just listen to them build.
the Fender
Vibro-King.
You go from Oh, that was really cool to
Wow, my mind was just blown by this. Freddie King note for note or whatever, really into that for a while, but then I
Those are the guys I listened to and tried I could make it my own and figure out also realized I was better off with a pick.
to figure out what they were doing. what works for me. Whats the best way I would say Im now somewhat of an
to play the instrument to my ability? I obnoxiously hard picker. [Laughs.] No
In Austin you got to jam with guitarists really got that just from being with them, finesse about it. Im pretty ruthless when it
like Jimmie Vaughan and Hubert because thats what they were doing. comes to playing with a pick.
Sumlin. Were you watching their
fingers as they played? How did that affect your picking style? You mentioned Hendrix and Stevie
Oh, I was definitely watching their Are you a hard or soft picker? Rayboth were big Strat players. I
fingers. They have their own identity Well, they werent using picks at the time. I know you use a Strat sometimes, mostly
when they pick up a guitar. You close would see Jimmie Vaughan, and he was all for songs that are more soul and R&B.
your eyes and listen, and you go, Thats fingers. Hubert Sumlin was all fingers. So Yeah, definitely. For that kind of stuff
Photo by Joe Russo
Jimmie Vaughan. Thats Hubert Sumlin. I was playing with these guys who didnt I really like the Strat. I like to turn the
Thats Buddy Guy right there. It made use picks. I liked the way they would get volume down and really get that thin
me think. Instead of trying to play this nasally tone with their fingers. I was clean tone, and then for solos Ill crank it
premierguitar.com
Gary Clark Jr. up and let the bridge pickup wail a little
says hes a man bit. I play near the bridge and get that
of symmetry
when it comes
twangy, nasal sound.
to guitars. No
single-cutaways The Casino has been your main
for this slinger, guitar. What was it about the Casino
but an SG makes that first appealed to you?
the grade.
I could finally get that B.B. King tone
I was looking for. I love his sound and
T-Bone Walkers sound. I was really
into those guys at the time I picked
up the Casino. It was just a different
sound that I couldnt really get out of
a Strat. I also liked that I could play it
acoustically and still get a lot of sound
out of it without plugging in. You can
play a Casino anywhere, and it gives
you something back.
Did single-cut guitars like Les Pauls

ever appeal to you?
No, honestly. Visually, they just didnt
look right to me. They look great on
some guys, but not on me. Aesthetically,
I like things to be even. I have this
weird thing where if its a little bit off,
it makes me uncomfortable. Thats just
methe way my mind works.
As a teenager, how did you start

to educate yourself about different
combinations of amps and effects?
That really comes from hanging out
with [Eric King] Zapata [rhythm
guitarist in Clarks band]. I have to give
it up to him on tone and putting the
combos together. He sold me my first
tube amp, my Fender Vibro-King. Id
show up to play with guys like Alan
Haynes, and Id have my solid-state
Crate amp. No disrespect to Crate, but
Id always look back to my amp and
think, How come mine doesnt sound
like his Vibro-King or his Super? I
just didnt know. Zapata was the one
who really helped me with the amps
and combos. I tried Marshalls, but that
wasnt the tone I was going for. I liked
the Fenders.
You play an Epiphone Riviera at

home but not live. For you, what are
the sonic and playability differences
Photo by Joe Russo
between a Riviera and a Casino?
premierguitar.com
I like to turn the
volume down
To me, the Riviera, for lack of a better
word, has more of a shimmery tone to it. I didnt think I could get it
and really get
that thin clean
tone, says Clark
It sounds more like water and raindrops
to me. The Casino is a little bit rounder, any wilder, any ruder, so that was
about Strats.
And then for
bolder, and then it gets all gnarly and
screaming when you push it back to the
the one we stuck on the record.
solos Ill crank bridge pickup. I like both of them for
it up and let the
bridge pickup different reasons. I would play the Riviera I used the SG on that, and I put it very unapologetic. Its the same combo as
wail a little bit. a lot more, but its heavy, man. Its not a through a Vibro-King head, out to the The Healing, but Im all the way up.
light guitar. cabinets. Everythingbass, mid, treble
everything right at the middle on 5. Did you work the Grinder solo out,
What about your 61 Gibson Les Paul/ Theres a little bit of reverb, a Strymon on or was it all one spontaneous pass?
SG Standard? Are you using that on the the 60s reverb setting, and a little bit of I originally did a solo that was a little bit
new album? delay. Theres some Octafuzz, too, but I nicer. [Laughs.] We were just sitting on it
Oh, yeah. Thats got the humbuckers. dont know if I needed it because the amp and I was like, Let me get one more. Let
I use that guitar when I want lots of was breaking up really nice. me just go in here and see what happens.
attitude. Its an aggressive guitar. Its on We just turned it up and I went through
The Healing and Grinder. The SG sound on Grinder is even it again. I didnt think I could get it any
Photo by Debi Del Grande
bigger and more unhinged, especially in wilder, any ruder, so that was the one we
Walk me through that piercing, the soloits barely controlled feedback. stuck on the record.
stinging solo sound on The Healing. Definitely, man. For that, I just thumped
Its sort of a classic SRV sound with a on the wah and left it all the way open, I love your clean rhythm playing
little added Gary bite. which is quite rude. Its not nice at all, on songs like Cold Blooded and
premierguitar.com
Starso Curtis Mayfield. Whats your Do you record more of the soulful Do you have a different attitude when
recipe for that approach? Is it all in the songs at a particular time of day? Like, you play a guitar that bears your
hand, or is it the guitar and the settings? Okay, at 4 oclock in the afternoon name versus another guitar youve had
Its a combination of everything. I played Im in a rude mood for soloing. At 10 for years?
the rhythm stuff for those songs on the oclock Im more relaxed and its time Thats a good question. I definitely look
Stratvery clean, no crazy effects, just to do some mellow rhythm work. at it more. [Laughs.] Im like, Wow,
reverb and a little bit of wah. I really Its actually the reverse. Id say before I cant believe this actually happened.
just wanted to explore that clean thing. I midnight is when the rhythm stuff While Im playing it, Ill be sitting and
mean I grew up on soul and Motown and happens. I try to have some discipline, Ill have it on my lap, and then Ill just
stuff like that. That Strat thin tone really get into a different mindset. Ill think, put it on my knees and look at it. Man,
resonated with me. I just went in there How would Jimmie Vaughan play this? thats pretty cool. Its a different feeling,
and worked it out. When I listen to some Its like, How chill can I possibly be? for sure. Im proud of it.
of these songs and sounds, I think that You just vibe out. After midnight, thats
maybe I wasnt born in the right decade. when youre prone to try out new things. Where do you see yourself in 10 years
Thats when you get a Grinder solo. as a guitarist?
Hows that? Id like to have a better understanding
When I listen to them, I picture Marvin Recently, you came out with your of how chords and notes really work
[Gaye] in the 70s. Hes as much of my signature Epiphone guitar, the Blak & together because, quite honestly, I dont
roots as Jimmy Reed. Curtis Mayfield, Blu Casino. Where are we hearing that have much of a music education other
too. I think thats more apparent on this on the record? than, Put your finger here. This makes
record. I feel like my musical style is a Thats on The Healing, along with the this chord, or whatever. Ive pretty
little bit throwback, but Im trying to SG. The little bit of vibrato is the Casino. much just figured out different scales and
move it forward and bridge some sort You hear it on Star a little bit, too. You tunings. I feel like Ive only really tapped
of a gap. You know, I love Dr. Dre and can barely hear it, but that fuzzed-out, into a small bank of what guitar is really
RZA, too. sitar-y little thing thats the Casino. capable of.
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TONE TIPS
Modelers Versus Traditional Rigs

BY PETER THORN
M
Got virtual any guitarists have added or offstage or isolate it somewhere, mike it, and
amplification? considered adding a modeling listen through in-ear monitors, headphones,
processor to replace some or or speaker-style monitors? If its the latter,
all of their traditional amp/effects rig transitioning to a modeler can be relatively
components. This month, Ill try to help painless. If you are used to hearing an amp
answer a question youve probably asked in the room, going to a modeling rig can
yourself: Is modeling for me? be a difficult transition. This is because guitar
amps interact with the physical space they
Whats Out There? are in, and the resulting sound you hear is
The assortment of modeling devices on the sum of the amp, cab, and environment.
the market is varied in both features Many folks run their modeling gear into whereas the FX8 is all about high-quality
and price. There are rackmount units, full-range, flat-response monitor speakers effects only. Both of these boxes are designed
such as the Fractal Audio Axe-Fx II (aka FRFR rigs) that are placed onstage or to integrate beautifully with traditional amp-
and Kemper Profiler PowerRack, stand- close to them in an attempt to recreate the based rigs by allowing guitarists to run effects
alone desktop-style devices like the amp-in-the-room feel, but in my opinion, both in front of their amps and in their
Boss GT-001, and floorboard units, its a considerably different experience from effects loop at the same time. They both
including the Line 6 Helix and Atomic having a cranked 4x12 behind you and feature relay switches that are programmable
AmpliFire. Modeling devices have come flapping your pant legs. per patch, which permits guitarists to
a long way and sound quality today Are you a plug-and-play guitarist who switch amp functions and channels while
is generally exceptionally high. Tones values simplicity and purity, or one who simultaneously changing effects with the
that are virtually indistinguishable from embraces more complex features? If youre push of a button. This is the kind of total
real ampsespecially when blended the type of player that prizes simple programmability that used to require a
in a mixare now the norm. With single- or dual-channel tube amps, refrigerator-sized rack full of gear and a guy
portability, convenience, flexibility, and and you only use a few effect pedals named Bob Bradshaw to wire it all together.
programmability on their side, one might or none at all, modelers can be quite These two examples reflect how
wonder why all guitarists havent switched daunting. Even the simplest modeling manufacturers understand that many
from traditional rigs to modeling units. units generally have lots of features and guitarists dont want to abandon their
menus that you need to scroll through to amp-based rigs. This hybrid-based
They Arent for Everyone get to various functions. Yes, modelers approach combines the versatility and
Im often asked, Should I sell my ergonomics and user interfaces have programmability that modeling offers
amp and pedalboard rig and go with a gotten better over the years, but even so, with the classic, raw power and tone of the
modeler? Its a difficult question to answer modelers just arent as simple to operate venerable tube amp. I predict well be seeing
because it depends on a number of factors. as traditional rigs. The million-dollar more and more players using this approach
One huge factor is that its just simply cool question: Are you ready for a learning extensively both onstage and in the studio.
to play a tube amp! Theyre loud, theyre curve, or are you happiest when youre We have so many options in this
fun, and they have glowing little bottles in just playing and not tweaking gear? Some golden age of guitar gear. Thats why its
them. Even the folks that make modelers players relish the process of tweaking crucial you identify the type of person
cant deny this since theyre making devices tones to perfection and getting deep into and guitarist you are before deciding what
that essentially emulate and celebrate the programmability. If you lean this way, a equipment to buy. Youll avoid headaches
tube amps we all know and love. If you are modeling rig could be absolutely right for down the road if you ask yourself a few
considering a modeling rig, you should ask you. But if you can get all the tones you simple questions and determine whats
yourself the following two questions that crave out of a simple amp and minimal important to you. Until next month, I
go beyond the undeniable cool factor of FX rig, stick with amps and pedals! wish you great tone!
a killer tube amp.
How do you like to listen to your guitar A Hybrid Approach PETER THORN
is an L.A.-based guitarist who has
sound? Whether playing gigs or jamming at The Fractal Audio FX8 and the Line 6 Helix toured with Chris Cornell, Melissa
home, do you generally use an amp placed are two very powerful floorboard-type of Etheridge, Tsuyoshi Nagabuchi, and
many others. He released a solo
close to you in traditional fashion, so you boxes that have recently hit the market. The album, Guitar Nerd, in 2011. Read
can hear the sound from the speaker(s) Helix boasts amp and cabinet modeling more at peterthorn.com.
directly? Or, do you place your cabinet (fully bypassable) as well as many effects,
premierguitar.com
OUT OF THIN AIR
with the book of souls, iron maidens 18-string guitar
orchestra finds magic in the moment, as janick gers,
dave murray, and adrian smith explore the unknown known.
BY JOE BOSSO
Photo by John McMurtrie

A
sking Iron Maiden guitarists Adrian Smith, Dave Murray, and is great, its melodicits what people
Janick Gers to describe the differences in their playing styles creates want to hear. But you know, you have to
something of a Rashomon effect, with each axeman offering a unique try sometimes, especially with stuff youve
and sometimes contrarian view: I think you can tell us apart very played so much.
easily, says Smith. Dave and Janicks styles are similar to each other, Murray: I think its like any profession.
but theyre different from mine. They both have a strong Ritchie If you were an athlete, youd exercise and
Blackmore influence. Dave plays more legato, whereas I do more muted stuff. warm up, and I think its the same with
Personally, I like to try to be melodic but with a little fire and energy, says Murray. guitarists. If you just played guitar from
I think Janicks the same actuallygreat melodies and spirit. Adrian is very methodical. tour to tour, itd take a long time to catch
He tends to work out some of his stuff, but he always sounds very spontaneous. up. But I like playing just for the fun of
Gers, for his part, sees Murray as the most melodic of the Maiden axe team. Dave itit doesnt feel like work to me. When
is very smoothvery rock n roll but with a beautiful tone, he notes. As for Smith, Im at home, if Im watching a movie or
Gers says, Hes very rhythmic. Even when hes soloing, you hear a certain kind of something, Ill have a guitar on my lap,
rhythm thats different from what Dave and I do. And for a self-assessment, he lets something with really heavy strings thats
out a good-natured laugh and says, Im more of a ragged kind of player, rough around hard to play, like an acoustic. Thats a
the edges but with a bit of a gymnastic edge. good way of keeping my fingers limber.
A fair amount of Maiden purists scoffed when the band expanded to the three- Gers: I dont consider playing practice
guitarist team of Murray, Smith, and Gers in 1999, fearing that the classic twin-axe Im just playing. Ive got guitars all over
interplay that all but defined the New Wave of British Heavy Metal sound in the the house. Theyre all tuned differently, so
early 80s would be lost in an interminable sea of noodling one-upmanship. (Gers had wherever Im walking I can just pick one
replaced Smith after he left the group in 1990; when Smith returned to the fold, Gers upstandard tuning or whateverand
stayed on.) But on a series of bracing releases2000s Brave New World, 2003s Dance Ill just play it acoustically. But you know,
of Death, A Matter of Life and Death from 2006 and The Final Frontier from 2010the as far as practicing goes, I think youve got
trio pooled their individual strengths to form a potent metal guitar orchestra. to experience life. Youve got to experience
I imagine youd probably get three guitarists in other bands and it just wouldnt work, everything in life, all the emotions, and
Murray says. Thered be a lot of overindulgence and the songs would get lost. Somehow, put them into your guitar playing. If you
we sidestep all of that. I think its like a bit of magic. Smith agrees: For the most part, sit in your room practicing all day, that
our songs are quite long and maybe a bit indulgent anyway. Theres plenty of space for us certainly wont happen.
to do our own thing and express ourselves without our egos getting in the way.
Indulgence seems to be the very idea behind the recently released The Book of So how do you go about channeling
Souls: Its the bands first double record (clocking in at an ADD-busting 92 minutes), your emotions into your guitar?
and all but four of its 11 tracks are nearly six minutes longthree, in fact, break the Gers: You conjure up images and
10-minute barrier, with the album closer, singer Bruce Dickinsons majestic Empire feelings. For the song The Book of
of the Clouds, about the 1930 R101 airship crash, ranking as the groups longest cut Souls, for example, I thought back to
ever at just over 18 minutes. being in Mexico and seeing the Pyramids
The elongated arrangements give the guitar team ample room to shine, but whats of the Sun and Moon, just outside of
remarkable about their performancestake the Thin Lizzy-sounding Speed of Light Mexico City. All my songs and ideas will
or the spitfire disc-opener If Eternity Should Failis the way they never seem to come from what I see or experience a
repeat a lick. There are no half-gestures or rote moves, and at times the fretwork even movie or some spiritual idea or whatever,
comes close to transcending the albums materialno small feat considering this could somewhere Ive been.
be the bands strongest set of songs in over a decade.
Premier Guitar sat down with Smith, Murray, and Gers to talk about the guitars and Do you ever come up with guitar parts
gear they used on the new album, how the blues figures into their playing lexicon, what you think are great, but theyre not
its like to tackle an 18-minute bear of a song, and what steps they take to stay out of quite Iron Maiden and dont make
each others tonal space. the cut?
Murray: Absolutely. Its happened a
few times. Obviously, the band has an
Youre all accomplished players, hours a day. Thats a long time to do just identity and a sound, so sometimes its
but do you spend any time at home one thing. When I get time, I try to learn Yeah, thats great, but its not right. Ive
woodshedding, working on your chops? some new things and stay fresh. One got a few things that never quite made
Smith: I definitely practice, especially thing I like to do is work new techniques it because they werent Maiden. I sit at
before an album or a tour. I cant do into old material. Sometimes [bassist] home and put on a drum loop, and Ill
what some people doyou hear about Steve [Harris] will say to me, Why are get an idea and stick it on my iPhone.
Yngwie Malmsteen practicing for eight you changing that? What you had before Sometimes the idea fits, sometimes not.
premierguitar.com
Maidens mighty
axemen: Adrian
Smith, Dave
Murray, and
Janick Gers. For
some reason,
the way we
play makes the
actual tones
of each guitar
completely
different, says
Murray. You can
hear Janicks
tone, Adrians
tone, and my
tone, and
you know
whos who.
For the song

DAVE MURRAYS GEAR The Book of Souls, I
thought back to being
GUITARS
in Mexico and seeing
ADRIAN SMITHS GEAR Fender Dave Murray the Moon and Sun
signature Stratocaster Pyramids, just outside
1960s Fender Telecaster
GUITARS 1970 Fender Stratocaster (previously
of Mexico City.
Jackson Adrian Smith Signature owned by Jethro Tulls Martin Barre) Janick Gers
San Dimas DKs Gibson Les Paul Classic 1960 Reissue
Gibson goldtop Les Paul Gibson Les Paul Axcess Standard
Jackson King V with Floyd Rose
Gibson Memphis ES-Les Paul
AMPS
Marshall JVM410H AMPS JANICK GERS GEAR
Blackstar Series One 104EL34, Victory amps
1046J6, and H-T5 Fender Super-Sonic
100-watt 2x12 combo GUITARS
EFFECTS Fender Stratocasters,
Boss DD-3 Digital Delay EFFECTS including a black Strat that was a gift
Boss CH-1 Super Chorus MXR Uni-Vibe Chorus from Deep Purples Ian Gillan
Boss CS-3 Compression Sustainer MXR Distortion +
Ibanez TS808 Tube Screamer TC Electronic Flashback Delay AMPS
DigiTech Eric Clapton Crossroads TC Electronic Corona Chorus Marshall JMP-1 preamp
Photo by John McMurtie
Dunlop Cry Baby Wah Dunlop Cry Baby Wah Marshall 9200 power amp
Duesenberg Channel 2 Dunlop JD-4S Rotovibe
Wampler Clarksdale Delta Overdrive EFFECTS
Phil Hilborne Fat Treble Booster Marshall JFX-1 multi-effector
premierguitar.com
With Maiden, the quality of music is at such Theres no smoke and mirrors. Quite parts right the first time?
a high level that you have to reach high all the often Ill play a solo, and hell say, Murray: No, in fact its quite the
time. Anything below par isnt really going to Thats great. It sounds like you. opposite. Ill tell you, I actually love
make it. Then Ill say, I dont want to sound working with Kevin, and I love how
Gers: I think whatever we do sounds like us. like me. I want to sound better than fast he works, all the Pro Tools and
Sometimes youll bring stuff in that doesnt quite me! We clash a little bit, but I love technology he uses. Back in the day,
fit as well as something else, so youll go on to him. Hes a strong personality. when you used reel-to-reel, everything
another idea. I dont think Ive ever brought took so longit killed a lot of
something in that people said wasnt Iron Back in the day, youd spend spontaneity. Now everythings quick
Maiden. Perhaps if it was totally blues it might months overdubbing and layering. and almost on the fly. When we go in
not be Iron Maiden, but you could probably Is there pressure now to get the and record a track, were all playing
change it and it would work. What I love about
Maiden is that theres no restrictions. On this
album, theres so many different facets of music.
I think Empire of the Clouds is almost like
a Broadway musical. And youve got The
Red and the Black, which has lots of classical
connotations and Celtic riffs. The Book of
Souls has an almost Eastern vibe to it.
Speaking of blues, its been said that the

NWOBHM bands did away with blues
structures. Do you agree with that notion? And
if so, how do you fit bluesy guitar parts within
arrangements and rhythms that arent bluesy?
Smith: Actually, my influences are very blues-
rockPat Travers, Johnny Winter. I found
it easy to pick up on what they were doing,
whereas someone like Ritchie Blackmore, whom
I loveyou try to play Highway Star when
youre a kid, and its impossible. So you start off
with the Stones, the Beatles, and then you go up
to Johnny Winter.
Murray: I love the bluesAlbert King, Albert
Collins, Buddy Guy, B.B. King. With the sort of
rhythmic things we do, youd think it would be an
impossible task to blend a little blues in, but you
can do it. At times you kind of thrash around,
but if you try to play nice melodic notes, you
can cross over. If you listen to some of our stuff,
obviously theres heavy rock and metal, but theres
also classical melodies, jazz, bluesit all fits.
Youve worked with producer Kevin Shirley

before. He likes to get things in the can quickly.
Murray: Yeah, I love that about him, actually. I
think hes fantastic.
Smith: See, Ive got mixed feelings. I give Kevin
grief every once in a while because of that,
working so fast. Ive got a couple of amps in the
studio, and Ill be messing around and hell be
like, Come on. Lets do it. I want to see what
the amps sound likeI want to be inspired.
Kevin is very plug in and Ill record you.

together, Bruce is singing, and just like
that weve got the foundation done. After
that, when we go in to do the overdubs,
Sometimes its fun to let the
Ill go into the control room and sit next sound take you somewhere. You
to Kevin, and we go through each of the
songs bit by bit, changing things, playing spend a morning messing around with
solos or fixing chords. Kevin is fantastic:
This needs a punch-up. This bit, look at
effects and youll probably get an idea
that. And if you mess up, we can move
something around and make it work. Ill
for a song out of it. Adrian Smith
do three or four solos, and then Kevin will
go, Yeah, Ive got enough. So Ill get a Do you have to get in a certain mood Speaking of pedals, Janick, youre not
cup of tea, come back, and hell play me to do overdubs? Its a little more a big fan.
what hes put together. Then Ill go home scientific than playing in the room with Gers: To me, they compress the guitar.
and learn it for the next tour. the other guys, right? And plus, it always feels a little bit too
Smith: Weve got three guitarists, so Murray: Yeah, it is, but its not like youre easy. Id rather look for melodies and find
its hard for everybody to do all that in a lab with a white coat on. I go in, I other ways of making it interesting rather
tinkering. If Dave is sitting there doing plug straight in, put on a Uni-Vibe or a than just pressing a button. Ive got no
a solo in 20 minutes, Im not going to Distortion +, maybe a flanger, and then problems with that, although there are
spend five hours working something out. I just feel it out. So no, you dont have certain guitarists who will use pedals as
You just cant do that. Normally the first to sit down and cross your legs in a lotus opposed to trying something different.
couple of takes are the best. If theres position and go, Ohmmmm. [Laughs.] Its just not for me. Id rather turn the
anything Im really unhappy with, Ill It was basically, have a couple of cups of guitar down, let the amp scream, and
fix it. Maybe Id have spent more time coffee, get some adrenaline going, and change the sound that way. Kind of old
redoing things in the past, but not now. then go for it. fashioned, I suppose.
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Smith: Yeah, but you still have racks
delays and all those things are in the racks. YOUTUBE IT
Theres tons of triple-guitar goodness in this Iron Maiden concert
As for myself, I like to bring in one thing from the 2014 Rock am Ring festival in Nuremberg, Germany.
I havent used before per album. A few YouTube search term: Iron Maiden Live at Rock am Ring 2014 Full
albums ago I went mad on the Whammy uncut show
pedal. This time I brought in an Eric
Clapton Crossroads pedala few settings
on that sounded quite good. Sometimes its the Marshall JMP-1s, which Janick and Light? Thats got a big tube vibe.
fun to let the sound take you somewhere. Dave were using. And then I thought Id Murray: I think I do the first solo, and
You spend a morning messing around with do something different and I went back to Adrians playing a lot of the melodies. Im
effects and youll probably get an idea for a the Marshall heads. Its a different sound. using the Super-Sonic on that, I think. I
song out of it. I know I do. Gers: I use Marshalls. The one I was using have to be honest: I got the album about
in the studio wasnt a standard Marshall a month ago, and Ive played it several
Did you use any new amps on the album? ampits been picked around on by Mike times, so Im still hearing new things that I
Murray: Yeah. In fact, I started playing Hill and a few other people at Marshall. dont even remember playing. [Laughs.]
through a Fender Super-Sonic 100 2x12 Its basically got two 100-watt slaves on it,
you know, one of those tube amps that and its got a front-loaded rack. Im pretty Adrian, I read you were inspired by
sounds absolutely amazing. Colin, my much straight in there. That way, youve Eric Johnson for certain parts on
guitar tech, brought in a Victory amp got more control over it, it doesnt thin Speed of Light. Also, you said that
that was a new thing for me. I used one it out. I like to keep it live sounding and you rediscovered the pentatonic scale,
on the tail end of the album, and it was real. Then you can just turn your guitar up which you use in the song.
tremendousvery tubey, very old school. and down, whatever you want. Smith: Yeah, years ago I went through
Smith: I chop and change. When I a phase where I was trying to figure out
rejoined the band, I was using an ADA Dave, you said tubey before. Is that Eric Johnson, but I couldnt even get
with a power amp. Then I switched to you doing the first solo on Speed of close. Hes brilliant. Trying to say what
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I do sounds like Eric Johnson is a bit doing, it doesnt really matter about Murray: When we went into the studio,
presumptuous, I think. Joe Bonamassas the individual parts, because it sounds Bruce was playing the melodies on the
another onethe stuff that comes out brilliant. I love that when they ask piano, and we started learning it, just by
of him, those pentatonic runs, is just Ronnie whos the best guitar player, and listening to him. Hed say, Oh, yeah, Ive
incredible. he says, I am. Then they go and ask got an idea for this bit and that bit. So
Keith and he says, I bet Ronnie said he basically, when we sat down for the very first
Janick, let me ask you about Shadows is. Well, hes wrong. No one can beat us bit, I just wrote down a couple of chords
of the Valley, which you wrote with when were together. And Keiths right. and we jammed. It went from thereBruce
Steve Harris. Theres some beautiful playing and us jamming live. We recorded
guitar harmony parts toward the end. Adrian, the riff to Death or Glory is it, because you should always document
Is there a specific way you go about great. How do you know when a riff is everything and keep it. You never know
recording those parts? just right? when youll have a keeper bit. We did the
Gers: When it comes to three-part Smith: Yeah, its interesting. Theres an song in sections because, you know, its 18
harmonies, if Adrian is doing the song, intro and then a second main riffI minutes long! [Laughs.]
he might put them all down himself. changed that a bit and made it double- Smith: We did out parts in bits, and every
If its one of mine, I might do all the time, because originally it was kind so often Kevin and Bruce would say, No,
harmonies myself. Then later on when of Thin Lizzy. I made it sound more thats too bluesy. Try it a bit more classical.
we come to do the song live, we work Maiden. I was just trying to write It evolved and turned into something
out the harmonies between the three of something that sounded immediate but pretty great. It was good fun to do.
us. Its whatevers the simplest, whatever with a big chorus.
sounds best, really. Other times we might When you first heard it, did you
do a three-part harmony with all of us. Lets talk about Empire of the immediately get an idea of which
You never quite know whats going on. Clouds. Guitar-wise, how did you sounds to go for?
Its like the Stones: When you listen to guys wrap your heads around an Murray: I did. I had a Les Paul plugged
what Keith is doing and what Ronnies 18-minute song? straight into the amp. I had the guitar
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set on the neck pickup and put the volume Janick, what about you? Smith: Thats right, but Ill tell you,
down lowit just seemed to fit. And I think the Gers: There were three or four Strats the biggest thing, no matter which
same with the other guys; we were just playing Ive got a couple of custom Strats Fender guitars were playing, is to pay
with the guitars kind of turned down quietly, built for meand I was using them at attention to intonation. You
and we felt our way through. As the song built, different times. I couldnt exactly tell you get three guitarists on the same
we increased the volume on the guitars, and which ones, to be honest, its whatever track, and you can get a bit of a
eventually we got to the chord-heavy sequences. felt right at the time. sour sound.
Id say it was spontaneous, and that can make it
hard to analyze. And Adrian, youre playing your I would think that might really
signature Jacksons and a goldtop come into play when you do
Les Paul? harmony parts.
If youre playing
something in the
studio, its not
something youve
necessarily spent a
year working out.
It just happened in
the moment. But I
think thats where
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the magic is: Its
something that just
comes out of thin air.
Dave Murray
Before we start the tour for next year, Ill have to
sit down and learn those solos. Ill have to relearn
all these songs myself. If youre playing something
in the studio, its not something youve necessarily
spent a year working out. It just happened in the
moment. But I think thats where the magic is: Its
something that just comes out of thin air.
Dave, youve mentioned playing a Les Paul. I

assume you played Strats, as well.
Murray: Oh, yes, Ive got those. In fact, I used
my signature model on every song. Id swap
guitars, play some melodies and rhythms on a
Strat, and then maybe play something else on a
Les Paul. I did use a Les Paul with a Floyd Rose
on quite a lot of the songs. The signature Strat is
a really nice, very playable guitar. A lot of guitars
you get, theyre not playable. But theyve made
this one very comfortable to play, so Im really
pleased with that.

Smith: Its not a problem with lead parts put my guitar in the middle, the tonal Murray: Its not a case of watching each
because you have vibrato, and because characteristics seem to work to make the other, its more about the dynamics of the
we have different vibrato styles, you can band sound bigger. Thats how it feels song or section. So maybe one of the guys
just blend everything in. Its more with to me. I constantly change the pickup is playing a little heavy, but then the other
chords. If were all thrashing on the same selection and move the volume around, guy might be playing something lighter
chord in the same neck positions, youre which can be troublesome when youre or sweeter, and that adds a cool dynamic.
going to get intonation problems. I trying to overdub. Im never quite sure Basically, we could be playing one section
usually try to work it out in the writing, where its sitting, so I play it by ear. I of a song, but well be playing different
so were actually playing different things. might turn the guitar down to 2 or 3 at parts and they all work together. We could
With harmonies, Ill sometimes put some point, and then whack it back up. play three-part harmonies if we want, or
a third in there, but that can sound a bit Im constantly changing things. we could play one rhythm and two kinds
bland. Usually Ill put in a low octave Murray: For some reason, the way we of riffy thingsits limitless, really.
to beef up the bottom end. Youve got play makes the actual tones of each guitar Gers: The trick is to make the guitars
three guitars but its not really a three-part completely different. I mean, you can sound like one powerful sound. Were not
harmony. Sometimes you double a part for hear Janicks tone, Adrians tone, and my trying to stick out. You ask, Well, what
a Celtic soundit can sound like bagpipes. tone, and you know whos who. All the did you do on this song or that? Listen
sounds are different, but for some reason to ityou can hear it. Without one of
Dave and Janick, because you both thats hard to understand, they just fuse those guitars in there, it wont sound like
play Strats so much, how do you avoid together. Thats the unknown known, it does.
occupying the same tonal space? where something just happens and you Smith: I tend to be precise. Its very easy
Murray: We put No Entry signs up. cant analyze it. to cheat onstageyou do windmills and
[Laughs.] whatever. Yeah, you watch what the other
Gers: I think we have different sounds. When youre playing live, do you watch guys are doing, and youre listening. Most
Adrian has a much more compressed one anothers hands? Hes playing hard, of the time it works without a whole lot
sound, Dave a little less so, and when I so Ill play softlythat kind of thing? of effort.
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ACOUSTIC SOUNDBOARD
(Scale) Length Matters

BY MARK DALTON
M
Its fascinating uch has been written about
how much a scale length and how it relates
fraction-of-an-
inch difference in
to playability, but it seems Triple-Oh Tip
scale length can that less is said about how tone relates When referring to a 000 guitar with any builder or guitar store,
affect an acoustic to scale. If youre considering having a always specify whether you are talking about a 12-fret 000 (this
guitars tone. custom guitar built, it would behoove you
is what we at H&D call a 000) or a 14-fret OM body with a 24.9"
to spend some time with different scale scale, which has also historically been called a 000.
lengths to determine which one is a good
fit for you. Its an often-overlooked variable
that can make all the difference timbrally.
At Huss & Dalton, we offer three different
scale lengths for our standard models, so
for this months column, Ill cover each meaning those with necks that join the
and speak a bit about both playability and body at the 12th fret, rather than the 14th.
tonal differences. Occasionally, especially with OMs,
square-shouldered guitars with 14
25.4" frets clear might feature a short scale
Most builders offer something featuring (sometimes making the OM a 000
this length and will often refer to it as model). This scale length is also often
long scale. Its usually found on guitars paired with a round-shouldered body
with necks that join the body at the 14th such as a 0 or 00. While some of this
fret, such as dreadnoughts and OMs. is just tradition, it is also rooted in the
Long scale is widely thought of as the 12-fret sound being made more dynamic
scale of choice for both flatpickers and with the shorter-scale length.
modern fingerstyle players. Thats pretty Since scale length helps determine
remarkable, given these two camps rarely where the bridge will rest in relation
agree on much else. to the placement of the X brace,
Long-scale instruments generally scale length really can change a guitars masters and archtop players of yesteryear,
provide greater sustain than those with tone quite a bit. We find that using you will love this tone.
a shorter scale and tend to be more a short scale will most often make a As touched on before, there are some
balanced in nature. This particular guitars tone softer and warmer. The headroom concessions here with a shorter
scale length also lends itself to greater shorter scale also makes the guitar scale, but the playability is like butter,
headroom in its tone. (By headroom, feel easier to play due to less string and that magical old-world tone is hard
Im referring to the point at which an tension (when compared to a long-scale to get with any other scale length. This
acoustic guitars tone starts to break up instrument). The 24.9" scale does lessen may also make it the most specific of all
when played hard.) Its our most popular the headroom aspect a bit, which wont lengths, so it wont be for everyone. I find
scale length, and I think thats due in work as well for folks who play hard that when I play one of our Crossroads
part to flatpickers liking the headroom with a flatpick or with metal fingerpicks. models here at the shopwhich features
and fingerstyle players loving the endless this scale lengthI can conjure up the
sustain. The only downside to long scale 24.75" vibe I feel when I hear Norman Blake
is as the scale goes up, the string tension This scale length is often referred to as play and sing. Nobody will confuse my
does as well. This is what makes longer- Gibson scale because Gibson used it playing with Normans, but it doesnt
scale guitars a bit harder to play than quite a bit in the golden era of flattop hurt to dream!
their shorter-scale cousins. guitars. It is our shortest scale, and I find
that the guitars with this measurement MARK DALTON is a founding
partner of Huss & Dalton Guitar
24.9" have the most distinctive tone of the Company. When not building
This is known in our shop as short three scale lengths we offer. It tends to guitars, Mark and his wife,
Kimberly, tend to the draft horses
scaleeven though its not the shortest produce an almost nasally twang and a and mules that inhabit their farm
scale we offerand 24.9" tends to be the woodiness that the other lengths cant in the Piedmont region of Virginia.
standard scale-length for 12-fret guitars, match. If you like the sound of the blues
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+ + =
DEAD WEATHER
THE

Dean Fertita and Jack Lawrencethe guitar-and-bass team
from Jack Whites other other bandtalk about fuzz,
their intertwined roles, and the perennial question of how
much their boss bosses them around.
| BY TED DROZDOWSKI |
F
The Dead ew contemporary bands have reached the level of bandmates patrolled the badlands between Chuck Berry,
Weather commercial success that the Dead Weather repeatedly Sun Ra, Dick Dale, and John Coltrane, the same untamed
(left to
achieves with its simple, potent equation: anarchy + spirit is in his playing.
right): Dean
Fertita, Jack chaos + melody = rock n roll. As the Nashville-based quartet Piano was Fertitas first instrument. From ages six through
White, Alison featuring Jack White on drums has progressed from its 2009 12, I studied classical piano, and then the ragtime, Scott Joplin
Mosshart, debut, Horehound, to 2010s Sea of Cowards (both of which thing, he says. But I got a guitar and an AC/DC record when
and Jack debuted in Billboards top 10) and now to this years Dodge and I was 13 and it was game over. Studying became all about
Lawrence.
Burn, theyve amped up that math to create the sonic equiva- playing guitar and learning from listening to records. Motor
lent of a human cannonball. Songs like I Feel Love (Every City radio fed him a steady diet of classic rock, and then in
Million Miles) and Cop and Go fly out of the speakers the 80s punk rock slam-danced into the picture. The 60s
arms and legs of octave-fattened guitars, buck-wild keyboards, figure into the equation, too: Part of Dodge and Burns sound
fuzztone bass, and expressionistic power drumming poking out is dipped from the reliquary of epic rock mixing. The wild
in all directionsthen somehow tuck into a neat landing via panning, lustrous textures, and bold separation of tracks flash
Alison Mossharts seductively ferocious vocals. back to late in that decade, when artists like Hendrix, Pink
At the center of the aural cyclone, usually seen Floyd, and Peter Greens Fleetwood Mac were inventing the
manhandling a big-boned Gretsch White Falcon in his job as bumper-car trickery of the headphone mix.
melodist, riff master, and sonic insurgent, is Dean Fertita Eyeballing Fertitas current resumeand the multi-band
who can also be seen filling those roles in various balances antics of White, Mosshart (who also fronts spiky rockers the
with Queens of the Stone Age, the Raconteurs (Whites other Kills), and bassist Jack Lawrence (of the Raconteurs, garage
other project), and in his own smart-pop project Hello=Fire. rockers the Greenhornes, etc.)its obvious why it took five
Fertita knows guitars and keyboards like John Henry knew years to make Dodge and Burn. But along the way subscribers
hammers and spikes, and he canand doesdrive them to to Third Man Records Vault program got sneak peaks at four
places that are both unpredictable and a reflection of the Big of the albums dozen songs.
Rock Handbook, which must be where he got the Jimmy Open Up (Thats Enough), with its spanking guitar
Page tone on Dodge and Burns ripping Let Me Through. chords, and the psychedelic potboiler Rough Detective were
Photo by David James Swanson
Although hes lived in Nashville, the eye of Whites released as a teaser 7 single in 2013. The next year, Its Just
ever-expanding Third Man Records hurricane, for three Too Bad and the Fertita-fueled riff machine Buzzkill(er)
years, Fertita hails from Detroit, home to one of Americas followed. Nonetheless. Dodge and Burn is cohesive as an
original sonic-anarchist outfits, MC5. And while Fertitas atomeven though, as Fertita explains, it was chiseled from
doesnt incorporate the twisted jazz elements that MC5 a fat slab of choices, sometimes starting with his own multi-
guitarist Wayne Kramer did as he and his 60s proto-punk instrumentalist impulses.
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JACK LAWRENCE ON
HIS QUEST FOR NEW
BASS TONALITIES
When we were recording Dodge and Burn,
I was trying to learn to work more with
feedback in the studio, explains Dead
Weather bassist Jack Lawrence. I was
experimenting with using hollowbody
basses and getting closer to the amps.
Getting up there and pulling back, getting
up there and pulling backlike, bobbing
back and forth, trying to get the right spacing
between the pickups and the speakers.
Lawrence jokes that this approach probably
looked silly from the control boothbut the results
sound thorny and authoritativeall fuzz, fury, and, at
times, even funk. The charter member of the Dead Weather
and Raconteurs explains that hes been on a quest for different tones over the past
few years, and thats reflected in the gut-punch of his performance on Dode and Burns
dozen tracks.
I usually use flatwound strings, he says. Im allergic to nickel, which means I cant
use nickel-plated roundwounds. With flatwounds you get a little dumpier sound. But I
wanted a little more aggressive sound in general this timea sound you could get with
roundwounds. So in the studio I cranked the treble up and used smaller speakers and
cabinets. The [ProCo] Rat pedal was also key for me getting that roundwound sound with
flatwoundslike on I Feel Love (Every Million Miles). The Jesus Lizard were my favorite
band growing up, and I use a Rat because David William Sims used one in that band.
Lawrence affirms Dead Weather guitarist Dean Fertitas observation that their
playings intertwined tonalities are a big component of the bands soundwhich
is why they focus on each other onstage and in the studio with an intensity usually
reserved for bassist-drummer relationships.
When I use my Electro-Harmonix Bass MicroSynth pedal, Dean and I have to work
together as a unit instead of the traditional drums locking in with the bass and the guitar
playing melodies on top, Lawrence explains. That pedal has got a big sound with a sub-
octave and square waves. If Dean and I arent locked in, those frequencies can eat up the
guitar. But if it is balanced, it sounds really amazing.
The MicroSynth provides the body of the howling Rottweiler tone on I Feel Love, as
well as Mile Markers, but Lawrence also used good old-fashioned amp overdrive, turning
an Ampeg combo and an original 1965 Fender Bassman wide open. The Ampeg has reverb
and tremolo, he relates. I didnt use the tremolo in the studio, but a hint of reverb was
nice. And on Cop and Go, thats just using an old hollowbody bass and the Fender Bassman
cranking. I didnt use a fuzz pedal on the recordthats all just speakers blowing up!
Lawrence also used a pick more often on Dodge and Burn, and its especially prominent
in the propulsive bottom of I Feel Love (Every Million Miles). I dont use a pick that
much in the Dead Weather, because not many of our songs have called for it. I like the
picky-ness of somebody like [session legend] Carol Kaye, but its hard to play in any kind
of funk style that way. Three Dollar Hat is a good example of me going for a funkier thing.
But even if I use my fingers, the pick will be in my hand to switch off mid-song sometimes.
The tone I get out of the bass amp is also going to guide me, he adds. If I turn
www.CarvinGuitars
KieselGuitars
www. .com
.com on a pedal, Im going to play a different riff than if I was just playing right into the
858 GUITARS amp. But whatever I do, its mostly decided on the spot when we record at Jacks
always made place. Were all playing together in one room, and sometimes Alison is the only one
in not in the room with usher vocals are usually recorded through an amp in a small
America
boothso everything bleeds together. Theres a lot of guitar in the drum mikes, so if
we like a take we cant really punch in too much. Thats why this record has a lot of
feel to it and everythings not perfect.
premierguitar.com
JACK LAWRENCES GEAR
BASSES
Gretsch White Falcon
1964 Fender Jazz
1966 Fender Precision
Vintage Hofner 500/2 Club
AMPS
1965 Fender Bassman
Ampeg B-18
EFFECTS
Electro-Harmonix Bass MicroSynth
ProCo RAT
Custom DI box
STRINGS AND PICKS

LaBella Deep Talkin flatwound strings
(.049.109)
Fender heavy picks
Playing in so many stylistically different

bandsQueens of the Stone Age,
Raconteurs, Dead Weather, Hello=Fire
must be a kid-in-a-candy-store experience.
It is. I can explore every part of my musical
personality. Whats great is theres no pressure
in any one band to try something that might
not be appropriate just because Im interested
in it. Theres a place for every sound and idea.
The bands do seem to have a similar

unpredictability and devil-may-care
attitude. Are there other similarities?
Because of how these bands operate, you
dont really bring in finished songs. For
example, there were two songs on Dodge
and Burn that Id tracked the guitar ideas
foralthough when I recorded the ideas I
didnt have any specific songs in mind. They
were parts I figured Id use at some point,
and they ended up in Buzzkill(er) and
Too Bad. In Buzzkill(er), the main guitar
riff sound is an Electro-Harmonix POG and
the Fulltone Tube Tape Echo. But with all
these situations, its more about discovering
something new or thinking about your

DEAN FERTITAS GEAR
GUITARS
Fender Telecaster
Gretsch White Falcon
AMPS
Magnatone
Fender Twin-Reverb
Selmer
No-name magnetic amp
EFFECTS
EarthQuaker Devices Bit Commander
Fulltone Tube Tape Echo
Moog MF-104M Analog Delay
Electro-Harmonix POG
MXR Micro Amp
STRINGS AND PICKS

Ernie Ball Regular Slinky strings
(.010.046)
Fender medium picks
Hobnobber to instrument in a new way. Its not so Jack Lawrence on bass. Its important Do you typically approach the
the stars, Fertita much that I develop a stockpile of riffs that the guitar and bass feel connected songwriting process in terms of sounds,
doesnt just
and stuff. Its more developing gut at all times. The [Electro-Harmonix or as notes, chords, and scales?
play in the Dead
Weather. He also instincts and ideas. Bass] MicroSynth-driven sound he I lean more toward sounds. Thats
helms the keys plays is part of the defining sound of probably the result of all the things
on the road for In the Dead Weather, youre a lead Dead Weather, so for me the guitar and I listened to growing up, and taking
Jack Whites guitarist in a band that has a terrific bass become one big thing together. If lessons and finding where my real
Raconteurs and
Josh Hommes
lead guitarist behind the drum kit. Jack records a song with that sound on interests were. I took theory classes
Queens of the Does Jack White ever voice opinions on it, it will drive me to find another way when I was younger, and I liked learning
Stone Age. your playing? to complete the space. I never really about the way things relate to each other
I have free rein but of course, if he has know what that is until I play it. It musically, but it wasnt exciting. I never
suggestions, its an easy relationship could be a clean part that cuts through found myself thinking that way when
that way. I might want to go on and on Jacks bass part, or maybe the same part it came to being in a room with people
doing takes, but having another guitar hes playing but with some fuzzwhich and writing music. Its more instinctual,
player there to say That was the cool we did for my riff on I Feel Loveor primitive, for me. I like to feel music
one makes my job a lot easier. But he maybe some kind of counterpoint. more than think about it.
Photo by by Scott Legato / Atlas Icons
never suggests what I play or insists on On Let Me Through I felt the

anything. He enjoys playing a different guitar needed to be an extension of Which of your early musical interests
role in this band. his tone but still be distinctive. To would you say fueled your interest in
emphasize the lyrics, the guitar needed sounds over academics? Were you into
How would you define your role? to bust through, too. So I used the Detroit bands like the MC5 or Iggy
Its difficult to pin down, but I feel like Bit Commander pedal, which gave a Pop, or textural jazz like John Coltrane
what I do is in direct connection to percussive, synth-like feel to the guitar. or Sun Ra?
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We did the album with the idea that
we were going to make singles. When
I might want to go on and on doing takes, but having people used to make albums, they were a
another guitar player there to say That was the cool compilation of singles. We cut songs two
one makes my job a lot easier. Dean Fertita at a time for the first eight we did.
Mixing was about finding the strategy
that complimented the other song.
No, I didnt listen to any of that stuff. I then rolls back in again. How did you Rough Detective lent itself to getting a
didnt even discover Iggy and the Stooges create those huge, roiling guitar sounds? little psychotic with the mix.
or the MC5 until much later, when I was The intro riff features a Moog analog delay.
already playing and recording in bands. I just plugged into it and started playing Besides the POG and Fulltone, do you
It was pretty much whatever was on the that riff, and it became the foundation have a palette of go-to effects?
radio, and growing up in the 70 and 80s for the song. Its also double-tracked. We There were just a couple of effects that
in Detroit, all we had for radio was classic played the song through three or four were used a ton on Dodge and Burn. The
rock. I loved AC/DC, Led Zeppelin, and times, and then decided we wanted more EarthQuaker Devices Bit Commander,
Black Sabbath. I wanted to be Jimmy clarity in the verses and choruses than the which is an octave pedal, saw a lot of light
Page for a while, until I realized that was intro and the bridge riffthere was too for these sessions. And the Fulltone Tube
impossible [laughs]. And there was some much delay. So for the verses and choruses, Tape Echo. They make guitars sound big.
hair metal. Eventually punk rock come we plugged my Tele into a combination
along and I heard the Dead Kennedys and of Selmer and Magnatone amps, with a What do you look for in a guitar?
the Sex Pistols. Fulltone Tube Tape Echowhich I use A new way of looking at doing the same
mostly for the gain stage. In the verses, thing. You learn the basics of guitar
Do you record riffs on your own or I leaned heavier on the Selmer and in a couple weeks and spend the rest
spend time in the studio working on mightve used an MXR Micro Amp as a of your life refining how you interpret
new guitar sounds to create a bank of preamp. The bridge was mainly my reissue those ideas. I recently got a Goya guitar,
ideas you can draw from? Magnatone with the delay. which is a 1960s Italian brand. Its not
I really dont. I should, I think, but maybe the easiest to play. I cant really take it on
Im too lazy or just need that push of being Speaking of the Magnatone, what drew tour. Its hard to control the sound in a
in a recording situation. I did record the riff you to it? live environment. But I love that guitar,
for Buzzkill(er) when I was in a studio I have a reissue that Im also using with and it makes me play a little differently
one dayjust by luck I came up with it Queens. Its about character with me than my Tele or the Echo Park guitars
and figured it would come in handy at finding things that just twist your ear and Ive been playing with Queens.
some point. If I come up with an idea while your way of thinking a little. To hear the
Im sitting around at home, I might record same things youve been playing forever Tell us more about this Goya.
it on my iPhone, but I prefer to create differently is, again, key for me. I like I used it in place of playing an acoustic.
sounds by reacting. In the Dead Weather, the response the low strings have on the Its a hollowbody, so it was nice for playing
everything is very spontaneous: Whatever I Magnatone, especially at lower volume. at home and not having to plug into an
play depends on whats in the room. I like Ive also recently been playing a Watkins amp. But the tone sounded very electric,
to hear where the song seems to be going Dominator II. Thats also one those amps even while playing it acoustically. Thats
and then I might plug my guitar into a that, wherever you set it, it sounds great what drew me to it. I could visualize how
certain amp, grab a few pedals, and dial and full. stuff was going to sound through the
up a sound to see if it fits. If it doesnt, Ill Magnatone. Every guitar has a personality
tweak it or try to find another sound. Or I Rough Detective has a lot of radical of its own, and having a different sensation
might walk up to the keyboard. It kind of separation and panning in the mix. in my fingers makes me play differently. I
depends on whats available and what other How do you decide which songs get the dont have a type. I go for something that
people are already doing. For me, being psychedelic treatment? makes me feel something that day.
flexible keeps things exciting and creative,
and everybody in the Dead Weather is into
that kind of spontaneity.
YOUTUBE IT
Dean Fertitas slippery, corpulent riffs set the mayhemic mood while
Jack Lawrences rumbling bass and Jack Whites brutal drumming
Lets talk about some specific songs on provide a bombastic backdrop for Alison Mossharts sultry howls on
this live take of the new Dead Weather single, I Feel Love (Every
Dodge and Burn. I Feel Love (Every Million Miles), on The Late Show with Stephen Colbert
Million Miles) has this turbulent wall of YouTube search term: The Dead Weather Performs I Feel Love
sound that parts like the Dead Sea and (Every Million Miles)
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Photo by Chapman Baehler

Eagles of Death Metals Jesse Hughes talks about musical
wizards vs. magicians, the deceptive art of creating a sonic
spectacle, and the greasy grooves he and best friend
Josh Homme laid down on the new album Zipper Down.
BY CHRIS KIES
P lenty of bands have been thrown together solely to get

girls. Others for fame and fortune. But Eagles of Death
Metal formed as more of a joke or dare.
Granted, guitarist/vocalist Jesse Hughes did play guitar
alongside his longtime best friend Josh Homme on the Queens
to check up on me, and he overheard I Only Want You [later
on EODMs 2004 debut, Peace, Love, Death Metal]. He asked
me if I could do more songs like that. I laughed and sneered,
I could write an album in a week. A few days later, Hughes
delivered and Eagles of Death Metal was born.
of the Stone Age frontmans 1998 Desert Sessions compilation The two friendswhove known each other since elementary
Volumes 3 & 4. But he confides, I just did it to hang out with school (We instantly hit it off, laughs Hughes, I think
my friend and make musicI never had any intention, belief, because we were the only two gingers in the desert)play all
delusion, vision, or pretense about becoming a rock n roll the instruments, though over the course of four studio albums
musician. When the sessions were over, Hughes moved on with theyve also welcomed friends like QOTSA collaborators Troy
family life, working nine to five as a journalist, speechwriter, Van Leeuwen, Alain Johannes, Dave Catching, and drummer
Photo by Chapman Baehler
and even an ordained deacon. But then the bottom fell out. Joey Castillo both in the studio and on the road. Eleven years
Around 2003, I was going through the ugliest divorce laterafter a ripping debut and two albums full of greasy
and custody battle you could imagine, he recalls. The only perv-rock with hypnotic grooves and the occasional vulnerable
thing on my mind was to show love to my son, so I started balladHughes and Homme are back with Zipper Down, their
entertaining him with really basic songs. Josh came over one day most versatile record to date.
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Its not about what
you play, or how.
But why.
We are in the studio right now recording the new album, using Heaven 57 pickups.
They sound amazing. Weve also, since long, been using Smooth Operators playing live
and both sets of pickup are really great. Quality
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Eagles of Death Ive always wanted to do a more
Metal frontman complex demonstration of a deeper
Jesse Hughes
emotion and prove my understanding of
rocks the Riot
Fest 2015 crowd proper songwriting structure, says Hughes
in Chicagos of his musical evolution. With any band,
Douglas Park you come out and youre raw and powerful
with his custom at first, but then you begin to understand
Maton MS500.
dynamics and how sometimes less is more.
That said, we concocted Eagles of Death
Metal to be like a rock n roll combination
of the Special Forces and Ringling Bros.
andBarnum&Bailey Circus.
So just how versatilehow Ringling
Bros.is Zipper Down? Well, for starters,
theres an eerie, buzzy, slapback-treated
cover of Duran Durans melancholy 1982
synth ballad Save a Prayer. But well let
ringleader Hughes elucidate further. When
we caught up with him before the bands
U.S. tour, he talked about everything
from how Parliament-Funkadelic and
flamboyant fitness ambassador Richard
Simmons sparked his swagger, to why hed
rather be a wizard than a magician, and
why he chose not to use big amps in the
studio and eschews pedals onstage.
What is the creative process between

you and Josh?
I typically write every lyric and riff in
Eagles of Death Metal. Ill then record
shitty little demos. Josh described it
like this: I brought in a bunch of toys
in a box, dumped them on the table,
and asked him what we should play of Death Metal name. No one else in goals for others rather than just doing it to
with first. Hell contend that his role their right mind would sign up to be a make yourself look better.
is to keep the character and vibe of my marquee duo with me and let me take Im completely comfortable with what
original thoughts intact, but hed be all the glory. When it comes to guitar, Im good atmy trick is to play stupid-
lying. I mean, in my opinion, hes one hell encourage me to figure out the part simple solos that sound rad enough that
of the best musicians out there right and do it myselfits like he has a chip you forget that Im only playing a few
now, and itd be a disservice to me and on his shoulder over my guitar-playing notes and just hanging on for the ride.
the fans if I didnt borrow a little of his abilities. Its beautiful [laughs]. The greatest thing I can tell anyone
awesomeness for our material. that works with someone that is clearly
Does he give you specific advice or superior and more talented than they
Since he primarily plays drums in push you in certain directions? are is to make yourself available to their
this band, do you have to really push Oh god, no. Josh is not that type of dude. direction. Your ego might take a hit, but
him to contribute guitar parts and But what I will do is show him how I your songs, music, or whatever youre
vocal melodies? learn and absorb his subtle teachings and doing in life will be better because of it.
He defersalmost to a faultto me suggestions. When we go on tour after a
and my guitar playing. Side bands dont few months off, I get all excited to show So did Josh contribute any guitar parts
make you money. They dont give you him how I can play slide a certain way or on Zipper Down?
Photo by Chris Kies
fame. And I wouldnt be talking to you use hammer-ons more efficiently. Im a Well, I wish it was a lot more, but he
today if it wasnt for Josh allowing me goal-orientated person, and Ive found that plays these really tricky solo runs that
to do my own thing under the Eagles its more fulfilling and holistic to achieve go through the bridge in Skin Tight
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Hughes go-to
live guitars are
a custom Maton
MS500 and a
baritone version
of Matons MS
T-Byrd, both
with lightning
bolts instead of
f-holes.
Boogie that are fucking mind blowing. that, when I write the songs, I write
JESSE HUGHES GEAR And his slide intro to I Love You All them complete. When Josh hears them
the Time is something we wouldnt for the first time they need to stand
have done on previous albums because on their own. We dont like forcing
GUITARS most of our previous slide playing is ourselves to write, fix, or finish a
faster, abrasive. This is more melodic, song. When a song is deemed worthy,
Custom Maton MS500
soulful, and emotiveits just like Gerry we need to focus all of our attention
Custom Maton MS T-Byrd baritone
Raffertys Right Down the Line. on properly arranging, layering, and
Yamaha AES1500
mixing everything so it doesnt come
Fender Blacktop Baritone Telecaster
Is there a method to your madness off as sloppy or improv.
Teisco Del Rey
when you guys build songs?
Im a hillbilly and I dont like to think Elaborate on what you mean by treat
AMPS too much, so I follow the James Brown everything like a drum.
Gorilla GG-10 (studio)
school of thought: Treat everything like When you play everything like a drum,
Zinky Smokey (studio) a drum so it connects in a manner like the parts will change. If you listen to
Orange Rockerverb 50 MKIII (live) a Lego. Its much more cohesiveand a Black Sabbath song, youll hear Bill
Orange Dual Dark 50 (live) tighter, say, than tinker toys [laughs]. Ward slam on his kit [mimics drum-
We pan the rhythm guitars into both fill from Iron Man]. You can mimic
EFFECTS channels along with the drums so that that with a pick slide or moving power
Mosrite Fuzzrite (studio) theyre together. Bass is treated like an chords up and down the neck. You just
Original orange Roger Mayer isolated lead instrument so it can truly translate the parts from the basis of the
Axis Fuzz (studio) be heard and felt. And of course, lead rhythm provided by drums. The more
guitar is completely separate so it sits you can tap into that feel and flow of
Photo by Chris Kies
STRINGS AND PICKS on top of the mix. a drummer, the better your music and
Ernie Ball Slinkys (.010.052) The key to what we doeven if instrumentation will sound and feel. And
Dunlop .73 mm picks it appears simple and haphazardis that means the ladies will move [laughs].
premierguitar.com
Lets talk about some of the new songs. The and let me stand on her feet while 80s-era-Blondie-style rap in the
Deuce seems to demonstrate that whole drum- we danced around the room. My middle of it. And I cant get over
playing mentality. Its got a highly danceable earliest, fondest memories in life are The Deuce, because its probably
rhythm and cool dual-guitar solo. centered around music and women. my best guitar solo ever.
Thats the only song on the record that I produced
and I played everything on except drums, which Do you have a favorite song on What did you use for the huge,
Josh played. I think two guitarists playing the same Zipper Down? gnarly bass tone on Skin Tight
thing sounds better than a single guy playing it I really dig Skin Tight Boogie Boogie?
twice, but Josh actually left the studio that day. So because the talk boxwhich can About 10 years ago a friend of mine
I recorded everything on top of his drum tracks normally be super cheesysounds took me to this sketchy-as-hell place
and did two scratch guitar tracks for that solo so badass, and my girl does a great where a guy had clearly come into
he could show up and work his big-fingered magic.
When he said there was nothing he could add to it,
M
it was one of the biggest compliments of my career.
The cover of Duran Durans Save a Prayer is

a surprise.
Im a believer that there is nothing new under IM U
MAX REMOLO
T
the sun. All forms of art are derived or covering
something that came before. I enjoy picking
songs or artists that you wouldnt expect to
provide an element of surprise and to challenge
myself. I also like to reveal and honor things. I
think Duran Duran is one of the coolest bands w/ MIDI Control
of my lifetime, so why not celebrate them and
have some fun? My only other requirement for
covers is that every part and nuance from the
original is represented somehow, even if its
with different instruments or tones. This song is
the only one Ive ever releasedwith Eagles or
solothat I only used a single vocal take. Josh
challenged me to go with one lone vocal take.
Listening back, Im happy he insisted.
Your music is typically so grooving and

infectious. What do you attribute that to?
I love women and I think they look best when
theyre dancing, man. The trick is to play music
that is equally tough and danceable, so the guys
will crank it and the women will bust loose at
shows. Thats all Im aftergood ol rock n roll.
But also, theres a collection of random
circumstances that have shaped my musical
proclivitieslike being raised by my mother. Shes
the greatest example of a woman, and because Winner of :
of her I admire and look up to them all. When I
write music or perform live, I want to celebrate
their beauty and strength and help them have fun. &
Another thing was that she really enjoyed doing the
Richard Simmons workout videotapes with her hot Discover the true potential of advanced stereo tremolo. Out of the box, the Vertigo Tremolo
friends, and Id hide so I could sneak a peek at them delivers three vintage trem eects with amazing warmth and versatility, but connect the
moving and shaking [laughs]. On top of that, my Vertigo to the Neuro Mobile App (a free download for iOS and Android) and access a
mom was really into disco and funk. To entertain comprehensive library of progressive tremolo algorithms and hybrid modulation eects.
me, shed put on Parliament-Funkadelic records Spiral into the thumping and hypnotic world of the Vertigo Tremolo.

Hughes, aka possession of a lot of stolen goods, and he
Boots Electric,
had an original Mosrite Fuzzrite and an
treats a sold-
out crowd original orange Roger Mayer Axis Fuzz
in Madison, that had previously belonged to Jake E.
Wisconsin, to a Lee and was at one time used by Hendrix.
solo cover of the I did my homework on that pedal and
Stones song
Brown Sugar.
had it verified. Its the real deal, baby, and
Ill be buried with that pedal [laughs].
Also, when you hear fuzz tones on any
of the records we do, were playing direct
through the pedalsbecause we dont
use amps. And when we do use an amp
for the other tones, its either a Gorilla
GG-10 combo or a Zinky Smokey Mini
Amp. Big sound doesnt require big amps.
Big sound
doesnt
require big
amps.
What do you dig about your
Maton guitars?
Maton make the finest guitars, in my
opinion. They arent that well known
in the States, because the company is
based in Melbourne, Australia. They have
a single master luthier that sits in the
middle of their factory handcrafting these
beautiful instruments. I like that they
use indigenous woods like silkwood and
blackwood that are similar to mahogany
and maple. The hot-rodded handwound
Mastersound pickups in my MS500its
basically a stock MS500 with lightning
bolts instead of f-holesare fantastic
because I dont use pedals live. So when
theyre paired with my Orange heads, they
get right to the edge of distortion without
losing any clarity or heft. Another thing
I really like about these guitars is that the
fretboard doesnt add much weight and
its rather thin, so I can grab it like a man
Photo by Chris Kies
with my little hillbilly fingers [laughs].

Another Maton I really adore is this
new custom, one-off baritone based on
premierguitar.com
their MS T-Byrd. They sent me it when
they caught wind that I recorded some YOUTUBE IT
Josh Homme (on drums) and Jesse Hughes create a greasy groove
parts with a Fender Blacktop Baritone
on this take of I Like to Move in the Night at this years Pinkpop
Telecaster on Zipper Down. It has some festival in Landgraaf, Netherlands. Dave Catching is on lead guitar,
really magnificent pickups that are and Matt McJunkins is on bass.
modeled after my old Special Kay YouTube search term: Eagles of Death Metal -
I Like to Move in the Night
bass, and they have that old tone but
without all the unwanted microphonics
and issues. What about the baritone? When Josh and I make records we have
Thats tuned to match the open G, a rulewe dont use technology to
Did you use any other guitars on but it has a lot of Bs and sharps. Its cheat. We didnt cut or scrap [edit] any
Zipper Down? basically two keys lower than my parts together, so everything you hear is
On The Reverend I used my big- double-open-G tuning. a full take.
bodied Yamaha AES1500 semi-hollow
because of its midrange snarl, and the Musically, whats next on tap for you? Whats the difference between a
first guitar I ever owneda Teisco Del Id really like to an honest-to-god gospel magician and a wizard, and which one
Rey that I got at a pawnshop for $60. album like Elvis did. Id like to explore are you?
my hillbilly, old-school country roots, A magician is a scammer that can go
Why are all your songs in open G? since Im originally from South Carolina. around and pull off a few sleight-of-hand
If its good enough for Keith [Richards], tricks, but he is a master of nothing. A
its good enough for me, man! [Laughs.] As an artist, are you more satisfied wizard has powerstrue, absolute control
Its not entirely like Keith, since he only onstage or in the studio? of their power. Id be a wizard, manand
uses five strings and we always use the full I take the stage and Im possessedI not like Gandalf. Id be a badass cross
six. I just double the bottom two strings love it! The studio is where you can of Sherlock Holmes and Harry Houdini
in open G, so its GGDGBD. show if youre a magician or a wizard. played by Antonio Banderas.
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Avant guitarist Mary Halvorson reveals how her passion
for Hendrix, Ornette Coleman, and a Guild archtop paired with
a RAT and Line 6 DL4 fueled her fiery solo debut, Meltframe.
BY ADAM PERLMUTTER
Photo by Kelly Jensen

S
everal years ago New York
guitarist Mary Halvorson felt
a schism in her playing. Shed
developed an approach to playing jazz
standards, and an entirely different set
of strategies for free improvisation. This
displeased her.
But one day after playing three
sets of standards at a restaurant gig,
Halvorson headed to an improvisation
gig with jazzs harmonic/melodic
language still in her head and used
those materials outside of their usual
confines to uncanny effect.
Halvorson takes a similar approach
on her latest album, Meltframeher
first solo-guitar effort, and a project
that required three years of introspective
study. Aside from the Duke Ellington
piece Solitude, she interprets music
outside the standard repertoire: pieces
by Annette Peacock, Chris Lightcap,
Roscoe Mitchell, and other improvising
composers, all of it written between the
1960s and the recent past.
Halvorson, 35, has long been a
fixture in new-music circles. She
entered that world via studies with
iconoclastic multi-instrumentalist/
composer Anthony Braxton when she How did you get into jazzwere you summer program I used to do, as well.
was a Wesleyan University student in always a fan, or did that develop with Boston was a cool place to be for those
the late 90s. Based in Brooklyn since experience? reasons. After high school I went to
2002, shes lent her singular voice No. I played Suzuki [method] violin Wesleyan University, where I got more
to the ensembles of bandleaders like from about second grade to seventh serious about music. I studied with Joe
Tim Berne, Taylor Ho Bynum, Myra grade, but I didnt like it much and Morris on guitar, and Anthony Braxton
Melford, and Jason Moran, and shes wasnt great at it. At that time I was as a kind of all-round inspiration.
worked with prominent guitarists like getting more into rock musicJimi
Marc Ribot, Bill Frisell, and Joe Morris. Hendrix, the Allman Brothers, things What was that like?
A strong bandleader and composer in like thatso it made more sense to With both Joe and with Anthony, there
her own right, Halvorson leads a long- switch to guitar around seventh or was a lot of emphasis on exploring,
running trio with bassist John Hbert eighth grade. I started with rock music, taking risks, and finding your own
and the drummer Ches Smith. The trio teaching myself out of tablature books. voice. The point really got hammered
also serves as the core of larger ensembles, Eventually I found a teacher, Issi Rozen, into my head. With Anthony, it was
often with unusual instrumentation who happened to be a jazz guitarist, so inspiring to get a glimpse into his
such as an octet with pedal-steel guitar. it was more by chance than anything expansive musical world. Hes created a
She also plays chamber-jazz duets with that I started learning jazz. completely unique world while having
violist Jessica Pavone and avant-rock with great respect for all types of music. That
the group People. You grew up in Boston, a city known was really important to me: being open-
Halvorson spoke to us recently about for its music schools. Did you study minded about all styles.
the challenges of assembling a solo- at Berklee or the New England
Photo by Tim Bugbee
guitar set, the joys of pairing distortion Conservatory? How did you find your own voice?
and delay effects with a traditional jazz I didnt go to college at either school, Did you consciously synthesize
box, and the lessons learned from her but NEC had a preparatory program those influences, or did it happen
teachers and collaborators. for high-school kids, and Berklee had a naturally?
premierguitar.com
JOEL STROETZEL UN-WIND
Guitarist for
Killswitch Engage
During the first show I

played using the Fishman
Fluence pickups I noticed
a real difference going
between distorted and clean
sounds. With the push/pull,
Multi-Voice knob, you easily
get your loud, clear, rock,
metal tone for the active
sounds. And the passive
sounds are killer for clean
tone nice and shimmery.
Joels pickups Fluence Modern Humbuckers
The electric guitar pickup has been wound since 1934. 80 years later, weve unwound it. fishman.com/fluence
MARY HALVORSONS GEAR
GUITARS
1970 Guild Artist Award
Custom Flip Scipio flattop
AMP
1966 Fender Princeton Reverb
EFFECTS
Line 6 DL4 Delay Modeler
Mission Engineering EP1-L6
Photo by Bruno Balleart
expression pedal
Pro Co RAT2
Dunlop volume pedal
STRINGS & PICKS

Elixir Nanoweb strings (.012.052)
Dunlop 1 mm Stubby picks
premierguitar.com
It was both. I would listen to their music and see about how difficult it is, so I was How did you solve the problem?
that they both had a strong thing that was truly kind of prepared for it. Its a really I would record myself and then listen
theirs. But when I started studying with Joe, he different mentality. If youre having back. In the beginning I found that
would never play guitar in the lessonshe didnt a bad day playing with a band, I wasnt leaving any space, almost
want me to copy what he was doing [laughs]. He theres a bit less pressureif youre like a nervous talker. It felt like I was
would play upright bass instead, and we would not playing great, someone else talking to someone but not saying
do a lot of improvising together. It was like, might play something amazing, anythingjust anxiously blathering.
Youre studying with me, but that doesnt mean which can inspire you to take it I had to work on pacing and letting
youre here to learn all the things Im playing. He up a bit. But when youre playing the music breathe, which took quite
encouraged me to explore on my own. solo, its just you. Its a little a while. The other challenge was to
nerve-racking. make each piece sound different,
Meltframe is your first solo album. How did it
come about?
Over the years, people have often asked me,
Smokey darkness
When are you going to do a solo record? But
until recently I didnt really have a strong concept
for solo guitar, and I didnt want to make an
album just for the sake of doing one. I didnt
want to do an all-improvised album, and I had no
inspiration to compose for solo guitar. A lot of the
composing Ive done has been for larger projects
thats where my compositional brain has been for
a while.
How did you select material?

Im not a tunes player, but I practice a lot
of standards for technique and to expand my
knowledge of harmony. So arranging standards
for solo guitar seemed natural. But pretty quickly
I expanded beyond standards to any pieces that
I likecompositions by friends, or things a little
outside the standard repertoire, like the Roscoe
Mitchell or Annette Peacock tunes I included. I
gradually expanded that repertoire until I was ready
to do some gigs with the tunes and record them.
What links the pieces?

The originals are so vastly different in style, so I
guess the link is that theyre all songs I loved at
some point and spent a lot of time listening to.
Like Cascades by Oliver Nelson: In high school
I used to listen to The Blues and the Abstract Truth
[which includes Cascades] all the time. There
are also songs that got stuck in my head that I
found myself going back to again and again. A few
I listened to all the time in college, like Annette
Peacocks Blood, which I transcribed from a
Marilyn Crispell recorda cover of a cover. Then
theres more recent work, like the Chris Lightcap
piece Platform.
Did you encounter any challenges?

There was a ton of challenges. Its funny
everyone whos ever played solo guitar talks 1.800.788.5828
Escape the expected. Experience graphite. www.rainsong.com

because its just solo guitarjust one
sound. I tried to create diversity and YOUTUBE IT
Before hitting the studio to record Meltframe, Mary Halvorson tests
have the pieces fall in as broad a range of her solo set on a live audience while opening for Melvins Buzz
techniques and arrangements as I could, Osborne in Baltimore.
so it wouldnt feel like everything was in YouTube search term: MARY HALVORSON: Live @ the Ottobar,
Baltimore, 7/17/2014, (Part 1)
the same style with the same approach.
Your sound is so lively. Was the guitar body, a freakishly large headstock, and a a mutual friend. Hes just brilliant and
body miked as well as the amp? loud, strong acoustic tone. I like having is into doing weird one-off projects, so
Yes. I always put a mic on the strings, that acoustic quality, even though I I asked him a few years ago if hed build
because my guitar has a really nice acoustic play electric. Its a well-made, beautiful me a guitar with a detachable neck, and
quality, and I blend that with a mic on the instrument that sounds great, and Ive got on his long waiting list. He designed
ampa Princeton Reverb. And we usually been playing it for 15 years now. my guitar to sound and feel as close to
use a room mic on everything. the Guild as possiblehe actually used
Tell us about your recently acquired to work at Guild, so he really knows
Did you use the Guild Artist Award custom guitar. the guitars. It has a vintage DeArmond
hollowbody youve played live for years? I started noticing that a bunch of upright pickup and a neck that feels very similar.
Yes. I found it in 2000 at a shop in New bassists I play with have removable-neck Its even got the same inlays, flipped
Jersey. At that time I was studying with a basses, which make it easier to travel. around to look weird. Its a flattop with
guitar teacher named Tony Lombardozzi Its usually fine to carry a guitar on a a slightly smaller body than the Artist
at Wesleyan. He told me about that plane in a gigbag, but one out of 20 Award. The neck comes off and the
particular model, and then I managed times its not, and its really stressful. So I whole thing fits into a suitcase that I
to find one, though vintage ones dont thought, if bassists have instruments with can carry on or gate-check. Being able
pop up that often. I checked it out and removable necks, why cant I? I know an to travel with an instrument I love has
really loved it. The guitar has a 17" amazing builderFlip Scipiothrough changed my life.
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MELTMIND: A Look Inside Mary Halvorsons Head
These three snapshots of Mary Halvorsons music show the wide territory her
repertoire coversboth conceptually and technicallyon Meltframe.
q = 343
Ex. 1
1:38
E11/B C6 A7/C E11/B
4
&4 b b b

let ring throughout

*with slide

0 0 0 0
7 7 7 7 7 6 6 6 6 7 7 7 7
7 7 7 7 6 6 7 7
7 7 8 8 8 7 7
*Save for the open-G string and the

encircled notes, which are fretted conventionally.
In her improvisation on Ornette Colemans Sadness, Halvorson employs a neat chord progression
rotating around the open G string. With a slide on her middle finger, she reaches her fretting hand over
the neck with her fingers pointed toward the floor. She frets the 8th-fret C with her first finger, letting the
notes ring together. The G creates timbral contrast against the slide notes.
q = 343
Ex. 2
0:00
b
R r r
Free time
4 . b
&4
3
.

etc.
8 8 8 8 8 8 9

12
10 10 10 11
10 0 10 10 10
8 8 0 8 8 8 8 0 8 8 8 8 8 8 8 3
Halvorson opens her interpretation of Oliver Nelsons Cascades with a commanding, angular solo. It
emphasizes the biting sonority of the minor ninth (D%) and demonstrates her penchant for combining
distortion with her Guild archtops natural acoustic sound. Note the judicious use of silence.
Ex. 3
2:51
Freely
j
D Bm7 E7 A7(b5) E9 D
bb4 j j w
& b b b 4 j j
j
j n n#w
n w

4 4 6
6 6 6 6 5 4

8 8 8 8 8 4 6 6 6 5

8 9 9 9 6 6 5
Halvorson plays Duke Ellingtons Solitude at an impossibly slow tempo. In her solo, she improvises a
new chord progression with pared-down harmonies. Her Fender Princeton Reverbs tremolo makes her
spare chord-melodies seem to sing.
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Though a
vintage Guild is
her go-to guitar,
Halvorson also
loves the custom
flattop that New
York luthier
and former
repairman at
GuildFlip
Scipio built
her. It features
a removable
neck (for travel
convenience),
a vintage
DeArmond
pickup, and
specs designed
to feel and
respond like
Halvorsons
Artist Award.
Is it difficult to pair those guitars with You use a Line 6 delay pedal in a cool, experimenting and found a way to make
distortion like you sometimes do? idiosyncratic way, making its skittering that sound like a pitch shifter or ring
Not really. The only thing that gets tricky sound part of your vocabulary. modulator. The cool thing about the Line
is if Im playing loudly in a big place and I got that pedal when I went to the New 6 is that it has an option to use an external
feedback becomes is an issue. But Ive Schools [New York City] jazz school for a foot pedal. When I first started using the
managed to find ways to either control year in the middle of college. I hadnt used sound, I was turning the knobs with my
or work with it. Ninety percent of the effects much until that point. I think I hand. But when I got a pedal, I could to
Photo by Brian Cohen
time feedback isnt a problemI think got bored and wanted to experiment with be hands-free and really integrate the Line
it sounds really cool having distortion sound. So I got a Line 6 DL4, probably 6 into what I was doing. Like the Guild,
while hearing bits of the acoustic tone because a lot of other guitarists had that Ive been using the Line 6 for 15 years. Ive
come through. pedal and seemed to like it. I started been through three or four of them.
premierguitar.com
Various types of wood, the attack, and the natural
sounds of the instrument.
group that includes a steel player.
I used to play slide a bit in my
rock music have Your use of slide on Ornette

early 20s, but not in any kind of
idiomatic waymore as a sonic
meant different Colemans Sadness is an

interesting textural departure.
tool. Then I lost the slide and
didnt buy another until a couple
things at various
I love the sound of bowed bass and years ago, when I first became
wanted to emulate it in some way, interested in pedal steel.
so I used a slide. Also, Im really
stages of my life, but interested in pedal-steel guitar right Lets talk about some of your
SHUBB
now, and Ive been writing for a other projects. In Ye Olde, led by
on the whole what
I take from the
music is its energy
and edge. The best performers will settle for no less.
There are great tremolo tones on Solitude and
elsewhere on Meltframe, presumably from the
Princeton.
I never really used tremolo until I got that amp
six or seven years ago. A lot of times I do a sort
of custom tremolo with the volume pedalits
almost like playing sax and having different speeds
of vibrato. But its also nice to use the tremolo on
the amp for a beautiful, consistent effect. And that
amp has one of the best tremolos.
Some of the albums intense momentslike

when you suddenly switch on the distortion
pedal on Aishacall to mind punk.
How important is the rock canon to your
improvisation?
Its important. Various types of rock music have
meant different things at various stages of my life,
but on the whole what I take from the music is its
energy and edge. I sometimes feel like harnessing
that energy, using simple power chords and triads
and the percussive attack that certain rock guitarists
use. Ive always been interested in integrating these
things into more jazz-oriented stuff.
Speaking of attack, yours is pretty enthusiastic.

I have a memory of first picking up a guitar
and intuitively picking like that. Its always felt
instinctive to play with a sharp attack. Also, Ive
always been drawn to upright bass, both the sound
of the instrument and the way a bassist might
really dig into the notes and have some buzzing
sounds. Thats why I like having a big acoustic
guitar like the Guild and being able to hear the info@shubb.com www.shubb.com
707-843-4068

Mary Halvorson
plays with Vic
Juris at the
Alternative
Guitar Summit
2014 at
SubCulture in
New York City.
trombonist Jacob Garchik, you match Theres an element of us combining to Marcs one of my favorite guitarists and has
wits with guitarists Brandon Seabrook sound like one massive guitar, but the been since I started listening to his music in
and Jonathan Goldberger. differences come out in interesting ways college. Getting a chance to play with him
Thats been so much fun. Jacobs made because were working both together and has been amazing. One of the biggest things
these amazing arrangements for three against each other, creating contrast and Ive taken from working with him is that hes
Photo by Scott Friedlander

guitars, trombone, and drums, and that unity at the same time. so incredibly in the moment. Hes always
band has a high level of energy and taking risks. Youre always on your toes when
insanitya crazy mesh of sound within What is it like to work with Marc you play with himyou never know whats
the context of the arrangements. All Ribot in his Sun Ship and Young going to happen. And thats something that
three of us are pretty different guitarists. Philadelphians ensembles? Ive been able to take into other situations.
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WWW.TECH21NYC.COM
1 Want to learn to solder
like a pro? If you follow
the steps in our illustrated
guide and dedicate some
time to practice on old
pots or 1/4" guitar cables,
youll be up and running
before you know it.
BY GEORGE ELLISON
IMAGES BY ANDY ELLIS
The essentials: a low-watt soldering iron, a stand, a small damp
G
sponge, and a roll of electronic silver solder like this .020" iven the DIY nature of this issue, we
60/40 lead/tin rosin flux solder from Kester.
thought it would be appropriate to
address good soldering technique.
2 If youre willing to invest a few bucks in
some modest tools and spend a little time
practicing the basics, you can learn to wire
up guitars, stomp kits, speaker cabinets, and
even do some simple amp mods. Once you
understand the fundamentals, you can save
money and derive a lot of satisfaction from
working on your own gear.
The tools.
Youll want a decent soldering pencil (a
small type of soldering iron) rated at least
25 watts, but no more than 60 watts. (Many
guitar techs like a 30-watt soldering iron for
working on guitars and amps, and a 15-watt
iron for working inside stompboxes and on
If your soldering stand doesnt house a sponge, just put a damp delicate printed circuit boards.) Youll also
household sponge in a glass or ceramic dish. Other helpful tools: want a stand to hold the hot iron when not
a hemostat and small clamps to hold parts still as you solder in use, a damp sponge, and some rosin core
them, and a solder sucker bulb for removing solder. solder made for electronic work (Photo 1).

You should also have some basic hand tools, 3
such as wire strippers, needle-nose pliers, wire
cutters, and something to hold the wire in
place while a solder joint cools (Photos 2 and
3). There are tools sold specifically for holding
wires and parts, available through an electronics
supply house.
Step 1: Prepare the Joint

For every joint, you need to find a way to hold
the wire in position without using your hands
(Photo 4). Wrap the wire through the solder
lug once to make it hold tightly on its own,
use tape to hold it in place, lay a pair of pliers
on the wire to hold it firmly where you want
it, or use a mechanical soldering aid to hold it.
In addition to hook-up wire, youll want wire strippers. Alternatively, luthier

suppliers offer old-school push-back wire with a waxed cotton jacket (center)
When you make a solder that eliminates the need for stripping off the plastic insulation from the end of
the wire. Electrical tape and heat shrink tubing come in handy when you need
connection and rely on to protect or insulate your work.
your hands to hold the 4

soldered wire steady while
the joint cools, you will fail.
Use whatever works, except holding the wire

manually. When you make a solder connection
and rely on your hands to hold the soldered
wire steady while the joint cools, you will fail
no human hands are steady enough to hold
anything perfectly still, and you want the wire
to remain absolutely motionless while it cools.
If there is movement, the result will be internal
fractures in the solder.
Before you attempt to solder a connection, the wire and component must be
secured to assure they remain absolutely motionless. Here, a spring-loaded heat-
Step 2: Clean the Tip
sink clamp holds the wire in place while a vice grip gently clamps the pot shaft.
The tip must be cleaned before each and
every jointyou can use the damp sponge
5
for this (Photos 5 and 6). Solder produces a
by-product called dross very, very quickly, and
the dross fouls the tip, preventing good heat
conduction and introducing waste material into
your solder joints.
Step 3: Tin the Tip

Immediately before you get on the joint with
the heat, add fresh solder to the tip of the iron
to tin it. Simply feed solder directly onto the
tip so its completely coated (Photo 7). A tinned
tip will provide much better heat conduction
than a tip thats clean but not tinned. Wipe the hot tip with a damp sponge to keep it clean.
premierguitar.com
Step 4: Remove the Excess Solder 6
Shake off the excess solder after tinningyou
want the tip coated, but not dripping. I have
a fire-resistant container beside my soldering
bench, and after tinning I tap the barrel of
my iron on the edge of the container to knock
excess molten solder into it. You can use any
fire-resistant container for this, such as a tin can
or ceramic bowl, but use care not to start a fire.
Because solder melts at such a low temperature
the risk of a fire is very lowmolten solder
is unlikely to ignite even highly flammable
materials like paperbut use care anyway!
A clean, dross-free tip looks smooth and shiny.
Like most skills, soldering 7
proficiency is acquired
through practice.
Step 5: Get on the Joint Right Away

As soon as youve removed the excess solder
from the tip, get right on the joint. By joint,
I mean the wire and the solder lug, or the wire
and the back of the pot, or whatever it is youre
soldering. Dross will start to form on the tip
very quickly, so as soon as the tip is prepared,
get to work.
Step 6: Heat the Joint

Heat the joint, not the solder (Photo 8). You Add a small amount of solder to a freshly cleaned tip just before you solder
a connection. When you see this telltale puff of smoke, pull the strand of
want the joint to be hot enough to melt the solder off the tip, shake off any excess, and then move quickly to the joint.
solder. Its a given that the iron is hot enough to
melt itjust feed a little onto the tip and youll
8
seebut you also want the joint itself to be hot
enough to do the same. If you feed solder onto
the joint without it touching the iron (Photo
9), the solder will melt and be attracted right to
the joint. You can watch the solder actually wick
out onto the surface youre soldering tothis is
what you want.
Step 7: Get off the Joint

As soon as the solder has flowed onto the joint
properly, remove the heat from the joint. Most
components can stand a fair amount of heat,
but some are more susceptible to damage than
others, so theres no need to push your luck.
Pots are fairly durable (unless its a cheap pot),
so its highly unlikely youll damage one by
Gently press the irons hot tip against the joint to heat it before you bring the
trying to solder a wire to its back. But again, solder into the equation. The goal is to make the joint itself hot enough to
theres no need to push your luck, so as soon melt the solder.
premierguitar.com
9 10
While holding the tip against the joint, feed the solder onto the When the molten solder has flowed into the joint, pull away both
heated joint, not the soldering iron tip. Here the emerging puff of the solder and iron. Keep the joint motionless as it cools and dont
smoke indicates the solder is melting. blow on itthe moisture in your breath will enter the cooling
connection and potentially cause it to fail.
as youve completed the joint, pull the iron away and let become competent all the more quickly, so follow these
the joint cool with the components remaining motionless. steps, and youll be soldering like a pro in no time. You
If youre soldering to a ring-shaped solder lug, then youll should probably practice on projects that arent expensive
want to fill it completely with solder (Photo 10). This will or mission criticalyou might want to think twice about
maximize the mechanical strength of the joint. rewiring your only guitar before that gig with Clapton
Like most skills, soldering proficiency is acquired through tonight. But if you keep at it, youll be one step closer to
practice. Employing good technique will allow you to being a consummate DIYer.
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TWO WAYS TO IMPROVE 11
YOUR SOLDERING PROJECTS

By Andy Ellis
After you master the basics, there goes up the tip and into the bulb
are two more skills to add to your (Photo 12). Look at thata nice
bag of tricks: removing old solder clean lug ready for its next mission
and installing heat shrink tubing. (Photo 13).
There are plenty of occasions Tip: Its good to recycle pots
where youll wish you could remove and parts, but never try to reuse old
old solder and re-use a part. For solder. Clean it off and start fresh.
example, you might have rescued a In case youre wondering what
volume or tone pot from a previous happens to the old solder, every
mod or project. If its a high-quality few months you simply work the tip
pot, like those from CTS, why toss out of the bulb, shake the collected
it and buy a new replacement cold solder beads into the trash,
12
when you can put the old one back and reinsert the tip into the bulb.
into service? Its easy to reverse Good to go.
the soldering process and remove When youre working with
old solder and bits of wire. You wire and electronics, youll often
simply need a solder removal tool. encounter instances where you
There are several types, including need to insulate a connection
disposable braided wire thats from other wires or components.
Its easy to reverse the soldering

process and remove old solder
and bits of wire. You simply need
a solder removal tool.
designed to wick molten solder For example, you want to install 13
away from a joint, and various a favorite old pickup into another
vacuum pump tools and solder guitar. However, the pickup leads
suckers. I prefer a simple rubber have been cut back over the years
bulb with a heat-resistant Teflon tip. and now they wont reach the
Heres how it works: Stabilize intended switch or pot, which
your component, in this case, a means its time to splice short
pot (Photo 11). See how one lug is extensions to the pickup leads.
filled with solder? Lets make that No problem, except if the exposed
go bye-bye. Apply heat to the lug wires touch each other or other
with a freshly cleaned soldering- components, theyll create a short
iron tip. When you see the solder and youll hear only silence (or an
turn shiny and molten, hold the annoying hum).
bulb away from the lug, squeeze Electrical tape will do the job to
and hold the bulb, and then bring insulate the splices, but heat shrink
its tip to the lug and release the tubingaka heat shrinkoffers
bulb. Fffffft! The molten solder a more elegant solution. To make
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to comfortably slip over your wire, 14
cut off a piece that will straddle
the solder splice or joint you plan
to cover. The pros suggest a length
thats about three times as long as
the exposed section. Use hemostats
or a clamp to temporarily hold the
ends together while you gauge the
length youll need to cut (Photo 14).
Next, remove the clamp, slide
the heat shrink over one end of
the wire (keep it far away from
your hot iron) and solder the wires.
When the solder has cooled, slip 15
the heat shrink over the new joint,
this work, youll need a heat source. center it, and fire up the heat gun.
Some folks use a lighter, but I prefer The tubing will start to immediately
a heat gun because I like to avoid contract around the joint (Photo
open flame in my workshop. Heat 15). Dont worry, air from the heat
guns arent expensive and they get gun doesnt get hot enough to
the job done efficiently and safely. compromise the solder joint. Once
The details: Designed to slide the tubing has completely closed
over wire of different gauges, heat up around the wire, youre done.
shrink comes in various diameters. The joint now has a tough, new skin
After you select the right diameter to protect it.
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GUITAR SHOP 101
How to Intonate an Acoustic 12-String 1
STORY AND PHOTOS BY JOHN LEVAN
I
ntonating a flattops bridge saddle is take measurements. These specs provide
tricky, and thats especially true when a baseline to help gauge your progress.
it comes to vintage 12-string guitars. Youll be taking several measurements, so
Back in the day, it was rare to find an write them down as you go. 2
acoustic 12-string with a compensated First, put a capo on the 1st fret
bridge saddle. In fact for many players, and measure action at the 12th fret
the slightly out-of-tune jangle was a with a string action gauge. Take this
big part of a 12-strings aural mystique. measurement for both the 1st and 11th
But times have changed, and as music stringsthe first of the doubled high Es
and recording technology have evolved, and the low E string. (Well assume your
most musicians and producers expect a 12-string has the standard octave-string
12-string to play reasonably in tune all configuration, i.e., the octaves in each 1/64" and the 11th string was just over
along the fretboard. pair are closer to you than their wound 2/64" above the fret. Again, perfect
Intonating a flattop 12-string with partners. Some electric 12s, notably action at the string nut. At this point,
a straight bridge saddle involves filing Rickenbackers, reverse this order.) I knew my job would simply entail
unique break angle and intonation Measure the distance between the bottom lowering the action at the bridge saddle.
points for each stringan operation of the string and the top of the 12th fret. When I checked the intonation with
that requires skill and patience. Lets Next measure the relief: With the capo a strobe tuner, and compared the 12th
investigate and see exactly whats involved. still on the 1st fret, hold the 11th and fret harmonics to their corresponding
Well use a beautiful 1972 Martin D-12- 12th strings down at the 14th fret and fretted notes, I found most of the fretted
20 as our project guitar. The guitar was in measure the greatest gap between the notes were from two to six cents sharp,
good shape when its owner brought it into bottom of the 11th string and the top although the G and D pairs were flat by
the shop, but it didnt play even remotely of the frets. Typically this occurs around about three cents.
in tune and the action was uncomfortably the middle of the fretboard, somewhere With these measurements in hand, I
high. Many old 12-strings require a neck between the 7th and 9th frets. You can was ready to get to work.
reset (an expensive proposition), but I identify this gap by tapping the 11th and Sanding the bridge saddle. My next
checked the neck angle and it was fine. 12th strings against the frets while still step was to check if the saddles radius
Fortunately for the guitars current owner, pressing them down at the 14th fret. matched the fretboard radius. My radius
the problem was rather simple. Somewhere Now remove the capo and check the gauge revealed what Id suspectedit
along the line a previous owner or tech had action at the 1st fret. wasnt even close. The fretboard had a
installed a saddle that was both too high Finally, using a strobe tuner, check the 14" radius (Photo 2), but the bridge
and incorrectly radiused (Photo 1). intonation for each string. (Naturally, this saddle was around 8". This meant the
My job was twofold: lower the action is tricky on a 12-string because you have saddle had a much more pronounced
by reshaping the bridge saddle and then to pluck each individual string of the six arch than the fretboard. I knew if I didnt
intonate each string. I knew that once pairs.) Starting with the 1st string, play reshape the top of the saddle to match
I completed these tasks, the D-12-20 the 12th-fret harmonicmake sure its the fretboard, the D and G pairs would
would play better than ever and sound in tuneand then fret the same note. If be radically higher than the other strings.
more in tune at the higher frets. the fretted note is sharp or flat compared Using a 14" radius block and self-
Requisite tools. To intonate a to the reference harmonic, write down adhesive 80-grit sandpaper, I sanded the
12-string, you need a few specialized how many cents its off and in which top of the saddle until it matched the
luthier tools. These include a string direction. Repeat the process until youve blocks radius. Heres the most accurate
action gauge, radius gauges, and a documented the intonation at the 12th way to reshape the top of the saddle:
radius block (the latter must match fret for all 12 strings. Place the radius block in a vise with the
the fretboard radius). Youll also need a Our 12-strings preliminary specs. radius side up and affix the self-adhesive
mechanical pencil, a capo, self-adhesive Heres how the D-12-20 measured up: sandpaper to the block. Now remove
80-grit and standard 400-grit sandpaper, The action at the 12th fret was 6/64" the saddle from its bridge slot, turn it
and flat, single-cut miniature needle files. for the 1st string and 7/64" for the 11th upside down, and gently sand its top
Preliminary check. Before starting string. Too high to play! The relief was in the blocks concave area. If you shine
this kind of work on a guitar, its .012"perfect for my clients playing light behind the saddle, youll be able to
important to tune to concert pitch and style. At the 1st fret, the 1st string was see how much material youre removing
premierguitar.com
3 5
from the saddle and make sure its radius

matches the block (Photo 3).
Since the action was pretty high on
our 12-string, I removed about 1/32" 4 6
from the top of the saddle at both E
string pairs. I removed quite a bit more
from the middle of the saddle to flatten
out the arch.
Once the saddle is correctly radiused,
slip it back into the bridge and grab your
mechanical pencil.
Marking the saddle. Now its time to saddle) and the G (at the front of the string leaves the saddle from a crisp, defined
draw guidelines on the saddle crown for saddle). The D and A strings usually peak as it heads toward the soundhole.
both the individual intonation points and create a stair-step pattern between the G Checking intonation. As I mentioned
the various angles needed to guide the and low E strings, with the D closer to earlier, theres a lot of trial and error
strings as they emerge from the pin holes the G, and A closer to the low E. involved with intonating a 12-string.
(Photo 4). But before you start drawing The four plain octave strings are a Once youve done the first pass of filing,
lines, lets take a moment to discuss different story. Both the low Es octave put on a fresh set of strings, tune them to
where the strings should sit on the top and the Gs octave points will be at the pitch, and check the intonation.
of the saddle. First well deal with the front of the saddle. The octave strings for The goal is to have the fretted note at
intonation points, then the string angles. A and D will be further back toward the the 12th fret match the corresponding
Fair warning: Setting the intonation bridge pins. 12-fret harmonic. Use a tuner to keep track
entails some trial and error. You can As youd expect, the unison B and E of how close the fretted note comes to its
estimate where each string should rest on strings sit at exactly the same point as reference harmonic. If the string frets sharp,
the saddle, but its nearly impossible to their siblings. file the intonation point back toward the
get it perfect on the first try. Now consider how each string travels rear of the saddle. Conversely, if the fretted
For this task, its helpful to mentally from the pin hole in the bridge to the note is flat, carve the intonation point
divide the 12 strings into three groups: top of the saddlethe intonation point. forward toward the front of the saddle.
On this Martin, the six primary strings When youre done, the saddle should look
The six E, A, D, G, B, and E strings those that correspond to a standard similar to Photo 6. Dont be dismayed at
youd find on a regular flattop. We flattopare set back toward the rear of how many times youll need to slacken and
know the lowest four are wound, and the bridge. The six additional strings, the remove the strings, file the saddle, restring,
the top two are plain. So far, so good. four octaves and two unisons that make retune, and recheck the intonation.
The plain octave strings (E, A, D, G) a 12-string such a beautiful beast, emerge Wrap it up. When youve got the
that pair with the wound E, A, D, and through the soundboard and bridge right intonation dialed in to your satisfaction,
G strings. behind the saddle. take off the strings one last time, pop out
The doubled unison B and high-E strings. On the rear of the saddle, you need to the saddle, and then polish it with 400 grit
Just like their mates, these are plain. file individual angles (think of them as sandpaper, followed with a polishing cloth.
ramps) that allow each string to reach its Restring, retune, and youre good to go.
Okay, think about the first groupour intonation point without encountering This process takes a long time to
standard 6-string. As a general rule, both a sharp edge. Correctly filed angles master, but in the end, its worth it when
the low E and B strings intonate best at minimize string breakage and maximize your 12-string plays in tune all the way
the rear edge of the saddle (closest to the sustain. The angle for the primary strings up the neck.
bridge pins). The G strings intonation will be shallower than the six extra strings.
point is typically at the very front of the Filing the saddle. This is where your JOHN LEVAN has written five
guitar repair books, all published
saddle (closest to the soundhole). inner artist gets a chance to shine. Using by Mel Bay. His bestseller, Guitar
That leaves the high E, D, and A a miniature flat file, carve each strings Care, Setup & Maintenance, is
a detailed guide with a forward
strings to be accounted for. The high intonation point and rear angle, based on by Bob Taylor. LeVan welcomes
questions about his PG column
E will typically fall between the B your markings (Photo 5). Go slowly, and to or books. Drop an email to
(remember, thats at the rear of the prevent any sitar-like buzzing, be sure each guitarservices@aol.com.

ON BASS
Challenging the Visual Status Quo

BY VICTOR BRODN
B
Constructed eing a freelance bassistas opposed Of course the choice of instrument is
from different to being in a bandmeans youre an important part of this equation, but
pieces of wood,
always working towards becom- you can certainly choose an instrument
my Sandberg
bass can confuse ing a true jack-of-all-trades. You have to that shows your influences and makes a
engineers and immerse yourself in reggae, funk, neo soul, statement about your individuality. If you
producers who classic soul, rock n roll, jazz standards, and bring the heat and the groove, people who
listen with any other style you might encounter on may have initially dismissed you because
their eyes.
any given gig in the real world. of your choice of instrument will have
A big part of this exercise is becoming to concede you just made magic with
very familiar with the type of instruments something they thought wouldnt work.
featured on all those genre-defining Still, like many others, I grew up
records, what pickup blend was used, playing P-style basses. I wanted that iconic
where the bassist was plucking the strings look and didnt veer far from it for many
to create the right balance of attack versus years. But luckily for us bassists, there
warmth, and more. You can spend a lot are countless talented luthiers building
of your time intentionally replicating the great bass guitars right now. Whether
original sound, or you can just enter the their builds are based on tradition with
tone-and-feel ballpark without getting too a modern flare or completely futuristic in the bridge, and a J-style pickup in
close. (The latter grants you a little more Millennium Falcon-style creations, theyre the neck. Sounds traditional enough,
artistic license as you play Brown Eyed worth checking out. dont you think? Surely nobody would
Girl for the umpteenth time.) The first sign of me breaking the have a problem with this bass, right?
The weight of all this tradition is very mold was when I briefly studied jazz at Wrong. The bass is constructed from
present in the mind of your coworkers the University of Miami and had the several different pieces of body and
whether theyre engineering the session budget version of Yamahas Billy Sheehan fretboard woods that are glued together.
or playing with you in the ensemble. If signature model. It was lime green and It looks like a wacky paint job, and when
youre performing a classic Kiss song with had scalloped frets and large-block people first see it, they are completely
an old Gibson Ripper while making a inlays on a light maple fretboard. Id dumbfounded. Nobody realizes they are
demonic face, people will assume from also placed red rose stickers on every fret looking at a fairly normal J5. And tonally,
your attention to detail that you must with an inlay. It looked hideous, but for the bass can easily be more vintage-
be a good bassist. What Im getting at is some reason I thought it was cool at the sounding than many vintage basses.
people hear with their eyes in a big way. time. My fellow students and the main Ive been playing this bass for three
Here in Nashville, unfortunately, many instructor were horrified and referred to years, and I know Ive lost out on work
recording engineers get a little scared if you my bass as the Candy Cane. because of the way it looks, but Im fine
walk into a session with anything other But heres the thing: My main with that. People expect the bass to sound
than a vintage Fender or a modern replica concern still remained having the right very modern at first glance, yet even after
they might recognize. If the bass has a tone for the genre. We were playing jazz they hear it theyre sometimes unable to
beat-up sunburst finish, you must be really standards, so I had to emulate an upright. undo that initial visual impression. But
good. If you have a hollowbody or semi- The Yamaha had a big, woofer pickup now if I show up without it, people are
hollowbody bass like a Hofner or a vintage placed right at the neck/body joint that finally starting to say, We hired Victor,
Vox as a backup, you must be an expert! produced stunningly warm sub-lows. where is the Victor bass? So stick to your
I have a persistent urge to challenge And with the tone knob turned all the guns, or more specifically, your bass. Play
the status quo when it comes to the way down, it produced a slower attack your favorite instrument. Life is too short
acceptable tools of the trade. Like many that was perfect for the style. If people not to.
other musicians who grew up listening had just closed their eyes and listened
to iconic bands that spent unbelievable with their ears instead of their eyes, VICTOR BRODN is a Nashville
bassist and producer who has
amounts of time and money on clothing they would have heard the absolutely
Photo by Wanda Padgett
toured and recorded with more

and a stage show, Im of the belief that appropriate tone I was producing. than 25 major-label artists,
including LeAnn Rimes, Richard
presentation is a viable and important One of my current main instruments Marx, Casting Crowns, and Randy
element of the music itselfnot an added is a German-built Sandberg with a Houser. You can reach him at
vbroden@yahoo.com.
bonus and not something only for poseurs. J-style body, a Music Man-style pickup
premierguitar.com
THE BASS BENCH
Adjusting Bass Pickups

BY HEIKO HOEPFINGER
N
ow that weve looked at the right? To a certain degree, this is what 1
extremes of pickup adjustment you do when you change string materials.
[Mysterious Magnetism, Generally, nickel is magnetically weakest,
October 2015], lets see what it takes followed by steel, and finally cobalt as the
to get your pickups dialed in just right. strongest. And the magnetically weaker
Before you begin: Its pointless to start the string material, the closer you can go
adjusting pickups if the rest of your to the pickup before the magnetic pull
instrument isnt properly set up. No introduces its negative effects. (To remind
need for it to be perfect, but at least yourself of what these are, take a moment
it should be decent. And remember to to revisit my previous column.) 2
tune up carefully. The practical part is easy: Get the
Of course, a manufacturers right tool for your pickup height screws
recommendation is a good starting and decide how you want to remember
point. Factory measurements typically the height changes youve made. This
refer to the distance between the top can include writing down all measured
of the pickup and the underside of the distances on the bass and treble sides
string. (Conceptually, its the same way of each pickup, or sticking tape to the
wed measure action between the fret sides of the pickup to mark how far
and string.) But consider this: On the it protrudes above the body. Feel free
bass, it makes a difference whether youre to adjust in incremental steps or make
measuring the distance from the center drastic changes in height. As long as you
or the bottom of the stringjust think remember where youve been before, its
of the trending 0.178" (4.5 mm) low all fair game.
F# string. If our goal is to make precise For most of us, it makes sense to start
adjustments within a magnetic field, the with the bridge pickup. Not only is it the
discrepancy between these two points of one with the most timbral character, it also
measurement can be significant. yields more mids and treble, and that makes
Another thing is the choice of strings. it easier to notice the sonic differences
Nothing to worry about if youre only brought on by height adjustment.
doing this for fun, but if you intend to Before you pick up that screwdriver, might influence your tonal judgment, so
adjust your pickups once and for all time, now is a good time to sit back and think simply plucking a string and cranking it
choosing strings is a crucial first step. about how you want to judge the results. up to the earlier volume is a simple way
Ironically, no one recommends a fresh For me, this is the most important step to focus on tone.
pickup adjustment after youve changed because we all tend to fall for a simple Adjusting overall pickup height and
string gauge or even magnetic string psychoacoustic effect: the tendency to balancing the treble and bass sides requires
materials, but they should. There are three confuse the sweet spot and good tone patienceits a painstaking, but rewarding
elements (nickel, iron, and cobalt) that with loud and powerful! As with string project. Obviously, the more pickups on
Photo 1: Courtesy of basslab.de Photo 2: Courtesy of Dieter Stork

are ferromagnetic at room temperature materials, loud isnt always betterwe a bass, the trickier it can be to adjust.
and each of these are used by string have amps to take care of that. This Lwenherz bass (Photo 2) has 12
manufacturers, with cobalt being the To get serious results, I wouldnt start coils configured as six stacked single-coils.
latest to the game. Of course, the alloys this project without a tiny helpera Fortunately, theyre packed into just three
manufacturers use have different magnetic dB meter (Photo 1). Any cheap app humbucker housings, which dramatically
properties than the elements, and also its or integrated functionality of an audio decreases adjustment complexity.
not really ferromagnetism that counts. program does the job. Why? We dont
(This is not the place to dig deeper need exact measurements, we simply HEIKO HOEPFINGER is a
German physicist and long-time
into paramagnetism, diamagnetism, or need comparability. And once you bassist, classical guitarist, and
ferromagnetism, but Im glad I was finally level a pickup to your favorite volume, motorcycle enthusiast. His work
on fuel cells for the European
able to mention them.) always make sure to turn down your bass orbital glider Hermes led him to
Youd anticipate having to readjust a between each subsequent adjustment. form BassLab (basslab.de)a
manufacturer of monocoque
pickup if you could swap its magnets, The dazzling effect of first impressions guitars and basses.
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BOB GLAUB
Jackson Browne / Carole King / John Fogerty
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Pickup guru Frank Falbo shows you how to

tweak your guitars tone to taste with nothing
more than a soldering iron and a few
components worth the change in your pocket.
BY FRANK FALBO
Photo by Andy Ellis

Author
Bio
FRANK
FALBO
Frank Falbo was
Vice President
of Product
Development at
Seymour Duncan
from 2007 to 2012,
is currently on
Fishmans Fluence
R&D team, and also
runs his own
guitar company,
Falbo Guitars.
L
ike it or not, theres a deeply symbiotic relationship between your The Fog of Tone
guitars pickups and its controls when youre using passive pickups. Much like a foggy day reduces visibility,
Thats true even when your knobs are turned all the way up. It pays to or grease on the lens blurs your photo,
understand how these components shape (or rather, complete) the sound resistance and capacitance filter your
of your pickups. Remember, the artisans who painstakingly designed pickups. Actually, they go beyond that:
your favorite passive pickups did so with pots, caps, and some guitar cable as part of In a way, they reach backward and
the equation. shape the way the pickups resonate.
Theres a good chance your guitars still contain their original potentiometers and Sometimes its in a good way, and
capacitors, and they may be perfect for you and your music. On the other hand, a bit sometimes not.
of experimentation just may transform your guitars in ways that better suit your style There are a tremendous number of
and tastes. Its not an expensive process, eithera good potentiometer costs about as variables that make your pickups sound
much as a set of strings. the way they domagnets, alloys, wire
But experimenting blindly probably isnt the best approach. This article explains type and amount, and more. But theres
how the parts in question affect your tone, and offers suggestions to try in pursuit of one universal thing thats truly and
your ideal sound. directly impacted by your pots and caps:
the pickups resonant peak.
Every passive pickup has an inherent
What Were Not Discussing If you prefer a different material, use resonant peak. Its usually the pickups
We arent going to parse over different caps of that type. But the comments strongest frequency, since thats where
capacitor materialsonly capacitor here about relative capacitor values apply, the coils resonate the most. In general, a
values. The internet is overrun with regardless of cap material. single-coils peak is higher (more trebly)
opinions on capacitor types, x-rays Were also not discussing than a humbuckers. When comparing
exposing tiny caps hidden inside potentiometer types or tapers. (Taper otherwise equal pickups, a weaker, more
bumblebee shells, and rants insisting refers not to a pots overall value, but underwound pickups peak is higher than
that its impossible to play a convincing the way the value is distributed across a hotter, more overwound version. (As a
rendition of Red House without NOS the shafts sweep.) Almost all guitar pots pickup maker, I realize the vast chasm of
caps dipped in quinoa oil and bong resin. are audio taper (as opposed to linear detail Im omitting for now, so bear with
Photo by Greg Marra
(Dont listen to that guy.) For demo or reverse-logarithmic), though some me, pickup superfans.)
purposes (visit premierguitar.com to hear companies customize the sweep. Our Although a resonance sweep doesnt
pot- and cap-swapping sound samples), focus here is how pots affect tone, even truly represent a pickups overall
Ive used Russian paper-in-oil capacitors. when theyre on 10. frequency response, its a measurable
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Fig. 1
Fig. 2
premierguitar.com
response curve, and it looks something
like Fig. 1.
The slope from the bass is usually
gradual, and then it peaks sharply, falling
off fairly quickly after the peak. This is why
a relatively low resonant peak generally
coincides with a great deal of high treble
loss. That age-old pickup makers adage
I can make it a little hotter, but youll
lose clarityis true at face value. At first
glance, the curve looks a little like a wah-
pedal sweep, with a big boost at the peak
frequency. (A pickups resonant peak is not
as pronounced as on a wah, but sometimes
it helps to think of it like that.)
Take a Peak
If you take nothing else away from HAVING ACOUSTIC ISSUES?
this article, know that the resonant DONT FRET.
peak frequency is generally the most Theres a capo for that.
identifiable component of your pickups The Kyser Quick-Change.
tone. Its what makes your pickup sound Guaranteed for life.
like your pickup, and not the next hotter
KYSER MUSICAL PRODUCTS

www.kysermusical.com MADE IN USA
or weaker model in the catalog. But
your pickup probably wasnt designed to
be heard straight into the amp without
any pots in line. The peak in the image
above is very sharp. Heres what that same
pickup looks like with potentiometers
attached to it (Fig. 2).
Notice how the resonant peak is
flattened. It hasnt gotten bassieryouve
just decreased the intensity of that
resonant peak, which causes the sound
to be a bit more homogenized. As we
continue to increase the loading, passive
pickups begin to sound more and more
like each other as the characteristics that
differentiate them are decreased.
Since most passive pickups resonate
somewhere in the high midrange and
treble frequencies, were often taught that
lower-value pots warm up the sound
and higher values brighten it, though
not in the same way as a treble knob on
an amp or EQ. (So dont listen to the
troublemaker who says just turn the
treble knob up/down on your amp.)
How Capacitors Contribute

Unlike potentiometers, tone capacitors
lower the frequency of the pickups
resonant peak, as opposed to softening
the existing peak frequency. Its easy

Fig. 3
to explain tone capacitors as simply

rolling off treble. An electrical
engineer would say the capacitors As you roll the tone knob down, your
combine with the resistance of the
potentiometer to form a low-pass filter pickup sees more resistance and a
(that is, a filter that cuts treble).
Since the capacitors interact with the gradual introduction of capacitance.
pickups coils, they lower the resonant
peak frequency as you roll back the tone
knob. Have you ever lowered your tone pickups peak, much like when you roll very aggressive high-midrange peak. With
control to zero and felt like your guitar the volume control down. The more you 500k pots it yields a screaming overdrive
just got louder? How can that be if youre roll back the tone pot, the more you hear tone. But when Seymour himself uses one,
taking frequencies away? Because the the full effect of the capacitance running its often with 250k pots, playing with his
resonant peak frequency just descended to ground. bare fingers. Wired and played this way,
into a more audibleand more the pickup produces a thicker, stronger,
energy-producingrange. Who Uses What? warmer tone.
The higher the capacitor value, the The rule used to be use 250k Vintage Stratocasters use 250k pots,
lower the frequency. A larger-value cap potentiometers with single-coils and 500k but the vintage wiring scheme leaves the
creates a more muffled, bassy sound pots with humbuckers. But lets play bridge pickup without a tone control.
when rolled all the way off (Fig. 3). A with that notion a bit. Other things being equal, the bridge-
smaller-value cap doesnt lower the peak Old Gibsons had 250k pots, but their position pickup is even peakier than
as much, and therefore leaves more treble humbuckers were relatively low output, the neck and middle pickups. Many
intact. As you roll the tone knob down, with low DC resistance compared to modern players wire a tone control to
your pickup sees more resistance and a modern rock and metal humbuckers. Lets the bridge pickup, but this mellows the
gradual introduction of capacitance. Part look at a higher-output humbucker: the bridge pickup simply by being in the
of what you hear is the flattening of the iconic Seymour Duncan JB, which has a circuiteven if the tone control is all the
premierguitar.com
way up! If your single-coil pickups seem dull and clip (the capacitor, a .022f, is Tele-style clips employ an ash/maple
lackluster, try stepping up to 500k pots. (Or try constant throughout, with the tone Tele with a stock Fralin Tele set
no load pots, available from Fender and other control always on 10). We start with (with a hybrid pole stagger).
manufacturers. When these pot are turned all no load, then 1 Meg, 500k, and For the capacitor comparison,
the way up, the pot is effectively removed from 250k pots, always with the pots on Ive stuck with 500k pots so you
the circuit. You hear your pickups as if they were 10. All the pots are ceramic Bourns can hear how various cap values
wired directly to the guitars output jack.) 15-percent audio-taper models. affect the sound. The values
With Telecasters, things get interesting. Most The humbucker clips feature a Les are .047 F, .022 F, and .015
Teles use 250k pots, though some are as high as 1 Paul-style guitar with a Duncan F (plus a bonus .0015 F on
Meg. Capacitor values (and circuitry) vary wildly Antiquity JB in the bridge and a the Telecasters, upon Lindys
depending on the guitars date, and whether Duncan Seth Lover at the neck. The recommendation).
Fender used the so-called dark Tele circuit. If
you aim to use your tone control to replicate
some of the dark-circuit tones, youll have to
match those capacitor values, one of which was
a hefty .1 F! Sometimes these caps were hard-
wired into specific positions on the 3-way switch.
Instead of getting into the relative virtues of
various vintage-correct wiring schemes, however,
well limit ourselves to sound clips of various cap
values wired to a tone control in the usual way.
And how about stacked single-coils? There
are many such designs, but in passive models
the bottom coil always adds to the resistive load
of the top coil. Thats why I usually like to use
pots with values of 500k or more here. Stacked
designs have already forfeited the sharp peak
inherent in a true single-coil, and higher-value
pots let the maximum peak get through.
About the Sound Clips

For all clips on premierguitar.com, I connected
a short cable to a buffer (a Wampler dB+) and
ran from there into a 1968 Fender Showman
and a Naylor 12" speaker. For the dirty clips, I
added two Wampler pedals, a Plexi-Drive and
a Plextortion. (This may not be your favorite
tone, but it highlights the differences well.)
I used the buffer to best isolate the pots and
caps. Depending on the first thing in your
signal pathbe it a germanium fuzz, various
tube amps, or even a tuner pedalyou might
find that certain pots and caps change the
behavior of these devices as well. Since I cant
predict all of those variables, the buffer lets
us focus on whats actually coming out of the
guitar, unaffected by downstream components.
Theres a semi-clean, edge-of-breakup clip
followed by a dirty clip, so you can hear how
the peak (or lack thereof ) influences the
overdriven tone.
Ive isolated the clips that demonstrate
varying pot values from those showcasing
different cap values. First comes the pot-value

What About
Frank, What Do You Like Best?
Im flattered youd ask! Im a huge pickup
fan. I have about 50 guitars, and almost
none have duplicate pickups. I like to
hear the differencesthe character of
each pickup. Even with weak single-coils
Active Pickups?
I often use 500k pots. But if youre not Some players believe that pot value doesnt matter when using active
totally in love with the sound of your pickups. True, changing pot values wont alter the resonant peak as
pickup(s), a 250k pot might deemphasize with passive pickups, but pot choice does affect your output level. For
the characteristics you dislike, freeing you example, with standard EMG pickups you can forfeit as much as 5 dB of
up to make different EQ choices on your output by adding volume and tone controls.
amp and pedals. With newer active pickups like EMG-X Series or Fishman Fluence
models, the output doesnt change as much when you add one or two
What About Combining Values? 25k pots to the circuit. (For active pickups, 25k is the standard pot value.)
Pot resistance stacks up. When you have This table shows the approximate signal loss for various models when
a 500k volume pot and a 500k tone pot, you add a pot or two.
the pickup sees the equivalent of one 250k
pot. Some players deliberately choose a
250k for volume and a no-load for tone.
That way, the pickup only sees a 250k Model One 25k pot Two 25k pots
load, but the player still gets their desired
taper. You could choose a 500k volume and
250k tone (or vice versa) in order to get
the sound between those two values when Standard EMG -2.9 dB -5.1 dB
both knobs are all the way up. You can also
mix values in a Les Paul-type guitar. For
example, you might mellow the bridge with EMG-X or
250k and sharpen the neck with 500k. -0.7 dB -1.3 dB
Fishman Fluence
I hope these sound clips help you
Photo by Greg Marra
recognize how pot and cap values affect

your pickups sound so you can make Duncan
-0.35 dB -0.7 dB
smart decisions about the best parts Blackouts
needed for your perfect tone.
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2015 PRS Guitars / photo by Marc Quigley
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In this roundup of vintage-style Strat pickups, we test five high-end sets
in a carefully calibrated Fender American Vintage 56 Stratocaster.
BY JOE GORE
There really isnt much to a Strat pickup: just coated copper Poor little
wire, a bobbin to wrap it around, six little magnets, and the pink guitar!
insulated wires that link the pickup to the guitars circuitry. Yet This American
Vintage 56
theres much room for variation within those narrow parameters. Stratocaster was
Extra winds of wire produce a hotter pickup. Degaussing torn open a half-
(demagnetizing) the magnets yields a softer, smoother tone dozen times.
reminiscent of an old pickup. Different grades of alnico yield
different tones. Even two strictly vintage pickups can sound
quite different.
Players seeking vintage Strat pickups have many options
far more than covered here! When selecting participants, we
chose companies not represented in our last major pickup
roundup [Humbucker-Sized P-90 Roundup, February 2014],
which included models from DiMarzio, Fralin, GFS, Gibson,
Harmonic Design, Lollar, and Seymour Duncan. This time
our lovely contestants are from Fenders Custom Shop and four
T
smaller companies: Amalfitano, Klein, Manlius, and Mojotone.
he Fender Stratocaster is the most popular electric
guitar of all time. So why have so many people altered Spoiler Alert
the pickup design since the instruments 1954 debut? Might as well say it up front: I like all five of these sets. That
Many playerseven Strat fanaticshave a love/hate may sound like a timid editor scared of making enemies, but
relationship with the guitars pickups, and pickup modifications it happens to be true. Each is lovingly handmade from quality,
are almost as old as the model itself. The pickups in early period-correct materials. If you passed me an old Strat with
models employed alnico 3 magnets, but louder, brighter alnico any of these beneath the pickup covers and told me they were
5s became standard within a few years. Subsequent departures original, Id have no reason to doubt you. Id perform and
include higher-output bridge pickups for fatter, less shrill lead record with any of these sets without hesitation. Every single
tones, hum-cancelling designs, and non-staggered magnets to pickup sounds authentically old Strat, and any of these sets
accommodate modern string tastes and flatter neck radiuses. would provide a major upgrade for, say, an entry-level Fender
Still, many players swear by the original design, and for this Squier Stratocaster or inexpensive Strat-style guitars from
roundup, we went the ultra-vintage route. We asked participants other manufacturers.
to submit period-correct pickup sets based on these criteria: Each set looks authentically vintage, from the period-
correct bobbins to the wax-coated cloth push-back wire. In
Traditional materials and structure. fact, I dont even discuss physical appearance in the individual
Traditional number of winds. write-ups. Same with the workmanshipevery pickup appears
Alnico 5 magnets. perfectly well made, which is why each set receives an identical
Formvar-coated wire. (Formvar is the resin film that build-quality rating.
insulates the copper wire on traditional Strat pickups.) Still, there are meaningful variations between models, and
Staggered magnetsthat is, magnets of varied height in with luck, my observations can steer you to the model that best
relation to the strings, as found on vintage Strat pickups. suits your needs and tastes. But dont expect us to declare which
(Whether staggered magnets are desirable for modern model sounds the most vintage. Like much music gear from a
players is a subject in itself. See the Is It Better to Stagger half-century ago, old Strat pickups are like snowflakes: No two
or Be Straight sidebar.) are exactly alike.

Top right: Testing Procedures
All pickups were I removed as many variables as possible while testing. I
tested at equal auditioned and recorded every pickup in the same instrument:
height, thanks to
the ever-useful a shell-pink American Vintage 56 Stratocaster with a one-piece
Stew-Mac string maple neck. I set pickup height according to Fenders official
action gauge. recommendations (6/64" on the bass side with the 6th string
pressed against the 21st fret, and 5/64" on the treble side with
Bottom right:
the 1st string pressed against the same fret). The test guitar has
Thats a lot
of Strat! This a vintage-style 7.25" fretboard radius. (Many modern Strats
screenshot from have flatter radiuses, or even compound ones, which makes a
Logic Pro shows big difference in relative string volume when combined with
all 36 demo clips. traditional staggered-magnet pickups, as discussed in the Is It
Better to Stagger or Be Straight? sidebar.)
Youll hear all five pickup-selector positions for all five sets.
(See the online version of this article, which has embedded
audio clips, at premierguitar.com.) I concocted a short demo
piece for each pickup-selector position and used the same music
for each set. All these clips employ clean sounds because these
most clearly reveal variations between models. But to paint a
fuller picture (and relieve the monotony), theres also a dirty
clip for each set. Here I didnt try to match performances: I just
plugged into a homemade, vintage-correct Fuzz Face clone
fully crankedand merrily wanked away. In each case, though, While I tried to play the demo parts as consistently
the distorted clip starts in position 5 (bridge pickup alone) and as possible, theres inevitably some variation between
then switches to position 1 (neck pickup alone). performances.
Likewise, the recording setup was identical for every pickup. I Some sets come with pickup covers. Some dont. But its not a
tracked all the clean clips directly into Logic Pro via a Universal big deal. If youre retrofitting a Strat, you already have usable
Audio Apollo interface with no compression, EQ, or other effects. covers. If you desire a unique look or a color that matches an
Input settings never varied. After all the clips were captured, I antique-looking pickguard, a stock white cover wont help.
reamped each one through a Carr Skylark amp (a 12-watt, 1x12 Strat pickup covers are available in many colors, and theyre
combo amp inspired by Fenders vintage small-format amps) in a cheapprices range from two to four dollars per cover.
single session. All controls were at noon and never budged. The Each pickup review includes a DC resistance value, expressed
mic was a Royer R-121, a sweet-sounding ribbon model. The in ohms. More coil winds mean more output, a hotter pickup,
mic position remained constant. Meanwhile, the dirty clips were and a higher DCR number. There isnt a vast range of values
played directly into the amp without reamping, using the same among the 15 tested pickupsthe lowest-output one is 5.68k
setup as for the clean sounds. (that is, 5,680 ohms), while the hottest is 6.48k. Modern
String choice is a major tonal factor, especially with overwound Strat pickups can be far hotter: the DCR of a
staggered-magnet Strat pickups. While I was tempted to DiMarzio Virtual Vintage Solo is 11.17k, while the Seymour
go full vintage with a period-correct set of heavy-gauge Duncan Custom Flat Strat delivers a walloping 13.3k. But
flatwounds, it seemed wiser to install a roundwound set closer even relatively small differences can be audible. Weve included
to what most modern players use (though I kept things a bit two sets of DCR values: the ones advertised, and the actual
vintage with an all-nickel DR Pure Blues Nickel Heavy set bench measurements. (Thats not to imply that anyone is being
gauged .011.050). dishonestminor unit-to-unit variation is expected.)
But to illustrate how staggered-magnet pickups sound with Finally, be aware that pickup makers tend to be exceedingly
the sort of strings they were designed for, I also recorded an all- customer-oriented. Some small companies wind to order, and
original 63 Strat with a high-end Thomastik-Infeld flatwound even the large ones have custom shops ready to customize on
set. (See the Is It Better to Stagger or Be Straight? sidebar.) request. You might ask for higher output, a different magnet
But I didnt compare the new pickups directly to the ones in type, or staggered magnets instead of straight ones, and
the old Strat because there are too many other variables at play: vice-versa.
dry old wood, a rosewood fretboard, ancient hardware, worn
finish, etc. One more thing: To audition each pickup position alongside
the other reviewed models, see the Five Pickups, Side by Side
Other Considerations in the online version of this article at premierguitar.com.
A few more things to keep in mind while comparing pickup sounds: So enough preamble. Lets hear some cool pickups!
premierguitar.com
AMALFITANO FENDER
Custom/Vintage Strat Set Custom Shop Custom 54
Price: $300 Price: $199

DC resistance: DC resistance:
Bridge: 6.7k (advertised), 6.48k (measured) Bridge: 6.5k (advertised), 6.43k (measured)
Middle: 6.3k (advertised), 6.33k (measured) Middle: 5.9k (advertised), 6.21k (measured)
Neck: 6.3 (advertised), 6.24k (measured) Neck: 5.9k (advertised), 6.05k (measured)
Amalfitano is a perfect example of a customization-friendly If you averaged together every vintage Strat pickup, you
shop: Jerry Amalfitanos stock vintage Strat trio, the 62 Set, might wind up with something like Fender Custom Shops
employs alnico 3 magnets, as did the earliest Strats. But when Custom 54s. Theyre not too bright not too bassy not
we requested an alnico 5 set for review, he quickly made too hot not too timid and not too eccentric. Theyre
one, and he assures us that any customer can make similar quintessentially Strat.
requests. (The Custom/Vintage set heard here is the only Tones are straightforward but attractive. Unlike some
entry in this roundup thats not a stock item.) of these sets, Custom 54s have no big bass bump and no
These are bold-sounding pickups with uncommonly particularly prominent treble frequencies. The bridge pickup
powerful lows and intense upper-midrange presence. Like is edgy at clean settings, as youd expect from a traditional
many Strat pickups, they can be a bit edgy when playing Strat. Positions 2 and 4 are relatively muted, yet they
clean in position 1 (bridge pickup alone), but bountiful lows maintain a pretty sparkle. Theres no unwanted woofiness
balance that upper-mid bite. That 2 kHz edge pays dividends to the neck pickupa scoop centered around 150 Hz keeps
in other ways: positions 2 and 4 have a gorgeous airy quality, things clear without surrendering too many lows. Distorted
while distorted notes maintain a crisp attack. Theres nice, lead tones are bright, but not brittle.
zingy sustain at all settings. The Custom 54 set sounds exactly how youd expect a solid
This is the highest-output set testedand at $100 per vintage-style Strat set to soundand thats precisely what many
pickup, the most expensive. players desire. And at $199 per set, theyre an excellent deal.
amalfitanopickups.com fendercustomshop.com
PROS Excellent definition Tones PROS Textbook vintage Strat Tones

clean and distorted. Hefty lows. tones. Great neck pickup clarity.
Versatility Versatility
Beautiful combined-pickup tones. Nice price.
Build/Design Build/Design
CONS Pricey. Value CONS Too conventional for some? Value
premierguitar.com
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Is It Better to Stagger
or Be Straight?
Many modern Strats all-original 1963 model
have straight pickup strung with big flatwounds
magnetstheir height and a wound G, and you
is more or less equal. can hear them in the online
Meanwhile, Strat pickups version of this roundup at
from the 50s and 60s premierguitar.com.
(and vintage-style replicas I happen to dig that
like the sets covered sound, but its just not
here) have magnets how most modern players
of uneven height. The roll. Todays guitarists
middle pair is closest to favor lighter-gauge
the strings, while the 5th- roundwounds with an
and 6th-string magnets unwound 3rd for easy
are further away. The string bending and louder,
most dramatic variation brighter tones. Also, few
is between the 2nd- and modern strings are pure
3rd-string magnets. The nickel like the ones from
former is furthest from 60 years ago (though with light roundwound A flatter neck brings the
the string, often as low as light-gauge, pure-nickel sets and unwound 3rd inside strings even closer
the bobbin itself, while roundwounds are available strings. To many listeners, to the middle magnets, and
the latter is usually tied if youre willing to pay a the resulting tones are the D and G strings can be
for tallest. bit extra). Straight magnets simply how a Strat is too loud. (Though again,
Theres a good reason are likelier to produce meant to sound. (And sensitive players tend to
for this arrangement, or at even string volume with whether they realize it compensate via touch.)
least there used to be: It such modern strings. or not, good players who So whats the best
provided the best volume So only weirdos who use this recipe are almost option? Duhtry both
balance between strings. love fat flatwounds certainly adjusting their and see which you prefer!
But back when the Strat should use staggered attack from string to But as a crude rule of
pickup was designed, magnets, right? string to balance levels.) thumb, use staggered
most players used heavy Um, no. Since the In recent years, theres magnets if you worship
flatwounds with a wound mid 60s, countless been another wrinkle: the tones of the classic-
3rd string. To illustrate playerseveryone from flatter fretboard radiuses. rock Strat masters, but go
how a Strat would have Hendrix to Clapton to (The more inches, the straight if your guitar has
sounded back in the day, I Gilmourhave strung flatter the fretboard: a modern fretboard with a
recorded some clips of an staggered-magnet Strats 7.25" is curvier than 10".) flatter radius.
>>> ARE STRAT POSITIONS 2 AND 4 OUT OF PHASE?

Try this on any guitar forum: Refer to pickup position On the other hand, the hollow timbre we associate
2 and 4 as out of phase and someone will promptly with positions 2 and 4 is precisely due to audio phase
inform you of your ignorance. But are they right? cancellation. You get a comparable result when, say, you
It depends whether you ask an electrical engineer or track an acoustic guitar with two closely placed mics:
an acoustician. True, the two-pickup settings on a Strat a notched, almost phasey sound stemming from some,
are not electronically out of phase in the way that, say, but not all, frequencies being out of phase between one
Jimmy Page wired his Les Paul to provide a true out- listening point and the other. The distinctive tones of
of-phase sound. (Its a thin, strangled tone that you positions 2 and 4 are due to acoustic out-of-phaseness.
probably wouldnt use much anyway.) So the electrical So peace, manyoure both right. (Though you hold
engineers have a point. the moral high ground for not being a jerk about it.)
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GUITARIST CHOICE AWARD
Verdict: 9 out of 10
Guitarist Magazine, UK
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KLEIN MANLIUS
Epic Series 1959 Vintage 62
Price: $245
DC resistance:
Bridge: 5.8k (advertised), 5.76k (measured)
Middle: 6.0k (advertised), 5.86k (measured)
Neck: 5.9k (advertised), 5.76k (measured)
According to his website, pickup maker Christopher Klein Price: $180

went to phenomenal lengths to create the Epic Series 1959: DC resistance:
We started by buying an original 1959, he writes, then we Bridge: 6.3k (advertised), 6.25k (measured)
destroyed that pickup and sent the magnets to an independent Middle: 6.2k (advertised), 6.11k (measured)
laboratory to have the chemical composition analyzed to find out Neck: 6.1k (advertised), 6.15k (measured)
what proportion of elements comprise that magnet. He claims
similar obsessiveness with other construction detail as well. Vintage 62 is a traditional-sounding set boasting attractive,
I have no idea whether to credit research or a great ear, but articulate tones. The bridge pickup has the expected spank,
the Epic Series 1959 set is simply magnificent. You know how but with relatively even treble response and no sore-thumb
most vintage Fenders sound great, but some sound magical? This spikes. The neck pickups voice is slightly on the dark side,
set can probably nudge most guitars in that magical direction. but in a good waytheres enough snap to maintain strong
The Epic 1559s dont sound odd in any regardtheir note attack, and it provides an especially dramatic contrast
tones are trs Fender. Yet they just feel a bit more musical to the bridge tone. Theres lovely, acoustic-like openness in
than most Strat pickups Ive encountered. The neck pickup position 2 and lush warmth in position 4. Distorted sounds
has plenty of treble snap, but there are no nasty spikes and strike a fine balance between fat and snappy. It was a blast
just the right amount of compressionyou can dig in playing them through a vintage Fuzz Face.
hard on clean bridge tones without puncturing eardrums. The Vintage 62 is the only set here with a reverse-wound,
The neck pickup sounds warm, but never woolly. The reverse-polarity (RW/RP) middle pickup. This wasnt a
combined settings deliver the expected hollowness, but with feature on vintage Strats, but many modern players favor
uncommon fullness of tone. Theres great sustaineverything the arrangement because it provides humbucker-style noise
just sings. Note fundamentals are always solideven bright cancelling in the combined-pickup settings. Thats a nice
settings have heft. And when you slather on the gain, chords featureif you play a venue with unusually awful wiring, you
and single-notes maintain great balance and definition. can survive by favoring positions 2 and 4. Some say a RW/RP
Interesting detail: Most modern Strat setsboutique and middle pickup provides more quack, though I dont perceive
otherwiseemploy a slightly hotter pickup in the neck position. it here. Most pickup companies offer both standard and RW/
With 50s and 60s Strats, it was luck of the drawthey just RP middle pickups. (We probably should have requested non-
dropped in pickups without scaling their relative output. In this RW/RP pickups for consistencys sake, butumI forgot.)
case, the middle pickup is the hottest. Is there a lesson here? This is the least expensive set here. Its a steal at $180.
kleinpickups.com manliusguitar.com
PROS Superb tones in every Tones PROS Excellent tonal range. Tones
setting. Neck pickup is bright, Badass overdriven sounds.
Versatility Versatility
but never brutal. Great price.
CONS None. Value CONS None. Value
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1126 - pg_Guitar Month HALF.indd 1 9/8/15 3:17 PM

MOJOTONE
59 Clone
Price: $212
DC resistance:
Bridge: 5.78k (advertised), 5.68k (measured)
Middle: 6.12k (advertised), 6.22k (measured)
Neck: 5.78k (advertised), 5.68k (measured)
Would you like your Strat to sound the way it did in music
stores in 1959? Or would you prefer it to sound like the same
guitar 56 years later? If you favor the aged sound, Mojotones
Like much music

59 Clone may be the set for you.
All the sets covered provide authentically vintage tones, but
gear from a half-

no other sounds this old. A pickups tones tend to smooth out
over time, largely due to weakening magnets. I have no idea
whether Mojotone systematically degausses (demagnetizes)
their magnets, but it sure sounds like it. Every setting is as
rich, warm, and as smooth as decades-aged whiskey.
century ago, old
The result isnt for everyonethis is the quietest of the five
sets. Its also the one with the most restrained treble attack, Strat pickups are
so it might not be the best choice if you prefer Strats that
sizzle. But if you dig the mellowed warmth of a well-loved like snowflakes:
No two are
old axe, here you go! The instant I popped these into our test
guitar, the instrument felt decades older. (And as on the Klein
exactly alike.
set covered above, the middle pickup, not the bridge, is the
hottest. Food for thought?)
This set is a great choice if a bright Strat bridge pickup
makes you flinch. Here, position 1 isnt spanky/snappyit
has more of an open, acoustic-guitar-like character. Settings
2 and 4 dont sparkle as much as on some of the other sets,
but they offer lovely, burnished tones you can listen to for
hours. The tones arent dark, exactlyrounded and warm
are better adjectives. Same with the distorted sounds: theyre
less pointy and aggressive than on the other pickups. If Strat
pickups were cats, the other sets would snarl. This one purrs.
The 59 Clone set may be too restrained for some. But Strats All, Folks!
for those who appreciate the deep, baked-in character of old There are no losers here. Every time I switched sets, my gut
guitars, this set is the one to beat. At $212, theyre a bargain. reaction was, Damn, that sounds good! Listening back later
mojotone.com to the test recordings only reinforces that impression.
There are many fine vintage-style Strat replacement pickups
to choose from, and these five are but the tip of a massive
iceberg. A couple of these sets are closest to my heart, but if
PROS Authentically old- Tones another player had written this up, others might easily have
sounding. Rich, nuanced tones. come out on top. The colors vary, but the quality doesnt.
Versatility
CONS Not for those seeking Build/Design

Thanks to Fenders Jason Farrell for loaning us our
snappy, aggressive tones. Value
cool test guitar.
premierguitar.com
Guitar gods like Slash, Michael Schenker and Mick Ronson have
used the cocked wah sound to create monster riffs that have
earned a permanent place in the rock lexicon. That required finding
the sweet spot in their wah pedals sweep. The Cock Fight lets
you achieve that cool cocked wah sound without the wah pedal.
Tune in the tone you want. Add the built-in distortion for more
grind and growl, or switch to the Talking Wah mode for a stuck
voice-box sound. If you plug in an expression pedal, you can sweep
the Cock Fight for jaw dropping wah and talking pedal effects,
with or without distortion!
The smallest member of the

polyphonic POG clan designed
with the super space conscious in
mind. Same legendary tracking
and sound. Dial in an amazing
12-string guitar or turn your
guitar into a convincing bass.
Generates organ-like harmonic
structures. Separate controls
for dry, sub octave and octave
up, plus silent footswitching
Completing the powerful provide the perfect formula for
trilogy forged by the B9 and this compact jewel.
C9 Organ Machines, the new
KEY9 pedal emulates the
worlds most coveted electric
pianos and more. With 9
presets, you can transform
your axe and lay down a cool
Riders on the Storm style
groove or some hot funk ala Are noisy effects, single coil
Whatd I Say! Each preset lets pickups and 60 cycle hum
you control the fundamental messing with your sound?
parameters that help define The Silencer is a sophisticated
that instruments sound. Many noise gate that can tame em.
include adjustable modulation Threshold, Reduction and
like tremolo, phaser and Release controls guarantee
chorus. Take it from Mike precise fine-tuning. Direct I/O
Matthews who says: Youll dig or a built-in effects loop for
the way the Key9 turns you maximum flexibility. Silence
into a Rhodes Scholar! the noise!
Combining a compact footprint,

comprehensive feature spec
and an intuitive user interface,
the 22500 delivers powerful
looping capabilities in an
affordable, easy to use package.
It records high quality, non-
compressed audio direct to
a removable SDHC card (4 to
32GB) and each card holds up
to 100 individual loops. Includes
an 8GB card for up to 12 hours
of total recording time. An
optional Bank Up/Down Foot
Controller is available.
STATE OF THE STOMP
It Gets Weirder
BY BRADY SMITH
I
Challenge: Can m sitting in an L.A. hotel room
you coax iconic thinking about this article. Ive heard
sounds from
the peers and legends of this weird
these weirdos?
little pedal world talk about the science
behind sound, and theyve got it handled.
So its the weird I want to explore.
The obscure, the nearly unusable, the
bizarre. The things that are out of the
norm. Things that can be uncomfortable
because theyre unknown.
I find myself more excited and inspired
by something unheard of and indescribable
than the next great overdrive. Or even
delay. Or even reverb. I love those things,
but there has to be something new out
there. Something unexplored. Something
not just rehashed or reimagined. I
condemn myself as much as anyone else. polarizing. Radiohead took the risk, and its I started writing about the pedals
Good is good. I like what weve made so played into their sonic wizardry ever since. Nick uses in his setup, but it doesnt fit
far. But I yearn for something ahead of its And there are some others out there. here. Theres a lot in his arsenal, and
time. Something that, in the right hands, Doing the weird, making the new. Stuff it shows throughout Xed Out. Sounds
changes the sonic game. It takes the right that gets stuck in my head, though dont really repeat. Until Lufthansa
headspace to let go of what you know I havent the words or mathematical begins as a simpler, poppy track as lightly
works in exchange for sounds that might capacity to nail it down. (Math. What a overdriven guitar evolves into cascading,
make you cringe. I want the cringe. bummer. Stay in school, kids.) palm-muted, octaved and chorused lines.
Fast-forward a few days. Ive returned And they fit perfectly. Agreeable melodies
Why Is Weird Better? to Eastern Standard Time after a 15-hour and songwriting mixed with superior
Weird is a choice. A challenge. But weird reprieve on the Oklahoma plains. On technique and use of effects. It stands
for the sake of weird misses the point. It the flight Im able to absorb the album out as strongly as OK Computer, just in
needs to serve the greater purpose of the Xed Out by the three-piece avant-garde different weird ways. It just feels good
song. There are some artists out there who band Tera Melos. Im drawn in every time to listen to.
do it that way. I want to be that way. by the palm-muted guitar loop on the
Lets start with what may seem a universal opening track, Weird Circles. Guitarist Where Is This Going?
example. Im listening to Radioheads OK Nick Reinhart has this thing, freezing and Wish I knew. You tell me. Id like to
Computer. A record I fell in love with at age stuttering notes within finger-tangled chords think this is encouragement for creating
16. Ive listened to it over and over as Ive while the drums and bass stay locked down. and listening to strange, amazing
grown older. Each year, each season it means Its not soloing, but controlled chaos. Swirls music. Theres a lot of it out there. OK
something different. Today all I can hear are of noise with catchy melodies stuck in their Computer in 1996 and Xed Out in
the different textures. Everything pristine grasp. The triumphant release of the chorus 2013. Both are on a forever playlist for
and in its right place. Guitar songs that use in Bite gives me a break from the verses us at the shop. Challenge your palette
a single sound or combination of sounds darker, slightly twisted discordance. It feels and your playing. Stretch your brain in
for a single moment. They manage to do like breathing fresh air above the cloud whatever genre you enjoy. Make the next
it over and over. The opening fuzzed-out lines. Fast picking and effects are all over thing. Move it forward.
Photo by Seth McCarroll / Atria Creative
guitar on Airbag the thinly reverberated the record, including the barnburner jam
and reverse-delayed guitars at the beginning Sunburn, where so much goes on at once BRADY SMITH is the cofounder
of Old Blood Noise Endeavors
of Electioneering the clean, bell-like that I re-listened four times to get it. And and the Coffee & Riffs video
guitars of No Surprises. All the sounds its happy. At least it sounds happy. Happy, series, as well as a part time
guitar tech. Despite his
have a unique character that supports interesting, complex music. Spastic, wild, deteriorating posture, he has a
the song. When OK Computer came out, and methodical. Different and weird and strong affinity for Jazzmasters
and Aluminum necked guitars.
the sounds were strange, surprising, even good. Really good. And coffee. And sleep.
premierguitar.com
imagine
only one cable to your pedalboard
Imagine PedalSnake.
The fastest, ultra-clean setup ever, with all your connection needscord to amp input,
send-returns, power, MIDI, amp footswitch linesand more. All run elegantly within
a lightweight, multi-core cable, sporting a exible outer jacket that lies safely
at-and-smooth on the oor, with effortless coil-up when the gig is done. Best of all,
its customizablethe plugnplay format congures to any rig, and easily adapts when
your rig changes, making PedalSnake an affordable lifetime investment.
Impossible? It was with regular guitar cables. But PedalSnakes patented new wire
construction takes advantage of the low-impedance outputs of effects pedalsensuring
noiseless, sparkling tone. And you can try PedalSnake worry-free, with our excellent
customer support and 30-day money back guarantee.
So imagine no more. Experience PedalSnake, and believe.
FOR MORE VISIT PEDALSNAKE.COM

MOD GARAGE
A Flexible Dual-Humbucker Wiring Scheme

BY DIRK WACKER
I
f you own a dual-humbucker guitar, to have more tones for greater flexibility, What it does. This wiring offers the
heres a wiring scheme for you to or just to have fewer guitars onstage. traditional pickup combinations, but
consider. Designed to make your Its not a new idea: Companies such as adds two additional ones by splitting the
guitar more flexible, its a mod I often PRS, Kramer, and ESP have used similar humbuckers into single-coils:
perform and customers regularly request wiring for many years. This is just one
it. It applies to all H/H guitars that use a more way to get more tones from an Position #1: bridge humbucker alone.
Fender-style 3-way pickup selector switch H/H guitar. Position #2: bridge humbucker, inner
and a master volume/master tone configu- What you need. For this mod, both coil only.
ration. This includes humbucker-equipped humbuckers must be four-conductor Position #3: bridge and neck
Teles, Strats, Hamers, Yamahas, and the types because youll need independent humbucker together in parallel.
like. However, with additional switches access to both coils of each pickup. If you Position #4: neck humbucker, inner
you can apply this mod to H/H guitars have vintage-style humbuckers with only coil only.
with a 3-way Gibson-style toggle, such as two wires, you can either replace them Position #5: neck humbucker alone.
Les Pauls and SGs. with four-conductor pickups, or convert
Most H/H guitars (that is, guitars with your pickups to four-conductor specs. (If Many humbuckers dont sound
humbuckers in the bridge and the neck youre inexperienced in this field, leave like real single-coils in split mode, but
positions and no middle pickup) have Les this to a pickup maker or guitar tech.) at least you get a single-coilesque
Paul-style wiring, with the 3-way pickup If your humbucker sports a metal cover, approximation.
selector providing these sounds: it must be removed for this operation, Wire it up. After replacing the stock
which can also be a challenging task. 3-way with the 5-way super switch, youll
Position #1: bridge humbucker alone. Well also be replacing the stock wire it up as shown in Fig. 1. (Keep in
Position #2: bridge and neck 3-way switch with a 5-way switch with mind that the diagram shows Seymour
humbucker together in parallel. four switching stages rather than the Duncans pickup-wire color code, and
Position #3: neck humbucker alone. standard two stages. These parts are that other manufacturers use different
usually referred to as super switches. color codes.) The wiring as shown uses
While this traditional wiring works Fender part #0992251000 is a well- the inner humbucker coils for split mode,
well for many players, others would like known open-frame version. Other though its easy to flip to the outer coils
companies such as Eyb and Schaller offer by moving only one wire, so try both
Fig. 1 PCB-based versions. You can learn more options and decide which you prefer. You
about these switches and their switching could even add a mini toggle switch to
matrices in Introducing Fenders 5-Way have both choices available. (Personally
Super Switch and Exploring Fenders I dont think it makes much difference.)
5-Way Super Switch on premierguitar. Remember, when you shunt one coil to
com. (Oddly, while we often receive ground like this, the humbuckers become
requests for 3-way super switches, none real single-coils, and the split settings
are available. Theyre only made in 5-way can pick up hum and noise. In a future
configurations.) column on H/H mods, well focus on
It doesnt matter whether you use the preserving the humbucking operation.
open-frame or PCB version. I like open- Thats it! Next month its Stratocaster
frame switches because you can clearly see timeIll show you how to get your Strat
Fig. 1: Wiring diagram courtesy of Seymour Duncan

whats going on inside, which can make close to Ritchie Blackmores specs. Until
things easier. On the other hand, the then, keep on modding!
open-frame version is physically larger,
so the PCB type may be a better fit for DIRK WACKER lives in Germany
some guitars. (Always check the size of and has been a guitar addict since
age 5. Hes also a hardcore DIY-er
the control cavity before buying such for guitars, amps, and stompboxes
a switch.) Fenders open-frame switch and runs a website on the subject
(singlecoil.com). When not
requires at least 21 mm of space, and working at his guitar workbench,
he plays country, rockabilly, surf,
I recommend at least 25 mm to avoid and flamenco. Contact him at
problems with the soldering terminals. info@singlecoil.com..
premierguitar.com
ASK AMP MAN
Taming a Twin Reverb

BY JEFF BOBER
Q: Jeff,
I bought a 1970 Twin because it contains a pair of JBL D120s. I
intended to pull out the JBLs and resell the amp with Jensens or
These days if
you walk into
somethinga cheaper way to get these increasingly expensive
speakers. I really love the amp, but theres the age-old Twin issue of
too much power. Is it possible to install a smaller output transformer?
a room with a
Would that reduce the power, as long as the ohms matched for the
four 6L6s? I hear of people doing the opposite (putting bigger OTs in
Twin, they make
Princetons and Deluxe Reverbs) but not the other way around. Do you
have any insight on this?
you set it up
Jacob outside.
A:
Silverface Twins
are incredibly
Hi Jacob,
loud, even when Ah, the 70s Twin with JBLs!
they dont have If you wanted to sound like
heavy, highly the Dead back in the day, that was the
efficient JBL amp to have. Big, loud, and clean. I can
speakers.
remember Terrible Ted with multiple
Twins on top of multiple Dual Showman
cabs, because well, a mans just gotta
be heard!
Its a bit different now, isnt it? These
days if you walk into a room with a Twin,
they make you set it up outsidenot to
mention the JBL factor, which makes
the amp even louder. But if you really
need that sound, the D Series speakers
are ones to have, with their 11 pounds
of coveted alnico 5 magnet material.
That, combined with a 4" voice coil,
equals some pretty high efficiency! But 100-watt fire-breathers.) Power was king tube from the right pair and one from the
therein lies the problem: You want these then, but now it makes more sense to left. (It doesnt matter which ones, as long
speakers, but the amp is too loud. Okay, have a larger box with fewer watts. It as its one from each side. I prefer pulling
rule out what would have been my first sounds bigger and makes it easier to push any combination except the two outside
suggestion: less efficient speakers. the amp into overdrive when necessary. tubes to create more breathing room
You mention swapping output But back to your Twin-plus-JBL between tubes for cooling.)
transformers. You are correct about rig. You touched on your first option: You can take this a step further by
people doing it the other way around removing tubes. Yes, players often pull two disconnecting one of the speakers. Since
back in the days of the manly amp. of the output tubes in a four-output-tube the load on the output transformers
(One famous company actually got its amp to reduce the output power. In most primary side changes when two tubes are
start turning little Princeton amps into ampsTwins includedyoud remove one removed, one speaker properly balances
the load on the secondary side. (Though
WARNING: Fender transformers seem to have
All tube amplifiers contain lethal voltages. The most dangerous voltages are stored in withstood impedance mismatches for
electrolytic capacitors, even after the amp has been unplugged from the wall. Before years and fared rather well.)
you touch anything inside the amp chassis, its imperative that these capacitors are There are other non-invasive options,
discharged. If you are unsure of this procedure, consult your local amp tech. such as power attenuation devices. Theres
premierguitar.com
Authenticity You Can Feel
At the heart of Helix is the new HX modeling engine. It uses powerful dual-DSP processing
to deliver authentic sound and an unprecedented level of responsiveness. Individual
components and circuit stages have been painstakingly modeled, along with power supply
ripple, individual tube sag, and B+ voltage control. The result is a playing experience
that sounds and feels like your real analog gear.
Learn more and find a Helix Certified Dealer.

2015 Line 6, Inc. Line 6 and Helix are trademarks of Line 6, Inc. www.line6.com/helix
For that loud,
ultra-clean JBL
sound, D-series
speakers like
these are the
most desirable.
no shortage of these on the market

nowadays. Just know your speakers wont
be contributing to any overdriven sounds
you might create.
Another option is tube-conversion
adaptors such as Yellow Jackets. These
substantially reduce the amps output
power via adaptors installed in the
output tube sockets, allowing the use of
smaller 6BQ5/EL84 tubes. That provides
a substantial reduction in power, but
the amp will lose that glassy 6L6 tone.
(Thats not necessarily a bad thingjust
different. And hey, with those JBLs and
their extended top end, it might actually
be a good thing!)
You mention the next option:
replacing the output transformer. This, When doing this conversion, the Pro Reverb, and install the JBLs, but
of course, would go along with removing B+ voltage rises a bit because removing that would be too easy. (Ha!) Anyway,
two of the output tubes. If you wish the two tubes reduces the load on the I hope this helps you throttle back
to explore this option, I suggest using power supply. As an extra safety step, your Twin.
an output transformer designed for I recommend removing the 470-ohm
something like a Fender Pro Reverb, screen grid resistors and replacing them JEFF BOBER is one of the
and amp with two 6L6 tubes and a with a 2.2k resistor to lower the screen godfathers of the low-wattage amp
revolution. He co-founded and was
4-ohm load. There are also aftermarket grid voltage a bit. Be sure to re-bias the originally the principal designer
transformers designed for two 6L6s with amp, since this modification will certainly for Budda Amplification, though
he launched EAST Amplification
multi-impedance output taps, which change the bias. (eastamplification.com) in 2010.
You can catch his podcasts at
would let you run both JBLs at 4 ohms, Of course, you could always replace ampsandaxescast.com or email
or run only one using the 8-ohm tap. the speakers in the Twin, sell it, buy a him at pgampman@gmail.com.
premierguitar.com
DISCOVER THE LEGEND
REISSUE TUBE-AMPS
1624T | Dual-Tone | 1x12 1675RT | Rhythm Master | 1x15 1650RT | Royal Reverb | 2x10
ABSARA AUDIO, NEW YORK SuproUSA.com facebook.com/SuproUSA

TOOLS FOR THE TASK
PAF-Style Pickups
Gibsons early Patent Applied For humbuckers are the stuff of legend. If youre chasing holy grail vintage-PAF tones,
here are several affordable modern options to check out.
1
DYLAN PICKUPS
DAF
Dylan Applied For humbuckers are available in both
alnico 3 and alnico 5 versions. Theyre wax-potted and 1
feature 4-conductor wiring for coil-splitting and phasing
options. They come in a variety of finishes. (Toaster-top
and clear bobbin models shown.)
$299 street (set)
dylanpickups.com
2
SUHR 2
Thornbucker
Available in a range of colors, Thornbuckers feature
4-conductor wiring and various spacings. The neck unit
has an alnico 5 magnet while the bridge is alnico 4.
$119 street (per pickup)
suhr.com
3
RIO GRANDE
Buffalo Texas Set
The Genuine Texas bridge and Buffalo Bucker neck
pickups use alnico 5 magnets, and are available with 2-
3
or 4-conductor wiring and in a variety of colors.
$296 street (set as shown)
riograndepickups.com
4 4
GIBSON
BurstBuckers
BurstBuckers are unpotted and boast vintage-style
2-conductor wiring, unmatched bobbin windings, and
alnico 2 magnets. The Type 1, 2, and 3 models offer
varying output levels.
$176 street (single)
gibson.com
5
SEYMOUR DUNCAN
SH-18 Whole Lotta Humbucker
With their 42-gauge, plain-enamel wire and rough-cast 5
alnico 5 magnets, these humbuckers are exact replicas of
the custom pickups Seymour Duncan made for the likes
of Clapton, Beck, and Page in the early 70s.
$189 street (set)
seymourduncan.com
premierguitar.com
6
LINDY FRALIN
6 Pure PAF
Wound at 7.5k-7.8k in the neck and 8k-8.4k in the
bridge, Pure PAFs use alnico 2 magnets to soften the
treble and smooth the grind. A partial-tap kit is available.
$260 street (set)
fralinpickups.com
7
LOLLAR
Imperial
The unbalanced-coil Imperials provide airy top end,
tight lows, balanced midrange, and complex overtones.
The alnico 2s in the neck and alnico 5s in the bridge are
degaussed to specific levels unique to each position.
7 $350 street (set)
lollarguitars.com
8
BARE KNUCKLE
PG Blues
Designed to replicate the out-of-phase sound of Peter
8 Greens 59 Les Paul, PG Blues feature sand-cast alnico
2 magnets, scatterwound bridge coils of plain-enamel
42AWG wire, and Formvar-coated wire in the neck coils.
$289 street (set)
bareknucklepickups.co.uk
9
9 LACE
Big Block
This barium-ferrite set offers tones reminiscent of classic
twin-humbucker guitars from the 50s and 60s, but with
the modern features like low magnetic string pull, low
noise, and coil-splitting capability.
$195 street (set)
lacemusic.com
10
DIMARZIO
10 PAF Masters
The PAF Master Bridge (shown) has alnico 4 magnets
, while the Master Neck uses alnico 5s. Both feature
4-conductor wire. Several patented DiMarzio techniques
contribute to their quiet, bright, and dynamic performance.
$149 street (set)
dimarzio.com

REVIEWS
Quick Hits
EARTHQUAKER MXR
DEVICES M238 ISO Brick
By Charles Saufley
Park Fuzz Sound
By Charles Saufley Discussing power supplies is about
as diverting as watching shower
The original Park Fuzza Tone mold spread. But the pedal-
Bender Mk III in all but nameis powering possibilities of MXRs
one of the most versatile Benders, versatile and powerful new M238
though its cloned less frequently ISO Brick make the issue much
than the Mk II. EarthQuaker more fun to think about.
Devices and Mitch Colby (who To start, it makes pedalboard
resurrected the Park amplifier layout easy. The recessed, right-
brand) have revived it in an angled barrel connecter means
authentic-sounding, well-built, and theres no DC cord hogging space.
highly adaptable pedal. There are 10 outputs, each fully
Like the original, its less gainy isolated to eliminate noise. (Yes, this unit is very quiet) Two
and hectic than the Mk II, but at its 9V 450 mA outputs accommodate most power-hungry DSP-
highest gain levels, the new version type pedals. There are also two 100mA outputs, two 300mA
has a bit more sizzle than an original. The AC125 germanium 9V outputs, and two 18V 250mA outputsplus a real treat:
transistors enable good fuzzy-to-clean dynamic control via two 6-18V variable voltage outputs for approximating voltage
guitar-volume attenuation, though its most effective when fuzz sag or increasing headroom. Each output also has an LED
is near its max (otherwise it yields spittier clean tones). that glows blue when youve got a proper connection.
Like many germanium fuzzes, the Park is most colorful The inclusion of adaptors for UK/EU/Australian power
when the fuzz and volume are wide-open. At these settings and the fact that the ISO Brick makes voltage conversion a
the rangy tone control makes the pedal capable of fatter, no-worry proposition are significant bonuses. I used it for
doomier voices than a Mk II without sacrificing that 60s shows in the US, UK, and Europe, and setup was as simple
buzz. For players that love the Mk IIs heat but find it one- as clipping on the appropriate attachment and plugging in
dimensional, the EarthQuaker Devices Park Fuzz is a cool priceless convenience from a power supply brimming with
and often surprising alternative. stress-reducing features.
TEST GEAR Fender Jaguar, Fender Telecaster Custom, silverface TEST GEAR Boss DD-5, TR-2, and CS-3, Strymon Flint, Stomp
Fender Bassman, blackface Fender Tremolux Under Foot Civil War, Electro-Harmonix Pedal Bag
PROS Great 60s-style PROS Compact layout.

$175 street, germanium fuzz tones with $149 street, jimdunlop.com Multiple voltages (including
earthquakerdevices.com a little extra gain and range. two variable outputs). Quick-
Effective tone control. Colorful change adapters for globe-
Tones Ease of Use
overtones. trotting guitarists.
Ease of Use Build/Design
Build/Design
CONS Fuzzy-to-clean volume Value
CONS None.
control dynamics limited at all
Value but the highest gain levels.
CLICK HERE TO HEAR this pedal at premierguitar.com/nov2015
premierguitar.com
ULTIMATE EARS MAXON
UE 7 In-Ear Monitors BD10 Hybrid Bass Driver
By Jason Shadrick By Rich Osweiler
Maxons BD10 is a bass overdrive

derived from the companys OD808
guitar overdrive. The compact
pedal features individual bass and
treble controls, a drive control, plus
independent controls for the drive and
clean levels for precise tweaking. It runs
on a 9V battery or standard AC adaptor
(not included).
The BD10 covers much tonal
Arguably, the most important aspect of being comfortable territory, but if youre looking for balls-
onstage is hearing each instrument clearly. For some, a to-the-wall distortion, this isnt the place.
well-adjusted wedge could do the trick, but the post-gig The BD10 is more about sweet, warm,
annoyance of ringing ears could cause long-term hearing natural-sounding overdrive. I started with
problems. The UE 7s are Ultimate Ears solution. Theyre the low and high knobs at 3 oclock and noon, respectively, and
aimed at guitarists who need to protect their ears and hear set the drive knob to 1 oclock and the two level controls to
bandmates who might be hard to distinguish in a loud, noon. The smooth, beefy, and tube-like tones had just the right
muddy stage mix. amount of dirt and boost to let me pretend I was Roger Glover,
Each set is custom-molded (thanks to a quick visit to while cranking the drive knobs past 3 oclock yielded thicker, Fu
a local audiologist). Theyre immensely comfortable, even Manchu-style distortion. No matter the settings, I was impressed
after a four-hour gig. Once the mix was dialed in, the UE 7s by the touch sensitivity, clarity, sustain, and naturalistic sound
offered impressive bass response, thanks to a 2-channel setup while enjoying how the low end remains intact.
and built-in crossover. There are many bass overdrives to choose from, and
I doubt any IEM can perfectly replicate a guitars tone, plenty for a lot less coin. But when you consider the BD10s
but I found the U E7s midrange and high-end impressively excellent tones and remarkable tweakability, this little white
robust and accurateperfect for where the guitar sits in the box is well worth a look.
mix. Admittedly, the price tag may be steep for weekend
warriors, but for pro players needing tour-ready IEMs, these TEST GEAR Gallien-Krueger 800RB head, TC Electronic RS410 cab,
might be the best sub-1K solution out there. 2001 Fender Precision
PROS Comfortable. Plenty of PROS Independent clean

$850 street, ultimateears.com bass and midrange response. $169 street, maxonfx.com and drive levels. Two-band
tone control. Natural-sounding
CONS Pricy. overdrive with solid lows.
Tones Tones
Versatility Ease of Use CONS Pricier than some of its
brethren.
Value Value
CLICK HERE TO HEAR this pedal at premierguitar.com/nov2015

RETHINK
YOUR
TONE
Ian Thornley
Big Wreck
"Beautiful sounding,
feedback-busting acoustic twelve
string guitar. Wonderful for the
stage; you can have it thundering
without it feeding back. Ive
always loved the sound of the
Godin plugged in through a DI and
photo credit: Brad Conrad
then out through a PA. It has

such a beautiful tone."
Handcrafted in Canada and the USA

godinguitars.com Ghosts
2015 Godin Guitars - Godin is a registered trademark of Harmonilab Inc. bigwreckmusic.com
REVIEWS
PEAVEY
6505 MH
By Joe Charupakorn
M
ini amps and micro heads are a familiar sight these bright and crunch buttons for the rhythm channel), reverb
days. Theyre even numerous enough that a shadowy knob, and power amp resonance and presence control knobs.
(but very loud) subculture of high-gain micro metal There are important differences, however. Unlike its relatively
amps has risen from the clutter. Peaveys 6505 MH is one of the behemoth big bro, the 6505 MH has a shared EQ section for
newest members of the baby metal amp tribe. This scalable, both channels.
20-watt, two-channel, dual-EL84 take on one of Peaveys most Completely new features include two tube status indicator
iconic amps is a brutish little beast. And new features extend its lights situated directly above the standby and power buttons.
utility beyond bedroom shredding sessions and into the realm of If the light is green, all is good. If the light is red, the amp is
real-world recording and gigging. running at less than optimal current and in need of re-bias.
Theres also an auto reset feature that takes that tube out of the
Blood Brothers circuit so you can continue playing without damaging the amp.
If youve used a 6505 before, the MHs layout should be The rear panel reveals more new features that you wont
familiar: channel select button, independent pre-gain and post- see on the classic 6505: a voltage switch that lets you
gain control knobs for both rhythm and lead channels (with select between 20-watt, 5-watt, and 1-watt operation, a
Lead and rhythm

channels
Tube-status
indicator
3-band EQ

amp so rooted in a classic. Ultimately,
though, its practicality outweighed any
sentimental bias.
I ran the 6505 MH into my MacBook
Pro through GarageBand, and the amp
automatically appeared as an input
device. No drivers were necessarya
major plus! With the built-in speaker
defeat button engaged, I was able to
crank the amp and record vicious tones
late at night in the comfort of my room.
For fans of 6505 tones who lack access
to a soundproof space, its a killer way to
capture the amps essence at any hour.
The Verdict
Attenuator switch USB output If youre a fan of the 6505, this little
demon merits a serious look. Its many
cabinet-and-mic-emulating direct output, rhythm parts, muted, single-note figures output options and wide range of power
and a USB output for direct recording. on the low strings can be articulated with configurations make it a super-practical and
There are also buttons for speaker enable/ razor-like precision. flexible choice for rehearsing, recording,
defeat and ground lift, as well as a and just about any gig where you wont be
headphone jack. Too Dirty to Be Clean fighting another guitarist with a 200-watt
Theres not a huge range of low-gain stack. The amps compact size and light
Bedroom to Brown to Brutal sounds available from the lead channel, weight means you can easily take this little
Its no secret that the 6505 was born as but if you roll your guitars volume tone machine anywhere you go. And at
Eddie Van Halens 5150, so for this test, knob way back, you can get part of the $499, this micro metal monster is a steal.
I pulled out an old Peavey Wolfgang way there. For less aggressive overdriven
Standard and ran it straight into the amp, sounds, I got better results by using the
which I plugged into 4x12 and 1x12 rhythm channels crunch mode, which
cabinets, each equipped with Celestion offers terrific low-to-mid gain sounds.
Vintage 30 speakers. With the pre-gain knob at about 5, you
I started my test with the 1-watt get a hint of dirt. At 6 and beyond, a
setting on the rhythm channel. Though distinct shift to the dirty side of the CLICK HERE TO HEAR this amp at
this is ostensibly the amps clean channel, spectrum takes placeperfect for premierguitar.com/nov2015
the 1-watt setting is fairly dirty with the stinging blues-rock leads.
pre-gain above two. Sometimes when In 5-watt and 20-watt settings, the
amp manufacturers tout low-wattage rhythm channel gives you much more
amps as bedroom-level, theyre actually clean headroom. On the lead channel,
considerably louder. The 6505 MHs though, you leave dont disturb the Peavey 6505 MH,
rhythm channel, however, really offers neighbors territory behind and escalate $499 street
useable bedroom volume levels up to to gig-level volumes. Dont be fooled by peavey.com
about 7 on the post-gain knob. the amps diminutive size: The 6505 MH
Things got louder when I changed to can reach ear-frying levels. Tones
the lead channel in 1-watt mode. The Ease of Use
amp barks pretty fiercely all the way Throw Away Them Modelers, Son Build/Design
back to around 2 on the post-gain knob. The 6505 is often emulated in modeling
Value
Move it to the midway point and the amps. But Peavey added a USB output
amp becomes rabid. The sustain at this that might win back a few modeling
midpoint setting struck me more than converts. If you connect directly to PROS Killer tones and functionality
in a self-contained, flexible, and
once as mind-blowing for a little amp, a digital workstation, you get pure, portable package.
and for lead playing, the fundamental unadulterated 6505 tones. To be honest,
sound is open, uncompressed, and well the purist in me was a little weirded out CONS Shared EQ section.
suited for fast, white-hot shredding. For by the presence of a USB jack on an
premierguitar.com
Charlie Sexton
and Collings Guitars
Charlie Sexton with his custom Collings SoCo Deluxe
Serious Guitars | www.CollingsGuitars.com | (512) 288-7770

REVIEWS
CATALINBREAD
Fuzzrite
By Charles Saufley Output volume control
T
Fuzz level control
he original Mosrite Fuzzrite has always lurked in the
shadowy recesses of the classic fuzz temple. To most
ears, its not as flexible as a Fuzz Face, as meaty as a
Muff, or as detailed and defined as a Tone Bender. These per-
ceived shortcomings have mostly relegated the Fuzzrite to wor-
ship by the garage punk and biker fuzz cults (and even among
these sects, divisions over the merits of germanium and silicon
versions persist). But all dogma, bias, and historical slights
aside, a good Fuzzrite is a way-cool and super-spirited stomp
overflowing with personality.
Catalinbreads new Fuzzrite (they recently secured the rights to
this legendary name) is a take on the silicon version of the circuit
that first appeared in the late 60s. And though it might not appeal
to germanium Fuzzrite fans or super-obsessive 60s sonic purists,
its a fat, substantial, and buzzing fuzz that occupies a hard-to-nail
sonic niche where 60s sizzle and modern heaviness meet.
Built Like a Buzzing Brick

Catalinbread pedals tend to be superlatively built, and on the
Fuzzrite you dont have to look hard to find evidence of this
quality. You cant see the transistors, capacitors, and resistors
because the circuit board is mounted with those components
facing the enclosures interior. But like any Fuzzrite circuit, its a
simple affair. And apart from the two transistors at the heart of
the circuit, there probably arent more than a dozen additional
components on the board.
Foreseeing, perhaps, the potentially rowdy environments
in which the pedal might be put to work, Catalinbread made
sure the guts are locked down tight as submarine latches on
this beautifully robust box. The two knurled knobs are easy to
grip with the toe of your sneaker if you want to nudge the fuzz
or volume on the fly. But they provide the perfect amount of Probably one of the biggest obstacles to a wider acceptance
resistance for doing so, and are unlikely to be bumped out of of the original silicon Fuzzrite was its inorganic pick attack.
whack once youve set them where you want them. Where a germanium Fuzz Faceor Tone Bender in particular
tend to communicate the interface between string and pick in
In a Fuzz Kind of Eden a relatively transparent way, a Fuzzrite sounds more like fuzz
Silicon Fuzzrites tend to respond to chords in a cool and unique floodgates opening and slamming shut. That hasnt changed
way. The Catalinbread gets especially high marks on this count, profoundly on this Fuzzrite, but by highlighting pick attack
injecting power chords with throaty, muscle car mass topped and adding definition about as well as a silicon Fuzzrite circuit
with just the right amount of 60s rasp. The Catalinbreads can, the Catalinbread proves itself exceptionally responsive for
marriage of vintage and meatier, contemporary fuzz personalities the breed. Fast flurries of fuzz-fried licks sound a lot airier and
pay big dividends in this chordal context. detailed as a result.

The sometimes binary attack of the That said, the volume control has a wide,
Catalinbread Fuzzrite makes it a great effective range, and some of the coolest and
match for amps with a bit of natural most authentically 60s-sounding tones come
compression. It loved my blackface at very low pedal volumes, a trait that further CLICK HERE TO HEAR this pedal at
Tremolux and a silverface Champeven bolsters the Fuzzrites utility in the studio. premierguitar.com/nov2015
a much less squishy blackface specd
Bassman sounded smooth, contoured, The Verdict
and dynamic with the Fuzzrite torturing Bold, brawny, and buzzy as a pissed-off
the front end. Its easy to imagine how wasp, the Catalinbread Fuzzrite is the
the Fuzzrites scathing top and a squishy rare fuzz that might appease paisley and Catalinbread Fuzzrite
Fender tweed circuit would add up to Chelsea-booted fuzz purists, as well as $149 street
catalinbread.com
bliss. And the Fuzzrites happy relationship players who think they love 60s fuzz but
with small amps makes it a fantastic studio really need a touch of modern silicon
Tones
tool for generating hairy vintage fuzz tone muscularity. There might be slightly
that doesnt feel out of control. more affordable and authentic takes on Ease of Use
Guitar volume-control responsiveness? the Fuzzrite circuit, and some vintage- Build/Design
Well, theres not a lotat least if youre fixated players will certainly find the Value
looking for Fuzz Face-style fuzzy-to-clean Catalinbreads relative smoothness a bit too
dynamics. Reducing guitar volume can civilized for their garage punk needs. But PROS Cool mixture of contemporary
re-color the fuzz in interesting ways, few Fuzzrite clones out there are built to fat silicon fuzz tones and sizzling 60s
however, and you can enhance the cool, the exacting tolerances or offer the battle- sounds. Superlative build quality.
sputtery gated-fuzz effects by setting the ready robustness of this little unit. And for
CONS Not very responsive to guitar
depth (gain) control to lower levels. many players who are discovering the joys volume changes. Lacks some seat-of-
In general, the Fuzzrite sounds happiest of this menacing and monstrous circuit, the-pants character of 60s fuzzes.
with the fuzz at or near its maximum level. the sounds on tap will be a revelation.
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REVIEWS
PURESALEM
El Gordo
By David Von Bader
S
acrilegious as it may sound to some, not everyone loves A Sumo of Its Parts
the iconic, ubiquitous electric guitar designs of the 1950s. The Gordo is a creative bit of Franken-design that manages
And while vintage guitars that subvert those norms look to be different without being simply weird. The mahogany
killer and cut through the visual clutter, they can also be quirky body profile borrows from 60s-era Kents. The classy flame-
in less-desirable ways: feedback-prone pickups, neck relief like a maple veneer and two-tone sunburst finish add rich visual
ski jump, and non-existent tuning stability, to name a few. texture without being ostentatious. A pair of sharp-looking
PureSalem Guitars isnt the only company mining the bound eyeholes is a nod to Rickenbacker and Gretsch, while
eccentric side of vintage guitar design these days. But the the binding evokes 335 and Les Paul Custom designs. The
two-years-young company has consistently delivered quality mahogany neck has a comfortable, modern C-shape. Its capped
alongside the quirkiness. El Gordo, a buxom semi-hollow, is a by a bound rosewood fingerboard with fancy pearloid block
recent addition to PureSalems roster of misfits. Its well built, markers and a sculpted headstock design inspired by the Fender
genuinely versatile, and chock-full of tones from jangly clean to Starcaster. The neck is reinforced with a double truss rod for
rowdy and raucous. stability and setup flexibility.
Roller bridge
T-style pickup
Mahogany body
with maple veneer
Bigsby B5
Tone and volume

controls for each pickup
premierguitar.com
On paper, that sounds like an odd through the soundhole is a nice retro The Verdict
hodgepodge of design elements. But touch. But the knobs would be easier to El Gordo is a playable, and yes, fat-
somehow the juxtaposition of upscale manipulate if they were just a bit closer sounding way to skirt the status quo. It
details, cross-brand homage, and quirky to the playerfast volume adjustment looks vintage in a unique way without
retro shapes works, resulting in a unique can feel like a serious reach. seeming silly. Best of all, its a genuine
but approachable instrument. players instrument. The interestingly
El Gordo generally feels sturdy and Gordo Means Fat matched pickups, effective tone and
substantial. Its free of the blemishes and The bridge humbucker and Telecaster- volume controls, and stable Bigsby
paint blotches often seen on guitars in style neck single-coil (angled, unusually, vibrato conspire to make this a very
this price range. And while the factory toward the bridges bass side) provide expressive instrument. Quirky has rarely
setup wasnt exceptional, a few easy everything from percussive rock crunch felt this rock-solid, or been capable of so
adjustments made El Gordo feel friendlier to fluty blues leads. The articulate many tasty sounds.
under the fingers. humbucker has just a tad more power
than your typical PAF, but its never CLICK HERE TO WATCH A DEMO of this
Functional Kitsch muddy, honky, or flat-sounding. guitar at premierguitar.com/nov2015
With its bend-friendly 24.75" scale Likewise, the neck pickup seems hotter
length, satin neck finish, and 12" than your average T-Style pickup, but the
fretboard radius, El Gordo feels much result is excellent balance between the
more athletic and nimble than most of two pickups.
the vintage instruments that inspired it. El Gordos semi-hollow, center- PureSalem Gordo
The roller bridge, expertly cut graphite block construction lends thwacking $1,060 direct
nut, and mini-Grover tuners maintain immediacy and chunky mass to chords, puresalemguitars.com
tuning stability, even when you cut loose but also gives clean tones resonance and
on the Bigsby. (And man, its fun to use a a pretty, sparkling airiness. With a loud, Tones
Bigsby that stays in tune.) dirty amp, El Gordos easily generates Playability
El Gordo features a Gibson-style controllable feedback, especially if you Build/Design
3-way pickup selector and independent ride the volume and tone knobs.
Value
volume and tone controls for each While El Gordo can be jangly and
pickup. That adds up to many tone clean, it specializes in burly rock n roll
PROS Unique styling. Great, often
options if you like to play with pickup sounds. Josh Homme fans will love the
unusual tones. Excellent playability.
balance or color songs with extreme tone humbuckers thick stoner heaviness at low Vibrato stays in tune.
shifts (which can be especially interesting tone settings. Its also great at mimicking
given the sonic differences between the the powerful kerrang of Malcolm Youngs CONS Controls are a bit of a reach.
two pickups). The cloth wiring visible Gretsch, or sustained, fuzzy lead textures.
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REVIEWS
MISSION
ENGINEERING
Delta III Si
By Matthew Holliman
Light aluminum
enclosure
A
pedal capable of distortion, boost, and fuzz isnt
revolutionary. But considering how many of us
7.5-18V power
string together endless combinations of those three
pedal types on our boards, a streamlined approach is always
intriguing. Mission Engineerings Delta III Si isnt a three-
in-one box with independent fuzz and overdrive circuits
cascading into each other, Mission Engineering created a
three-transistor analog dirt unit that can go from transparent
boost to ballsy vintage fuzz with the twist of the gain knob.
(The pedal employs silicon transistors, though Delta also
offers a germanium version.) Hi cut and lo cut
EQ controls
I got a gritty, honky Les Paul

drawl. Played with a slide,
it was a straight shot
of Duane Allman bliss.
Delta, This Is Mission Control

You control the Delta III Si via four knobs. The lo cut and
hi cut controls trim bass and treble, respectively. Level is a
master volume control. And the gain is the key to the Delta Soft relay footswitch
IIIs varied personality. It moves from boost to overdrive to
full-throttle fuzz across its range. The footswitch is a quiet soft- Call in the Firepower
touch relay. Mission Engineering touts the Delta IIIs friendliness with
The lightweight, brushed-aluminum enclosure houses two other pedals. As with many fuzz pedals, my first inclination was
printed circuit boards. Theres no 9V battery option, though the to place it early in my signal chain, but I got the best results
Delta III Si can powered with 7.5- to 18V power supplies for when I it placed after an overdrive (an Amptweaker Tight Drive
the option of varied headroom. The Delta III works best with Pro). The overdrive excited Delta IIIs crunchy output rather
a dedicated power supply. With a daisy-chain supply, the Delta than adding stifling compression
can generate a wall of locust chatter when the effect is engaged. With my Telecaster and the Delta IIIs gain at 11 oclock, I
But with the right power arrangement the Delta is extremely got Tube Screamer-like overdrive right at the cusp of crunch
quiet at all but the most extreme gain settings. an excellent setting for pushing a saturated amp over the edge.

Note clarity is exceptional, and the pedal the pedals fuzzier realms. And while the readily it delivers everything from smooth
responds dynamically to changes in pedal doesnt quite nail the brawn and crooning to fire and brimstone, the $199
picking intensity. Digging in deep gives sustain of a Big Muff, its still perfect for street price is fair.
a blistering, amp overdrive-like edge. A chunky 70s hard rock power chords and
lighter touch adds sparkling highlights and stoner rock grind. You can readily move CLICK HERE TO HEAR this pedal at
high-mid detail to chords and slower leads. from fuzzier zones to civilized overdrive by premierguitar.com/nov2015
However, that extra note definition means trimming the guitars output. (This feels
that trebly guitars can sound super bright. especially responsive with single-coils.)
Thats when the hi cut knob becomes
invaluable. Setting it around 1 oclock left The Verdict
plenty of room for my Telecasters top end The Delta III is a versatile dirt box that Mission Engineering
to breathe, but kept shrieking feedback at can wear many disguises. Its a cool Delta III Si Triage Distortion
$199 street
bay when I stacked on extra gain. choice if you need one pedal to produce missionengineering.com
With a Gibson Les Paul and an 18V boost, overdrive and distortion tones,
adaptor, I checked out the available especially for travelling players requiring Tones
headroom. The higher voltage seemed streamlined setups. Its transparent Ease of Use
to expand the tonal range of the darker enough to add definition and oomph to Build/Design
humbuckers. The extra headroom meant dirty amps without turning your tone
Value
more definition at high-gain settings. into a saturated blur.
With gain at 3 oclock and lo cut around For some players, the lack of switching
PROS Wide ranging tones and easy
11 oclock, I got a gritty, honky Les Paul options may limit the Delta IIIs onstage access to them.
drawl. Played with a slide, it was a straight usefulness. But the pedal excels as a
shot of Duane Allman bliss. Decreasing boost/distortion/overdrive you can CONS No battery option. Daisy-chain
lo cut at high gain settings really fills out quickly and intuitively tailor to suit power supplies are a no-no.
the bottom enda cool tone option for varying guitars and amps. Given how
premierguitar.com
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REVIEWS
MICHAEL KELLY
Triad 10E
By Adam Perlmutter
F
or years, players and techs have yanked the fifth- and fifth strings, the string pairs are like those on a 12-string: The
sixth-course octave strings from 12-strings guitars. For D and G pairs are tuned in octaves and the B and E pairs are
fingerpickers it can mean easier, cleaner-sounding thumb- unisons. There are five tuners on each side of the headstock, with
picked notes and more concise low-end response. But a purpose- the G courses lower-string tuner on the bass side. (Both G tuners
made 10-string like Michael Kellys Triad 10E offers ergonomic are usually on the same side, so this arrangement may take some
benefits as well, such as less string tension and headstock weight. getting used to.)
This innovative instrument delivers on the sonic and playability Some Triad design attributes are more commonly seen
fronts, providing a cool doubled-string alternative in a price range on boutique guitars. For example, two bass-side sound ports
where 12-strings can be same-ish in sound and construction. augment the conventional soundhole, projecting more sound
directly at the player. The guitar boasts a solid spruce soundboard,
Boutique Influence complemented by a symphony of interesting tone woods. The
The Triad 10E is built around a standard non-cutaway, square- 3-piece back incorporates a center section of ovangkol, flanked
shouldered dreadnought body. Apart from the single sixth and by flamed okoume sections. The sides and headstock cap are also
Bass-side
Okoume sides
sound ports
Solid spruce top
Three-piece
ovangkol and
okoume back
Fishman Sonitone
electronics
premierguitar.com
okoume. A rosewood fretboard caps the Floyds Wish You Were Here and Led The Verdict
mahogany neck. Zeppelins Over the Hills and Far Away. Sometimes unique and affordable
Though its square-shoulder dread The guitar sounded every bit as brilliant guitar designs fall short of the desired
profile is familiar, the Triad 10Es looks and shimmering as a regular 12-string, and outcome, but thats hardly the case
are far from ordinary. The unusual rosette I cant say I missed the doubling of the here. If anything, the Triad 10E is an
with its sectioned outer ring seems almost bottom two strings. In fact, I heard extra overachieving instrument that improves
Cubist, as does the idiosyncratically low-end clarity. The one bummer about on the playability of the 12-string
shaped bridge. (Its pin-less for easier that revelation? The realization that a big- without sacrificing its characteristic
string changes.) Flamed maple neck and bodied guitar like this should deliver a chime. This unique guitar plays,
body binding and a maple heel cap lend little more low-end power. sounds, and looks terrificand at $399,
elegance, as do the back and end strips and It was great fun experimenting with its a bargain.
small pearloid tuner buttons. different stylistic approaches. For example,
Observable flaws are few. Theres a playing a walking bass line on strings 5 CLICK HERE TO HEAR this guitar at
hint of finish bleed on the heel cap, but and 6 while comping on the doubled premierguitar.com/nov2015
the interiorclearly visible through the upper strings creates the illusion of two
sound portsis extremely tidy. The frets independent parts more effectively than on
couldve used a little more polishing, but a standard 6-string. The doubled courses
the inlay and binding are meticulous. impart extra potency in clustered and
Michael Kelly Triad 10E
The gloss-finished back and sides are altered chords when set against punchy
$399 street
uniformly smooth and shiny. (A satin top single-note bass lines. michaelkellyguitars.com
finish might have better matched the fancy The Triad 10E comes with an active
appointments, though it would have made Fishman Sonitone electronics system. The Tones
the guitar more expensive.) control knobs are tucked unobtrusively
Playability
inside the soundhole, while the 9V
Build/Design
Easy on the Fingers, battery compartment and output jack
Present in the Ears are on the lower bass bout. Plugged into Value
Thanks to a shallow, C-shaped neck a Fender Acoustasonic amp on a flat
profile and low action, the Triad 10E can setting, the guitar sounds terrific. Its PROS Innovative 10-string design.
make you forget youre playing a 10-string. essential acoustic character remains intact, Eliminates some typical 12-string prob-
lems. Super affordable.
You barely notice any extra fretting and and theres no unwanted humming. The
picking difficulty despite the extra strings. guitar and electronics pair nicely with CONS Strap button preinstalled at neck
I tried a handful of classic 12-string- a little reverb, which emphasizes the heel. Case not included.
driven classic rock tunes, including Pink shimmering quality.

REVIEWS
JCOLOCCIA
Big Cannoli
By Charles Saufley
O
verdrivesand the players that use themcan be a
very divergent set. Because the effect bridges boost and Three-voice switch
distortion, some players look for a pedal that roars,
while others seek only a subtle tone shift.
The op amp-driven JColoccia Big Cannoli resides primarily
on the bolder end of the spectrum. It has a British essence,
sounding at times like a compressed and cranked AC-30,
and sometimes like a grinding Marshall Super Lead. Its not
exclusively a Brit amp in a boxit offers cool, boxy TS shades
and high-mid gain settings with an almost Klon-like refinement.
But the Big Cannolis essence is more sledgehammer than
sculpting knife. Any player that loves organic, rambunctious
mid-gain rock tones stands a fair chance of falling for its high-
calorie crunch.
Tricolore Triple Switch

If youre accustomed to three-knob TS-style overdrives or one-
knob boosters, the Cannolis four knobs and toggle switch may
look comparatively busy. But the controls are simple to navigate Bass and
and intuitive in practice. treble EQ
If you throw the fat switch

on, you can make a Fender
Deluxe combo sound like a
stack punishing the front row at
Madison Square Garden.
While the volume and gain knobs are standard overdrive fare,
and the bass and treble knobs are self-explanatory, the three- Growling Like a Big Cat, Kicking Like a Horse
position toggles function is less obvious. The tight setting rolls When it comes to straight-up riffage and power chords, the
off a little bass, adding focus. The cut setting (which seems to Big Cannoli is tough to beat. In the cut or tight position
primarily cut lows) also adds focus, but with an emphasis on with a semi-hollow Rickenbacker driving the works, the pedal
midrange presence. The fat setting provides the widest harmonic dishes the growling, overtone-rich drive that made young
range and the most bass-heavy tones. The differences between the Noel Gallaghers Epiphone-and-Marshall tones so feral and
settings can seem subtle at times, but at higher volumes and with hypnotic. P-90s are a perfect match if you love rowdy, hell-
high-power amps, the differences become much more apparent, bent-for-leather, Angus-and-Malcom rhythm propulsion. And
revealing the many facets of the Big Cannolis personality. if you throw the fat switch on, you can make a Fender Deluxe

combo sound like a stack punishing the lead boost is its ability to lend smoother, with an ever-changing backline, this
front row at Madison Square Garden. contoured, and more civilized edges to combination of silk glove and pugilists fist
Lead tones have a more cultivated big Brit-style lead tones. could be a major asset.
and sometimes tamer personality. Even
at presence-enhancing settings theres a The Verdict CLICK HERE TO HEAR this pedal at
certain smoothness to the Big Cannolia The ease with which the Big Cannoli premierguitar.com/nov2015
combination of compression and delivers big English-style crunch
harmonic evenness equally well suited regardless of the ampis a minor marvel.
to silky jazz-rock leads and atmospheric Whether youre in a studio with a Fender
space rock. Blues Jr. or onstage with a borrowed Twin,
For players who prefer a little more you can create the illusion of stack-scale JColoccia Big Cannoli
savagery, the Big Cannoli might be a humungousness. That makes the pedal a $149 street
touch too smooth. The treble control potentially invaluable backline solution, jcolocciaguitars.com
lacks the top-end range that can make a especially for players that primarily
lead really sail over a mix. And players ply classic rock waters. Lead tones are Tones
that dig the Big Cannolis Marshall-like exceptionally smooth and controlled. The Ease of Use
sound on crunchy chords might find the never-too-heavy compression (particularly Build/Design
lack of raw, metallic, plectrum-on-string in the lows and low-mids) is a great match
Value
immediacy in single notes a curious for all three voices. And though the range
sonic disconnect. That doesnt mean of the EQ controls can seem narrow at
PROS Glorious crunch tones. Smooth
aggressive lead tones are absentwith times, they provide an easy-to-navigate lead tones. Never sounds over-compressed.
P-90s and hotter humbuckers you can canvas with few high-end spikes when
hit the cut switch and max the treble pairing the Cannoli with higher-gain CONS A little extra top end would be
for slicing Paul Kosoff tones. In general pedals or hotter amps or pickups. For nice for aggressive leads.
though, the Big Cannolis strength as a players working in the studio or coping
premierguitar.com
Canadian Made. Globally Played.
David Rosales
"The overall playability of my Artist Mosaic has been
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REVIEWS
DEAN ZELINSKY
GUITARS
Mule Bass
By David Abdo
D
ean Zelinskys impact on guitar design is undisputed. fretboard caps the bolt-on maple neck. (Maple fretboards are
Hes created instruments for rock royalty, from also available.) The Mule also comes in a 5-string version.
Dimebag Darrells ML guitar to the outrageous fur Zelinsky preserves tradition by shaping the neck with a
axes spun by Billy Gibbons and Dusty Hill. Now the founder medium thin, soft C shape, but tweaks it with a 12" fretboard
of Dean Guitars has a new venture: Dean Zelinsky Guitars. The radius. Meanwhile, his open-gear tuners give a classic look a
line includes the Mule, a unique new take on J-style designs. contemporary twist while offering pinpoint accuracy. The Mule
is devoid of 60-cycle hum thanks to a pair of DZPLG active
Mule School humbuckers. A 9V battery powers both the pickups and a
Like its equine namesake, the Mule 4-string is a hybrid. It preamp with 2-band EQ.
melds traditional J-style construction with Zelinsky innovations. Two striking enhancements make the Mule stand out from
Our test models vintage white finish gives the basswood body the herd: Zelinsky contours the upper body with what he calls
a pleasingly classic look. (The Mule is also available in classic a Thumb-Rail design. (Many bassists who regularly shift their
black, transparent amber, and burst finishes.) A rosewood plucking-hand position for varied tones will appreciate this
DZPLG active
humbuckers Z-Glide
reduced-friction
Thumb-Rail maple neck
body design
Vintage-style
top-load saddle
premierguitar.com
enough bottom to punch through the
The engraved pattern of the Z-Glide on the quintet with authority while the crystalline
top end effortlessly cut through the mix.
necks rear side reduces the surface area by 70 Working the neck pickup, I created full,
sustained notes ideal for ballads and
percent, allowing air to pass under the thumb. Motown classics. Mixing the pickups and
boosting both lows and highs provided
a slap tone with tight lows and piercing,
supportive thumb rest across most of the feeling. Im by no means a monkey grip popping transients, perfect for R&B tunes
bodys length.) But the pice de rsistance player, but I had to adjust my thumb and modern gospel songs. For a 16th-note
resides on the basss rear side: the pressure to accommodate the design. funk jam, I dialed the blend back toward
patented Z-Glide reduced-friction neck. I dig the look of the thumb-rail the bridge pickup. At first it didnt deliver
The engraved pattern of the Z-Glide on design, which may be a great benefit the thick yet biting tone Id heard at
the necks rear side reduces the surface for players who tend to rest a thumb home, but a simple bass boost provided
area by 70 percent, allowing air to pass on the body. It doesnt necessarily cater sufficient beefiness. By the end of the
under the thumb. This helps keep the to my right-hand damping technique, night, I considered Zelinskys preamp an
fretting hand dry and alleviates the sticky since anchoring the thumb above the effective onstage problem solver.
feel of some glossy and satin-finished strings makes unwanted vibrations more
necks. (For a slight upcharge, players can prominent. Still, the design provides a The Verdict
request a personalized Z-Glide neck with pleasant arm contour that lets players The Mule has a big voice thanks to
their name engraved.) who use a pick or floating-thumb new construction approaches. Bassists
technique maintain a relaxed plucking- who like bright, beefy, slightly scooped
Take a Walk on Z-Glide Side hand position. sounds will probably enjoy what it has
I experienced a touch of neck dive to offer. The Z-Glide neck might not be
with the bass strapped while standing. Big Bottom, Punchy Mids for everyone, but sweaty-handed players
My balance concerns were even more The Mules tones combine past influences may appreciate its benefits. With a price
pronounced while sitting down with the with modern timbres. Balancing both nowhere near budget-buster territory, the
basss body on my thigh. But positioning pickups produces a sound with strong Mule could be a dependable companion
the bass between my legs, classical guitar- lows, slight low-mid punch, and bright to carry your low-end load.
style, let me explore the neck without any top end. Soloing the neck pickup conveys
balance issues. a deeper tone that suggests a cross CLICK HERE TO WATCH A DEMO of this
For someone whos spent decades between a G&L L-2000 and a Modulus bass at premierguitar.com/nov2015
playing on both finished and unfinished Quantum. The bridge pickup alone has
necks, shifting up and down the Z-Glide the expected bark, but with that extra
neck was a new sensation. The engraved thickness typical of a humbucker.
pattern definitely kept my thumb dry and The Mule provided a consistent,
prevented any stickiness whatsoever. That supportive foundation on a blues gig. Dean Zelinsky Guitars
said, it took some time to get comfortable Plugged into an Epifani UL 501 paired Mule Bass
with the textureit is a totally different with an Ampeg 4x10, the bass provided $649 street
deanzelinsky.com
Tones
Playability
Build/Design
Value
Vintage-style
open-gear tuners PROS A unique twist on the J-bass
formula. Solid electronics. Affordable.
CONS Design innovations not for

everyone. Balance issues.

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REVIEWS
STOMP
UNDER FOOT
Rhinosaur
By Jon DAuria
W
e bassists are lucky to live in an era when bass-spe-
cific fuzz pedals are plentiful. Yet for decades, the
industry bass-fuzz standard has been the Big Muff.
Stomp Under Foots Matt Pasquerella wanted to do something
different, so he created with the handmade Rhinosaur.
The Rhinosaur circuit is inspired by the Colorsound Bass
Fuzz, a pedal known for maintaining low end and packing
a punch. Like the original, the pedal employs BC549C
transistors. But unlike the big, bulky Colorsound, the
Rhinosaur resides in a compact 2.5" x 5" box. The pedal
feels rugged, is adorned with slick graphics, and has a simple
control layout: a trio of knobs for level, tone, and fuzz.
The raw force of the fuzz and

the huge body of the low end
made everything I played in the
lower registersno matter how
simplisticsound powerful.
Deep and Dirty

Placing the pedal between a passive Fender Deluxe P and
an Ampeg SVT, I started out with the tone, level, and
fuzz knobs at noon. From my first finger strike at the 4th
strings 7th fret, I felt an immense amount of air from my
cabinet. As advertised, the low-end thickness held, merging
tenaciously with the cutting fuzz sound. The midrange Keeping the level and tone at noon and pushing the
attackespecially on the 2nd and 3rd strings between the fuzz to about 3 oclock, the distortion increased intensely
5th and 12th fretscame through with excellent density, but held its form without cracking or generating a blown-
while each note maintained solid resonance. The high end of speaker timbre. The raw force of the fuzz and the huge
the 1st string was tremendously clear in a grinding fashion, body of the low end made everything I played in the lower
becoming pleasantly ear-piercing as I climbed the neck. registersno matter how simplisticsound powerful.

Thinning can occur when using a the pedal at full throttle. I unlocked
pick with fuzz or distortion pedals, but the fuzz banshee by cranking the level
when I pulled out a plectrum, the tone to 2 oclock, the tone to 3 oclock,
held true. Striking the strings with a and the fuzz to full tilt. The result CLICK HERE TO HEAR this pedal at
choppy technique created a unique was an ber-drenched tone that still premierguitar.com/nov2015
sound bordering on analog-synth maintained impressive clarity. Higher
terrain. Alternating picking in the notes merged slightly and the mids
mid-to-high registers made my whole began to sound somewhat snythy, but
amp scream. overall, the pedal held and the lows
boomed as much as ever. Stomp Under Foot Rhinosaur
Peachy Fuzz $185 street
stompunderfoot.com
To check out the Rhinosaurs subtler side, The Verdict
I rolled back the level, tone, and fuzz to Sure, you can get nasty fuzz tone
Tones
around 9 oclock for low-gain distortion from many of todays bass-fuzz pedals,
suitable for rock/indie music. Instead but the Rhinosaur maintains lows in Ease of Use
of creating an icing layer on top of the ways that really stand out. The highs Build/Design
clean tone, the fuzz permeated the entire and mids cut nicely with good note Value
signal. There was just enough clean tone independence. The design is user-
to feel round, but with enough grit to friendly, and the pedal comes in a PROS Powerful fuzz. Strong lows.
add interesting crunch. This setting was compact enclosure. Whether youre Sturdy construction. Simple controls.
especially pleasing while working steady a boutique purist seeking vintage Compact size.
eighth-note runs with a pick. fuzz or simply someone searching
Since the Rhinosaur is a fuzz pedal for a sturdy pedal that packs serious
CONS High notes can blend into each
other when the fuzz is fully cranked. A
(and I was fully warmed up and ready heat, the Rhinosaur just might be bit pricy.
to attempt some jump kicks), I tested your dinosaur.
From cranked, slightly dirty amp tones to a

furry Godzilla devouring a junkyard full of
broken A/C units.
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STAFF PICKS
Question & Obsession

Its been 45 years since Jimi left the physical realm, but the world of music continues to be influenced by the guitar
savant today. The legendary Buffy Sainte-Marie joins us in channeling our favorite ghost.
If you could ask Jimi

Hendrix one question,
what would it be?
Buffy Sainte-Marie John Isenberg

Guest Picker Reader of the Month
A: I used to play shows A: Id ask him how he comes

with Bukka White (who was up with new music. Is he
wonderful) and I adored all playing his guitar or doing
the country blues players that something else? While I was
Sam Charters recordedall still working, I would hear
those tunings and techniques. music in my head. Then
Did they influence you too? when Id get home, Id play
Got any stories? it out into something. I think
its interesting to see how
Current obsession: musicians come up with
Ryredux! I reconnected their ideas.
with my old friend, the great
Ry Cooder, at the Americana Current obsession:
Music Association Awards Playing my guitar and
last night in Nashville. Wed working on my home
played together several recording studio.
times in the 70s and 80s:
live, on recordings, and
even on Mick Jaggers first
movie, Performance. I just
downloaded nine of Rys
albums, every one a jewel.
My ears are singing!
premierguitar.com
John Bohlinger Joe Gore Tessa Jeffers
Nashville Correspondent Senior Editor Managing Editor
A: Were you high during A: Dude, can you believe that A: What is the single most
every show and session? 40-some years from now, important musical moment,
rock will be one of the most performance, or composition
Current obsession: conservative forms of music? that youd point to as
Pedal steel is a puzzle that the ultimate reference or
nobody can complete.Mine Current obsession: encapsulation (considering
have 10 strings, (E9 tuning), My old Cathedranola, a time has passed, its today,
three pedals on the left, funky little guitar that the and all youve learned now
and five knee leversthe Slingerland drum company that you are wherever you
possible combinations are made back before WWII. Its are) of what is life-affirming
nearly limitless.Watch Paul not valuableits a plywood for you?
Franklin at 10:30 in the PG piece of crap with a fake
Rig Rundown. The complexity resonator cone. Its hard to Current obsession:
of his simple-sounding move play. Its tone is pathetically Buffy Sainte-Maries silent
is mind-blowing. weak. But it conjures instant guitar, the Yamaha SLG110.
sad and lonely for scores I saw her perform at
and soundscapes. Americanafest recently and
not only did this guitar fit her
classy-meets-edgy vibe, it
sounded beautiful too.
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Gearheads win!
CHANGE IT CRANK IT SHRED IT

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The RC Booster is my desert
i s l a n d p e d a l . I ts t h e m a i n
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and on my new album
Vibe Station.
I ts t h e f a t t e s t s o u n d i n g
Boost Ive ever heard
and cleans up beautifully
when turning down the
guitar volume.
- Scott Henderson
V I B E S TAT I O N
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ESOTERICA ELECTRICA
Building with Your Ears

BY JOL DANTZIG
T
he look on Rays face was a what hed done wrong. Why was I a really big one, you know how that gets
mixture of surprise and outrage. singling him out? your attention.
He was trying to keep his anger Look Ray, I began, I know youre There is a distinct howl that router
in check, but his clenched fists were passionate about music, and thats good. bits make when they are dulling or when
giving him away. Ray was a fairly new I like that youre connected to what we the chip clearance angle is compromised
hire who had been making good prog- do here. But you have to be able to hear with wood-pitch buildup. Occasionally,
ress, and I knew he was working hard the work talking to you. Rays forehead bits and blades can have incorrect
to make a good impression on me and wrinkled below the edge of his knit cap. geometryeven if fresh from the factory
everyone else in the shop. It was obvious He remained silent, but his eyes said: or a sharpening servicewhich makes
he liked making guitars, but he had a What the fuck are you talking about? them dangerous to use. These tools
long way to go before the more seasoned It wasnt the first time (or the last) that produce unusual sounds that can tip you
builders would trust him with anything my mentoring style elicited this response. off immediately. If you return that tool
sharp. This particular morning, he had There were a dozen ways I could have right away, not only will you avoid injury
been jockeying a bass against the pol- put this to him, but I wanted it to stick. or damaging parts, it will also be clear
ishing wheel with his back to me as I You need to listen to the sounds around to the vendor that you didnt just wear
called out his name twice. Id noticed you, I explained. Every operation here it out.
the telltale white wires coming from makes two kinds of noise: one when Hand tools like chisels and planes have
his over-ear sound-protection muffs, you are doing it correctly, and the other a certain sound when they are happy, and
and once I had his full attention, I when somethings going wrong. Rays complain when they are not. Cabinet
asked him to remove the buds from his expression was now one of curiosity. scrapers have a signature song when
earspermanently. Learning those sounds can make you a they are properly burred. Drills make a
Im listening to Pearl Jam, he better craftsman, I continued, and can squealing noise when dull, pushed too
explained. We make instruments for also save your ass. I again asked him not hard, or when youve chosen the wrong
Jeff Ament, Im Ray struggled for to use the earbuds, and left him to finish speed for the diameter of your bit. The
the right words that would convey his his job. simple acts of filing frets or shaping a
dedication and total commitment to his Excessive noise in a guitar shop string nut each have a smooth tone when
craft. Were part of the music business, either machinery or loud musiccan things are going well, yet make chattering
Nothing against he continued with his voice starting to be detrimental to your long-term noises when done incorrectly.
Pearl Jam, but rise in pitch. Id think that it would be hearing. If you are a music fan, this If you spend time working with
their music part of the jobI care about this. His will be a crushing blow to you later in toolsno matter what youre making
has no place
alongside heavy
words trailed off as he shook his head. He life, so prepare for it now. Most hearing Ive made my best case for paying
machinery in a knew ear protection was mandatory in protectionbe it earplugs or over-the- attention to the whispering of the wood
guitar workshop. the noisy shop, so he couldnt understand ear muffswith a sound attenuation and steel surrounding you in the shop.
factor of 30 to 40 dB reduces the din of It can save you time, money, and even
a noisy workshop while still allowing you protect your health.
to hear the important sounds that almost So, how did that conversation with
subconsciously guide you. Another bonus the shop newbie pan out? Not too long
is that constant noise is fatiguing, so after that, Ray learned about the noise
youll feel better at the end of the day if a buffing wheel makes when it gets too
you protect your hearing. close to a guitars edge, followed by the
Every task has its own song. A planer sound of the instrument bouncing loudly
or jointer chirps at the end of a pass off the shop floor. Many years later, we
when the feed rollers or tables need laughed about it.
adjustment. A band saw has a whole
vocabulary of sounds that tell you when JOL DANTZIG is a noted
designer, builder, and player who
guides are worn or misaligned, or if co-founded Hamer Guitars, one of
you are cutting too fast or turning too the first boutique guitar brands,
in 1973. Today, as the director
sharply. I have known woodworkers of Dantzig Guitar Design, he
who can hear when a band saw blade is continues to help define the art of
custom guitar. To learn more, visit
about to break. If youve ever worked on guitardesigner.com.
premierguitar.com
LAST CALL
The One Rule of Showbiz and Why Its Good for You
BY JOHN BOHLINGER
T
Playing music he show must go on. There are
can help you no exceptions. The Titanic
forget your
troubles for sinks, the band plays. Given the
a while. options for an adult male in that exact
situation, pounding out a deep shuffle
sounds like a better alternative to fighting
for room on a lifeboat overcrowded with
women, children, and cowardly men
dressed as women.
The rule is a good thingand not
just for the audience, promoters, band
members, and everybody on the payroll.
The rule is good for musicians with
serious problems. When life goes to shit,
often the best medicine is to drag your
barely breathing carcass onstage and play
some music. release adrenaline and other chemicals Vaughan said, Pray through your guitar.
Last week I received some soul- that race your heart, shut down your When words fail, music speaks.
crushing/life-changing news (no need bowels, impair memory and learning, and Civilians deep in the dumps have two
to spill all the miserable details, just lead to depression. This turns you into a prescribed treatments for depression,
insert your favorite catastrophe). I felt hyperventilating, constipated, mentally anxiety, or emotional trauma:
like an extra-burly Mike Tyson was impaired, sad ball o rage.
angrily jumping rope on my chest. I When you get like this, its nearly (1) Take pills to numb it.
had trouble breathing, speaking, and impossible to think your way to a (2) Talk to a stranger about your
processing information. My mind raced solution. Instead, stupid, unanswerable problems in exchange for $50 to
as I oscillated between shouting at the sky questions (How did this happen? Why $500 per 50-minute hour, depending
and muttering aloud like a street person me?) flood your mind. It might feel like on where you land on the healthcare
off his meds. But within a few hours, I youre looking for answers, but obsessing sliding scale.
was playing a gig for the massive crowd this way merely deprives you of sleep,
shown in this photo. makes you feel bad, and keeps you from We musicians have another
I spent the next two days about moving on. prescriptiondrop your problems until
as stable as Keith Richards riding a Musicians have a better option: Leave after the gig. Your problems wont go
unicycle through a hurricane, but I your problems at the stage door. When I away, but they will probably seem more
played huge shows every night, albeit used to hear that old theater chestnut, I manageable. Your body will feel better
a tad self-medicated. These gigs did thought it was just a way to ensure that and you may even be able to sleep again.
more to help me then any therapy. a prima donna actor doesnt screw up the Sometimes music is the only thing that
Yes, gentle reader, your less-than-stable entire show simply because an intern was can drown out those destructive loops that
scribe has done his time on the couch. late with a skinny soy-cappuccino. Thats repeat in our heads. During my current
Therapy encourages one to look inward part of it, but theres more. emotional crisis, these gigs gave me a Zen-
in hopes of revealing a truth that leads Leaving your troubles for a few hours like it could-be-worse perspective. Im
to a better understanding and ultimately, is a healing gift. Playing music can make incredibly grateful for that. When youre
contentment. But how often does being your body release neurotransmitters hurting, the show must go on translates
self-absorbed lead to a better place, or that help naturally reset your mood to to life goes on.
even understanding? Rarely. something more positive and optimistic.
Maybe its because we lie to ourselves A brief respite from your worries allows JOHN BOHLINGER
is a Nashville musician who has
or are blinded by biases, or we dont your body to recover from psychological led the band on NBCs Nashville
Photo by Will Hensley
want to know the truth. Or maybe its and physical stresstheres no better Star and served as musical director
of the CMT Music Awards for the
because humans are still running on therapy in the world. As an added bonus, last six years. In addition to his
caveman wiring. When youre stressed, pain and sadness can be the catalyst Last Call column, John recently
joined PG as our full-time gear
the brain signals the adrenal glands to for a great performance. As Stevie Ray demo/Rig Rundown video dude.
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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Marion, IA 52302. Customer Service and subscriptions please call 877-704-4327 or email lois@premierguitar.com. Printed in USA. Volume 20 Issue 11 November 2015
Choosing a guitar is not as simple as heading to the store. Its the
thrill of the hunt the research, the obsession. Its the never-ending
quest for your tone, your unique sound. The feeling of a guitar neck
sliding into your hands like it was meant to be, like its always been
there. We understand what most will never understand
THE JOURNEY & THE DESTINATION

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DIY MODS IRON MAIDEN DEAD WEATHER EAGLES OF DEATH METAL

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GEARHEAD COMMUNICATIONS, LLC

Premier Guitar [ISSN 1945-077X (print) ISSN 1945-0788 (online)] is published

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Periodical Postage Rate paid at Marion, IA 52302

Because all the best guitar amps in the

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CONTENTS November 2015

As Stevie Ray GEAR

Top left: Photo by Rich Osweiler

Elixir Acoustic Guitar Strings

Great Tone - Long Life

Eric Church plays Elixir Strings

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...In other news heres a jaw dropping

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Mini-pedal board v1 assembled.

Listening to Van Halen soundcheck

premierguitar.com PREMIERGUITAR NOVEMBER 2015 19

premierguitar.com PREMIERGUITAR NOVEMBER 2015 21

Name: Charlie Johnson

Charlie Johnson acquired his

Send your guitar story to

The DMAs lead guitarist gets

premierguitar.com PREMIERGUITAR NOVEMBER 2015 23

The alt-country rock stalwart

The Mumford & Sons frontman

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The guitar half of duo Black

Dusty Hill and Billy Gibbons

GUITARS & BASSES

Bottom: As a gift for

Left: Gibbons current

premierguitar.com PREMIERGUITAR NOVEMBER 2015 29

MY MORNING JACKET FACTOID

Top right: This semi-

30 PREMIERGUITAR NOVEMBER 2015

Bottom: For his pedal

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1948 Gibson L-5 Premiere Natural

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To hear this guitar,

2001 Epiphone Firebird VII premierguitar.com

WILL RAY is a founding member