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Flanked by and I used to teach private lessons on it. I his handmade can analyze and tell you about jazz guitar Pyrose Wood all day long—even if I can’t necessarily Works electrics play it all. And I like arranging music. Some of the guys in the band bring me is Salter’s random tunes and melodies they come treasured up with, and I’ll take those elements andHeritage Victory try to make some sense of it. 1x12 combo. Built by Paul That explains a lot. Much of the album Cochrane of sounds deceptively simple, yet it Timmy pedals contains some complex arrangements— fame, and especially in the guitar parts.customized with There are a million songs out there that a Pyrose cab have just two or three chords, but you and grille cloth, have to have something that makes the the amp blends music stick. characteristics of a Fender Deluxe and Vox AC50. There are moments on the album where What didn’t you love about some of JEFFERY SALTER’S GEAR you step out and reveal some serious that original material? lead chops, but overall the guitar is While we’ve been at this for almost five GUITARS pretty restrained. Do you deliberately years now, we’d only ever done home avoid overplaying? recordings and demos—we hadn’t Two Pyrose Wood Works T-style electrics Honestly, none of it was planned at all. released anything in an official capacity. Everything we do just morphs over time What we had was an accumulation of AMPS on the road and what happens, happens. several things: Songs we’d just written I don’t spend too much time writing when we went into the studio two years Heritage Victory 1x12 22-watt combo the parts, but instead I come up with ago, as well as tunes that were about three a skeleton structure and just let them years old at the time we recorded them. EFFECTS evolve naturally. I don’t necessarily even So when we came back to finish the think of guitar parts until we hit the album two years later, some of the songs Klon clone studio and I’ll play stuff I’ve been doing were just too old—we wanted to get new Wampler Paisley Drive on the road for a while. And if it doesn’t stuff on there we felt better about. As Empress Vintage Modified Superdelay work, I’ll think, “Well, shit. I guess I you can imagine, we’d come quite a bit Blackout Effectors Crystal Dagger shouldn’t have been playing that for the further as a band, so it was nice to be last couple of years!” able to come back and take stuff out and Pigtronix Rototron put stuff in that we really liked. Xotic Effects EP Booster Did you cut the new album live or did Lovepedal Babyface Tremolo you track the parts individually? Describe the gear you used on the album. We did it live, probably 95 percent of Pretty much my touring rig. The guitars STRINGS & PICKS the way through. We recorded the album are actually built by my girlfriend and at the Bomb Shelter in Nashville. We me in Nashville. They’re like traditional, DR Pure Blues (.010–.046) actually started the album about two ’50s-style Telecasters, but with her GHS Boomers (.010-.046) years ago and recorded for about four artwork applied to them. A few years ago days. We had some friends come in and Dunlop Jazz III do organ overdubs and stuff like that, but for the most part, it was all done live. Then recently we went back into the studio for another week. We took out half of the original album, recorded another side to replace it with, and also fixed a bunch of stuff we didn’t love. So we got a chance to go in and really make the album right before putting it out.100 PREMIER GUITAR SEPTEMBER 2015 premierguitar.com
(716) 630-7030 From cranked, slightly dirty amp tones to a furry Godzilla devouring a junkyard full of broken A/C units. carolineguitar.compremierguitar.com PREMIER GUITAR SEPTEMBER 2015 101
Top: Pyrose I got into putting together partscasters Wood Works’ and doing guitar-tech work, and it’s been Katie DiGrappa a fun little hobby. But my girlfriend, Katie DiGrappa, is an incredible artist, and Jeffery and she’s honed her woodburning skillsSalter. DiGrappa to create the designs featured on our guitars. So when we’re off the road, that’s decorates the what we do. We just made two guitars for raw bodies a customer in Florida, a pair of T-styles made completely out of maple that our with intricate banjo player’s cousin harvested from his woodburned Birmingham backyard. The guitars were designs, and heavy, but they were awesome. We’veSalter assembles also done guitars for other artists, like the the instruments band Clear Plastic Masks. from carefully selected parts. On the album I mostly played one of the guitars I built—a standard, ’50s Broadcaster-style guitar with Kinman Broadcaster pickups, Emerson Custom wiring, a 4-way switch, and a treble-bleed mod. I plugged it into my Heritage amp, which was built in Nashville by Paul Cochrane, who also makes the Timmy pedals. I wish Paul and Heritage would build amps again—they’re amazing. What model Heritage is that? after that particular sound for a couple authenticity to work—but you guys It’s called the Victory, which is basically of years. I’ve gone through just about Paul’s take on a Fender Deluxe Reverb. every phaser and vibe pedal out there, have managed to create a unique sound From what I’ve read, it has the front end and nothing has ever quite hit it, but this without sacrificing the retro vibe. of a Deluxe and the back end of a vintage pedal is actually pretty cool. Once we get That’s definitely something we keep Vox AC50. It has great clean headroom, a big enough trailer, I’ll just find a real in mind when we approach a song. but it also breaks up a lot better than Leslie cab, but until then, the Rototron There are a lot of great bands out there, many Fender-style amps. And the reverb works. It’s really fun—almost like a dual but many of them try to do the Merle is fantastic. There’s a dwell and a mix phaser that’s tuned more like a Leslie. Haggard or Willie Nelson thing. It’s control, so you can dial in the length of I also swear by the Xotic EP Booster. hard to do anything remotely original the reverb tail and then back off on the I’ve had Xotic pedals forever and tried in any genre these days, but it’s not mix, so the sound doesn’t get too washed everything in their line, and this one is cool to rip anybody off, so we attempt out when you turn up. It’s really good the be-all and end-all for me. to add something else to the equation. and punchy. Each of us brings something different to It’s difficult to say something new the band, and every song on the album Are you into pedals? and fresh in roots music—or any shines the spotlight on our individual I’ve always been a pedal nut. Even if they genre that relies on a certain degree of players. That really seems to work out don’t do much, I love them. I recently got for us. a Klon clone from a guy in Nashville, and now I’ve gotten rid of almost everything but that. I also use an Empress Vintage Modified Superdelay. It emulates a tape echo, and I use it for almost all my delay stuff. I also played a vintage Leslie cabinet on a lot of the record—it’s all over “Golden Grease” and “Old Ways”—and I just picked up a Pigtronix Rototron to try to get that sound onstage. I’ve been102 PREMIER GUITAR SEPTEMBER 2015 premierguitar.com
the Straight Truth About Pickups by Jason Lollar The“magic”found in some (but not all) classic vintage pickups was created by accident.Don’t let anyone tell you different.And over time,some pretty stellar accidents happened.The only way to recreate that magic is to study more than a few exceptional examples of all the classic pickup types,while acquiring a thorough understanding of exactly what materials were used and precisely how each pickup was constructed and wound.Only then is the“magic”repeatable,if you are willing to spend the time and money required to chase the dragon. I am. I personally design and wind over 30 different pickup models, including all the vintage classics,many obscure works of art known only to lap and pedal steel players like Robert Randolph, and even a few of my own designs that never existed in the past. I invite you to visit our website for sound clips,videos and current product information,or feel free to give us a call. Lollar Pickups,Tacoma, WA. (206) 463-9838 www.lollarguitars.com Tools and parts B.A. FERGUSON GUITARS henrettaengineering.com for working on HAND CRAFTED IN HARTSVILLE, SC your guitar The pros are using these; BAFERGUSONGUITARS.COM why aren’t you? Shipped fast 843-917-4422 Rock-solid guarantee Simplify your rig /BAFERGUSONGUITARS Amplify your tone Where the pros shop, since 1969 @BAFERGUSONGUITARS PREMIER GUITAR SEPTEMBER 2015 103 stewmac.compremierguitar.com
104 PREMIER GUITAR SEPTEMBER 2015 premierguitar.com
NONSTOPTHE RELENTLESS AGGRESSION OF METZ Alex Edkins creates exciting punk mayhem with jagged riffs, jarring rhythms, and a vintage Jazzmaster. WRITTEN BY DAVID VON BADER | PHOTOS BY DEBI DEL GRANDEIn a time when the essential energy of punk rock has live show is one of the most exciting unabashed expressions been watered down, rehashed, and otherwise consigned of rock ’n’ roll spirit in recent memory. to mediocrity, bands like Canadian noise-rock upstartsMETZ are few and far between. With the release of II, the One of the snarling heads atop this sonic Cerberus belongsToronto-bred trio proves that they’ve harnessed and honed to guitarist/vocalist Alex Edkins. Edkins wields his Fenderpunk’s intensity in unique and potent ways. The band’s Jazzmaster like a jackhammer and swears by the inalienablesophomore LP is a furious display of dissonant chords and truths of simplicity, obscene volume, and sheer, unbridledjagged riffs, delivered in off-kilter time signatures and filtered energy. Edkins took time mid-tour to ruminate on these qualitiesthrough distorted raunch and swirling oscillation. And their and discuss the group’s writing process, the indestructibility of Fender amplifiers, and the pitfalls of romanticizing guitar gear.premierguitar.com PREMIER GUITAR SEPTEMBER 2015 105
The intensity of your performances is OBSESSIVE COLLECTING WITHincredible. How do you maintain it? METZ’S BASS BEASTIt’s really easy! It’s just what we do whenwe play, and that’s what the songs require Bassist Chris Slorach is responsible for much of METZ’s sonic heft.of us. At the end of the show we’re pretty Formerly a guitarist, Slorach plays only Gibson RD Artist basses. Hiswiped, but going into it, it usually doesn’t affinity for these Norlin-era oddballs has made him a collector bytake much conjuring of energy or anything necessity. But what makes these basses so ideal for METZ’s distinctlylike that. It’s kind of already there. filthy low-end sound? We asked him, so read on.Where do you come from as a I’ve never seen you perform with anything other than a vintageguitarist, and which artists were most Gibson RD Artist.influential you? I’ve actually got six of them at the moment. I use one of thoseI have a hard time putting my finger and a Gallien-Krueger 800RB—a super-reliable classic head. Thenon it, to be honest. I grew up listening I throw in an overdrive pedal to break the whole thing up evento the Beatles, and then I found punk more. Those basses are already really hot, so the overdrive pushesrock and hardcore. It’s been punk mail it over the edge.order since I was a teenager—whateverI could get my hands on in the suburbs. What is it about the RD?The approach to guitar in punk rock is I like the tone of the active electronics and the sound of the body’sso different than in traditional classic string-through construction. I found my first RD at a used guitarrock. It really connected with me—the store that was going out of business. I initially hated its sound, butsimplicity, the physicality of it. after a month of playing with it, I totally fell in love with the tone. I haven’t been able to use anything else since. We definitely love the Cramps andthat side of rock ’n’ roll. We also love What’s your overdrive of choice?the dissonant, weirdo stuff that bands Just a [Tech 21] SansAmp Bass Driver. I crank the output so it heatslike Jawbox and Fugazi would do, and everything up even more.even dreamier stuff like Spaceman 3and other things in that vein. Our Are all your RDs are loaded with the original Moog electronicssound is a mix of everything we love, all from back in the day?smashed together. I have some obvious Yeah! I make sure the original electronics are intact on all the onesinspirations, like Thurston Moore, but I buy. Those electronics are everything to me—otherwise, I wouldI’ve also liked the guys that you don’t just use any old bass.really hear. I’m not big on shreddingguitar solos—there’s a time and a place Are you still actively collecting them?for it, and I love it when it makes sense. I’ve had to stop for a while because every time I saw one, I’d buy it.But I prefer the guys who underplay. It got really expensive. I’m not the guy who has that kind of money to just throw around, and I don’t have the room in my houseWhat’s your writing process? Are all of anymore. But whenever I see one, I’m tempted!the off-kilter rhythmic switch-ups builtaround guitar riffs?Yeah, this time around it usually startedwith a riff. I did a lot of demoing athome, and I’d come in with a big chunkof a song completed, and we’d go fromthere. This allowed the vocals to be partof the process from the very beginning,which put them more in the forefront.The vocals used to be more of anafterthought for us, but now they’re a bigpart of what guides the songs.It often feels like every instrumentin the band operates as a percussioninstrument—especially when that106 PREMIER GUITAR SEPTEMBER 2015 premierguitar.com
rhythmic focus is delivered at such HAVING ACOUSTIC ISSUES? bombastic volume. That’s funny—we did a tour with Death DON’T FRET. from Above 1979, and that’s the one There’s a capo for that. thing that Jesse [Keeler] said to me: “You The Kyser® Quick-Change®. guys are all drummers, man!” I kind of understood it then, but it makes a lot of KYSER® MUSICAL PRODUCTS Guaranteed for life. MADE IN USA sense now after writing this album. We all play like percussionists. www.kysermusical.com What guitar equipment did you use on | 1x12 | Reverb & Tremolo | 6973 Tubes | 35 lbs | Assembled in NY, USA | the album? It’s pretty much my live rig—or at least that’s PREMIER GUITAR SEPTEMBER 2015 107 what I usually start with when we’re recording. That includes my main guitar: a Frankenstein of a Jazzmaster with an early-’60s body. I don’t know where the neck is from—probably some cheap knockoff. I’ve played it for about 15 years, and it’s still the one I play religiously. I run it through pretty basic stuff. I love the loud, clean sound of Fender Twin Reverb, so that’s the platform I start with. Then I run the Jazzmaster through a bunch of pedals to find what I’m looking for on a specific track. Did you do any interesting experimentation while recording II? We were jumping from studio to studio, so we were trying out different pedals and amps all the time. We were messing with different things, trying to sort it out. We were even running guitars through old radios and compressors that our producer, Graham Walsh, has specifically to get tones that sound like the speakers are tearing themselves apart. The intro to “I.O.U.” is a great example of that. That’s not digital processing—it’s actually coming from a small amp that we basically just destroyed. With the vast range of degraded/distorted guitar textures on the album, which particular pedals or amps were standouts? We’re big fans of the Death By Audio stuff—those guys are friends—and we love the EarthQuaker Devices stuff. But honestly, I use a Pro Co Turbo RAT, straight up, almost all the time. I sometimes run a SansAmp GT2 to boost the RAT a bit more, and a couple of delays. But that’s it. What year is your Fender Twin? I’ve used a bunch of the vintage ones, but I tour with a reissue because the reverbpremierguitar.com
ALEX EDKINS’ GEAR GUITARS Early ’60s Fender Jazzmaster with aftermarket neck 1964 Fender Jaguar (backup only) Amps Fender ’65 Twin Reverb reissue Fender 4x12 cabinet Effects Pro Co Turbo RAT Tech 21 SansAmp GT2 Boss DD-5 Digital Delay Boss TU-2 Chromatic Tuner Strings Gauges .010–.046 (no specific brand)108 PREMIER GUITAR SEPTEMBER 2015 premierguitar.com
We have to physically wrench things to get certain soundsout of them. I almost play the amp more than I play the guitar.”sounds different, and actually I like it better To my knowledge, it’s not modified How does the band tune? Opposite page:than the vintage reverb. It’s a little less rounded at all. It’s got a [Whizzo] Buzz Stop I love when people ask me that! It’s “I only wantand soft around the edges, and somehow a little installed, but other than that, it’s standard tuning. I’m totally into weird to play mymore clear. If we need to get a backline, I actually stock. I’ve never had any issues with tunings because I’m a fan of bands Jazzmasterrequest the new ones. The funny thing is, I’ve strings popping out of the saddles, like Sonic Youth, Archers of Loaf, and because nothinghad my own Twin for maybe 15 years, and luckily. For me, the only thing a Polvo, but that’s always been kind of else soundsI’ve never even changed a tube. I think it’s just guitar’s really got to do is stay in frightening for me to attempt. So I like it,” sayscompletely blown out. tune. If the strings were popping keep things in standard tuning, but Alex Edkins. He out a lot, I would have ditched it try to make up chords that sound like uses his backupIf that’s not a testament to the indestructibility by now. I’m in a different tuning. guitar—a vintageof Fender amps, I don’t know what is! Fender Jaguar—Pretty wild. That thing’s been around the only when acontinent at least five times, and it’s still going— string breaks.knock on wood.That’s ridiculous, considering your volume.I know. That’s exactly why I have that amp:because it’s so damn loud!I’ve seen you run the Twin with a 4x12. Whatspeakers are in the cab?I think they’re Celestions, but I’ve never looked.I just plugged in and said, “Sounds good to me!”By no stretch of the imagination am I a gearhead.It’s not about what you’re playing on—it’s howyou’re playing it. That’s always been our approach.We have to physically wrench things to get certainsounds out of them. I almost play the amp morethan I play the guitar. None of us have really changed our setupsmuch over the years because we prefer to get usedto what we’ve got, and then work with that. Ithink it improves how you play when you’re lessfocused on what you’re playing through. That’s notto say we don’t try different guitars and amps andthings when we record—that’s part of the fun! Butfor live performances, we keep it pretty stripped.Jazzmasters have a particular sound because PEPE HERNANDEZof the long string length. Would a different NS RADIUS BASSguitar yield the clang and grunt that is sodistinctly METZ? www.NedSteinberger.comIt’s never even been a thought for me to change.I restring it a lot to keep it even more janky andbright-sounding, and also so I don’t have to usemy backup, which is a Fender Jaguar. The Jaguaris a great-sounding guitar—I think it’s a ’64—andit’s got that fantastic vibrato bar. But I do notwant to play that thing live! I only want to playmy Jazzmaster because nothing else sounds like it.Is your Jazzmaster modified with an aftermarketbridge or anything like that?premierguitar.com PREMIER GUITAR SEPTEMBER 2015 109
THE RECORDING GUITARISTAre You Playing for the Song—or for Your Butt?BY JOE GOREIf I had a nickel for every guitarist and monitor ourselves so deafeningly In any case, working with modelers can I’ve interviewed who uttered some while recording that we can’t hear teach you to perceive volume independently variation of the words “I play for ourselves within the production. from tone quality. I’m not saying don’t usethe song, not my ego,” I’d have … well, analog amps—they’re awesome! But timesomewhere between 15 and 20 dollars. Keep your distance. It may help spent evaluating yourself via headphonesSome of those players are lying. Some to get in the habit of evaluating your or monitors rather than a blazing amp caninterpret that as “I won’t necessarily performances as they emanate from recalibrate your ears and teach you to hearstorm out of the studio if they don’t let monitors, not from your amp. For yourself more objectively.me play a 32nd-note shred solo on an example, when tracking in a studio withacoustic ballad.” And many are 100 per- a control room, try playing from behind Fat or fit? Years of practicing next tocent sincere! But just because we want to the desk, not from the floor. Or if you’re amps makes us crave loud, fat sounds,play for the song doesn’t mean we do—or tracking while wearing headphones, but “quiet and skinny” often work bettereven can. experiment with turning your performance within an arrangement. (The illicitly leaked way down. You may be surprised by how “Multitrack Masters” bootlegs of classic We guitarists hold some great advantages little level you truly need to play well. (In rock recordings with each track soloed areover other instrumentalists. Unlike most some cases, hearing yourself quieter than an invaluable lesson. Search for those wordsband and orchestral players, we can perform usual can make you dig in harder for a on YouTube if you haven’t yet. Spoiler alert:complete-sounding arrangements entirely more intense performance.) Try focusing Many classic guitar parts have fewer lowson our own. We’re also largely unburdened on anything but your part. If you’re playing and low-mids than you might think.)by centuries of pedagogy decreeing the to a good drummer, try monitoring her“correct” way to play. We’re freer to fly by hi-hat louder than your guitar. (And that A generation or two ago, fewer playersthe seats of our pants and just make shit goes double for acoustic guitar tracks.) needed to worry about this stuff—they’dup. That’s generally a plus—what other just set up and play, leaving the toneinstrument boast such a wealth of styles, or It may also help to practice with amp sculpting to producers and engineers. Butso readily invites new ones? modelers, even if you hate them. Whenever nowadays, even leading session players are amp modelers get mentioned in a guitar likely to be fine-tuning their own tones Class dunces. Still, the ways we learn mag article, someone inevitably bellows, in small project studios. And of course,and practice can make us dunces when it “Modelers suck! My [insert pet amp name] many of the greatest recording guitaristscomes to recording. One remedy (or at blows them all away.” I get where those always crafted parts and refined tones withleast a worthwhile thought experiment) bellowers are coming from—hearing a an objective sense of frequency and space.is to distance ourselves from our amps— modeled sound through monitors doesn’t (I’m looking at you, Pagey and Gilmour.)physically, sonically, and conceptually. feel as exciting and immersive as a loud amp blasting your butt. But if you compare Ironically, evaluating your parts with Now, when I say “dunce,” I don’t refer to the recorded sound of that butt-blasting detached objectivity can create moretheoretical stuff, like the way most guitarists amp to a modeled sound, the gap narrows emotionally engaging recordings. Andsuck at music reading. But compared to to near insignificance. that’s what truly matters—assuming youother instrumentalists, we usually have play for the song, not your butt.less experience playing within ensembles. (I’ve created and administered blind(This also contributes to our reputation for listening tests for audio industry clients, JOE GORE has recorded andhaving poor senses of rhythm.) Putting in and I’ve got the numbers: While many performed with Tom Waits, PJhours with a good band makes us better guitarists can distinguish amps from Harvey, Tracy Chapman, Courtneyat aligning our performances with other models while performing, only a miniscule Love, Marianne Faithfull, Lesplayers’ parts, but doesn’t necessarily help percentage can consistently do so by Claypool, Flea, DJ Shadow, Johnus objectively perceive our contributions listening to recordings—and we’re talking Cale, and many other artists. Joewithin the larger sonic picture. experienced guitarists, not general listeners.) has written thousands of articles about music and helps develop Consider how most of us practice: music tools for Apple and otherwith loud amps aimed at our butts. Yeah, clients. He blogs at tonefiend.com.it stokes out egos, but it can cultivatea warped sense of how parts shouldsound in context. Over time, that butt-thumping sensation becomes synonymouswith “good tone.” That can make us playtoo loudly, mix ourselves too prominently,110 PREMIER GUITAR SEPTEMBER 2015 premierguitar.com
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GUITAR SHOP 101Dealing with a Stripped Truss-Rod NutSTORY AND PHOTOS BY JOHN LEVANR ecently a client brought a fairly headstock; these are not recessed and 1 new American Fender Strat into can be removed without surgery. Older 2 the shop. The neck had too Fender guitars have a truss rod nut at ruined because someone decided to forcemuch relief, but otherwise the guitar was the heel of the fretboard, and these are the wrong tool around or into them.in great shape. No problem, I thought. very easy to remove, once you take off Photo 2 shows a Fender bullet nut thatTighten up the truss rod a bit and we’ll the neck. Some modern electrics have suffered this fate. Once a socket’s edgesbe good to go. an exposed “wheel” nut located at the have been rounded like this, the hex key heel, and these can be adjusted without can’t grip the nut to turn it. I unwrapped a new Fender hex key removing the neck.(more about the condition of your tools in Recently I removed the neck on aa moment) and inserted it into the truss Some acoustics, such as Takamine and client’s vintage Tele to adjust the trussrod nut. But instead of finding a secure modern Martins, have a truss rod nut rod. The nut looked like Photo 3, whichgrip, I felt the tool spin around inside the that you access through the soundhole illustrates what happens when someonenut. Oh, that sinking feeling: I realized by inserting the tool through a small uses a screwdriver that’s the wrong size.the nut’s socket was stripped, which is hole in the upper top brace (located The slots get deformed, and this makesvery bad news for this particular Strat. between the soundhole and neck block). truss rod adjustments difficult. The good In some cases, this hole is just big enough news is these nuts are easy to remove, Why? The truss rod nut on this for a wrench to poke through, but not even when they’re butchered like this, buttype of Strat is recessed into the neck big enough to accommodate the nut. unfortunately it’s nearly impossible to findand surrounded by wood (Photo 1), The brace can be removed, but that is a “period correct” replacement. Sure, thereso when the socket that holds the truss considered a surgical procedure, which is are plenty of aftermarket parts available,rod tool is stripped out, you only have why some luthiers opt to simply enlarge but for a vintage guitar, it’s imperative totwo options: perform major surgery to the hole to remove the nut. use period-correct parts to maintain itsremove the stripped nut and replace it value. I mention this simply to drive homewith a new one, or buy a replacement Truss rod tools vary, as well. Some the importance of using the correct trussneck. Realistically, it would cost more to require a hex key (Allen wrench), rod tool—one that fits snugly.perform the extraction, so I advised my while others take a flathead or Philipsclient to contact Fender about getting a screwdriver, a nut driver, a mini socketnew neck. wrench, or a small metal rod. To learn more, read “Demystifying Truss-Rod Fortunately, not all Fender guitars Tools” at premierguitar.com.have a recessed truss rod nut—in fact,many guitars don’t. You can often Why truss rod nuts fail. There arereplace a stripped truss rod nut, and it’s three main reasons why you might have anot a tricky repair if you know what problem with a truss rod nut.you’re doing. Inexpensive replacement (1) Hardware defect.nuts are available from such suppliers (2) The wrong size tool was used in anas Stewart-MacDonald, LuthiersMercantile, and Allparts. attempted adjustment. (3) The correct tool was used, but it Different types of truss rod nuts.Before we discuss why a truss rod nut was worn.might fail and how to fix it, let’s explore A manufacturing defect is pretty rare,several common types of nuts used on but they happen. When you think aboutguitars. You adjust some nuts by inserting how many guitars are built (probablya tool into them, others by enclosing them millions each year), there’s a good chancewith a nut driver or special socket wrench. a few lemons are going to squeeze through. It usually comes down to poor The nut placement varies too: On quality metal or slight discrepancies inTaylor and Gibson instruments, for manufacturing tolerances.example, the truss rod nut is typically Using the wrong tool to adjust a nutlocated at the headstock, under a plastic is the most common cause of truss rodor wood cover. These are among the problems. I’ve seen many nuts that wereeasiest to remove. Some Fender guitarshave a “bullet” truss rod nut at the112 PREMIER GUITAR SEPTEMBER 2015 premierguitar.com
34Using the wrong tool to adjust a nut is the most Depending on your playing style, .010\" common cause of truss rod problems. to .012\" should be plenty of relief. Check out “Time for a Neck Adjustment?” at Worn-out tools will also damage a this stripped bullet nut (Photo 4), I was premierguitar.com if you’re not sure howtruss rod nut. For example, if the truss able to get it to catch hold. I turned the to adjust the truss rod.rod requires a hex key and its edges have screwdriver counter-clockwise and voilà,become worn and rounded, it can in the nut came off. Averting disaster. A stripped trussturn round out the inside of the nut. It’s rod nut is bad news, but it can usuallyimportant to check your tools to ensure I’ve also used a screw extractor, a tool be replaced inexpensively. However, ifthey won’t damage your guitar. that looks like a drill bit, but with a twist: you strip the threads or nut at the other Screw extractors have tapered, reversed end of the truss rod—where it screws A basic guitar tech principle: Replacing cutting threads designed to dig into a into hardware embedded within the neckworn tools is much cheaper than fixing the damaged screw and grip it tighter as you itself—that’s a different story. Also, ifdamage they can cause. turn the extractor counter-clockwise the exposed threads on a truss rod are while carefully applying pressure. The stripped, a replacement nut will not help. Tools for removing a stripped nut. counter-clockwise movement backs out In either case, the truss rod itself wouldThere are times when you can use the the damaged screw—typically its head need to be replaced—a very invasivespecified tool to remove the nut, but is mangled or broken off—even as the and expensive repair. At that point youoften you have to be creative. Once extractor bores deeper into the screw shaft. have to decide whether replacing thewhen working on a Gibson electric, I I do this manually using a T-handle, but neck makes more sense than spending ahad to remove a hex nut that was so you can also use vice-grips with a screw fortune on major surgery. The bottomstripped that a nut driver wouldn’t grip extractor. I’d advise against using a power line is simple: When adjusting your trussit. Fortunately, a pair of needle-nose drill for extraction, but some techs do, rod, don’t over-tighten the nut.pliers did the job, but you must be running the drill at slow speeds. Using ancareful to avoid stripping the nut more extractor to remove a stripped truss rod If you’re not comfortable working withthan it already is as you remove it. An nut takes a lot of patience, but it’s doable. your truss rod nut, consult a qualifiedimprovised tool can easily damage the The trick is to be gentle but firm. repair technician. Guitar techs andheadstock, so proceed with caution. luthiers deal with these issues all the time, Installing the new truss rod nut. and paying them for their expertise can Important: Always slacken the strings This is the easy part. Just slide the nut be a wise investment.before you remove the truss rod nut. onto the truss rod threads and turn it clockwise. Tighten the nut until it’s JOHN LEVAN has written five In other cases, I’ve used a small just a little snug. Tune the guitar up to guitar repair books, all publishedflathead screwdriver to extract a nut when pitch and check the relief in the neck. by Mel Bay. His bestseller, Guitara hex key wouldn’t work. For example, Care, Setup & Maintenance, isby gently tapping the screwdriver into a detailed guide with a forward by Bob Taylor. LeVan welcomes questions about his PG column or books. Drop an email to [email protected] PREMIER GUITAR SEPTEMBER 2015 113
ON BASS Maximize Rumble, Minimize Blowback BY VICTOR BRODÉN T he need to constantly feel the the German company TecAmp, and their 1 bass when performing live is a product is called the Pleasure Board.) If real struggle for us bassists. That’s you’re able to stand within an area that’s 2 why I regularly change cabinet sizes, limited to a few square feet while playing, you do. The technique has worked out configurations, and brands depending on this is a great solution for battling with really well for me, especially on the large what type of gig I’m playing. Of course stage volume and the lack of sub-lows in ear concrete stages found in amphitheaters. you have to be able to hear yourself buds. Given the way I perform, however, Concrete does not vibrate much at all, so onstage, but at the same time balance it’s not something I’m able to use. I compensate with lots of volume and side that with how much stage volume your amping. I rarely have to use side amping bandmates and front-of-house (FOH) Floor coupling. The difference when playing on older, wooden stages engineer can live with. between a cabinet placed on its wheels and because they carry low end beautifully and a cabinet placed on its protective corner allow me to use far less stage volume. In-ear monitors. Alternative solutions pieces (usually plastic or metal) is big. The like in-ear monitors with extended low- difference between a cabinet on its wheels Speaker size. Over the years, 10\" frequency capabilities have continued to and a cabinet resting on its own wood speakers have pretty much become the pop up over the last few years. These buds is astounding! Think about it: If every industry standard for bass guitar. One usually employ improved housings and possible square inch of a cabinet’s body is reason is their waveform may be easier to multiple drivers in order to reproduce the vibrating the floor, good things are going manipulate than larger-diameter speakers, low end of 5-string basses and kick drums at to happen. I got hip to this fairly late in and therefore can absolutely contribute to louder volumes. Even though the custom- my career, but now I’m a stickler for it. your FOH engineer having less problem fitted in-ear molds sound amazing and are with your stage volume. the industry standard on most major tours, I permanently removed the corner pieces I prefer the generic buds that use a silicone from all my cabinets, and I have the crew Almost every night I make small slip-on cover. These buds move seamlessly remove the wheels every night before a changes to get maximum rumble with with the movements of my jaw when I show. It only requires 10 seconds of work minimal negative effect on my engineers sing harmony or make bass faces, and do a with the quick-connect-and-release design and fellow musicians. Never forget: No better job of providing a solid low end with of the caster wheels, yet it ensures I’ll feel two stages or rooms react the same to an almost airtight seal. Surprisingly, some more bass for an entire 90-minute show. your bass frequencies. generic buds are very inexpensive. I play If the shape of the cabinet is rectangular stadium stages where I have to be up to 50 instead of square, I’ll lay the cabinet on VICTOR BRODÉN is a Nashville feet away from my fairly small bass rig with its longer side to have more square inches bassist and producer who has a set of $55 ear buds (Photo 1). touching the floor. On my current tour, my toured and recorded with more cabinets are in contact with both the stage than 25 major-label artists, The biggest challenge with in-ear floor and the riser so I can feel the bass including LeAnn Rimes, Richard monitors is that they require great at all times no matter where I’m located Marx, Casting Crowns, and Randy engineering. You simply can’t get through (Photo 2). Removing protective pieces and Houser. You can reach him at a show with a pretty decent in-ear mix, laying a cabinet on its side can be very hard [email protected]. though you can get through a show with on a Tolex or cloth cover, so I’m not able to a pretty dismal monitor-wedge mix. keep my cabs in mint condition. Poorly engineered bass tone in an in-ear mix will kill your passion for playing bass Speaker placement. If your FOH in one second. engineer is complaining about your stage volume, you might want to consider tilting “Shaker” plates or boards. When I first your cabinet up toward your ears. You’ll started my touring career about 15 years hear the bass twice as loud, but you’ll feel it ago, some of the top touring drummers in less due to the floor coupling you sacrifice. Nashville were attaching a cone-less driver to the underside of their drum thrones so Another possible solution I recommend they could “feel” their kick drum when is side amping. Placing your cabinet on the using in-ears. Bassists soon caught on and side of the stage and facing it in toward started attaching a driver to a wooden the band essentially turns your rig into board that would vibrate under their feet. a large side-fill monitor. This can be (This technology has since been refined by very effective as long as your bandmates don’t mind hearing the bass as loud as114 PREMIER GUITAR SEPTEMBER 2015 premierguitar.com
THE MOST BASS-FRIENDLYDI EVER CREATEDPortable and potent, the Ampeg SCR-DI is not your average DI box.It’s a true Ampeg preamp, with a huge range of classicAmpeg tones that includes the tone-shaping power ofAmpeg’s famed Ultra-Hi and Ultra-Lo circuits.It’s a powerful overdrive stomp box,with the grit and grind you crave.It’s the ultimate practice tool,with phones out and aux in forsolo, silent practice anywhere.And, yes…it’s a killer DI thatensures both you and front-of-house get every drop of your tone.Good bassists play in the pocket.The very best have Ampeg in their pocketwherever they go. The SCR-DI has the punch, growl and low end of an SVT with the versatility “and rugged construction you expect from Ampeg. Looks like some other pedals are getting retired to make way for the new boss. ”J U A N A L D E R E T E The Mars Volta / Deltron 3030 / Pedal God www.pedalsandeffects.com THE ROUND SOUND ampeg.com Copyright © 2015 LOUD Technologies Inc. All Rights Reserved.
THE BASS BENCH Using Microphones in Acoustic Bass Guitars BY HEIKO HOEPFINGER Photo 1: N ow that we’ve explored how to the soundhole or better yet, located 1 A dual-source acoustic bass guitarists can use inside the body. But once inside, a mic piezo pickups to amplify their is at much greater risk of generating 2 system instruments [“Amplifying an Acoustic low-frequency, boxy feedback. The most comprising an Bass Guitar” and “Positioning Piezo common way to fight this is with a high- boundary surfaces. Placing a microphone under-saddle Pickups on an Acoustic Bass Guitar”], pass filter, which essentially allows you directly on or in very close proximitypiezo, a bridge- it’s time to investigate the microphone. to cut the lows. This means the higher to a sound-reflecting surface maximizes mounted PZM A mic can deliver excellent results with the stage volume, the more you’ll end up the sonic pressure, while also reducing an acoustic bass, but to get the most with a beautifully atmospheric upper end inner body resonances. These devices are mic, and a from this technology, there’s a lot we of the frequency spectrum. But that’s not known as “boundary layer” or “pressuresignal-blending need to understand. quite what you’re after as a bassist, right? zone” microphones (PZM), and if you’re inclined to dig deeper, the science behind preamp. For most musicians, the world of Here, our typical under-saddle piezo them makes for a very interesting read. Photo 2: microphones remains complicated pickup—so often criticized for its harsh L.R. Baggs has two systems that make A PZM mic and mysterious. When choosing a upper end—comes to mind. Why not use of the boundary or pressure zone designed for mic, even vocalists typically rely on mix the sweet airy highs of a mic with effect: the Anthem (Photo 1) and Lyric acoustic guitar recommendations or trial-and-error the solid lows of a piezo? This kind of (Photo 2). And as with many electronics can also instead of wading through technical thinking brings us systems designed to these days, the Lyric employs some “black work with a data. It’s the rare instrumentalist who blend signals from two sources. Using box” electronic filters to avoid natural flattop bass. digs deeply into dynamic, condenser, and dual-source technology, we’re able to resonances and feedback. ribbon models to study their directional create a composite signal that emphasizes characteristics, diaphragm size, pickup the fortes of each approach. That’s only the tip of the iceberg when Photos courtesy of L.R. Baggs orientation, and frequency response. So it comes to the world of microphone the mic remains the domain of recording Of course, a dual-source system is pickups systems. Stay tuned, low-enders. and sound engineers. more expensive than an under-saddle pickup, and whether it’s worth the HEIKO HOEPFINGER is a Microphone pickup solutions—and extra cost to buy and install depends on German physicist and long-time here we’re only talking about microphones how often you play your acoustic bass bassist, classical guitarist, and permanently attached to an instrument— guitar and in what context. One could motorcycle enthusiast. His work are most often marketed to upright bassists, argue that it’s not worth the trouble for on fuel cells for the European not those playing flattop bass guitar. One onstage use, and it’s unnecessary in the orbital glider Hermes led him to reason for this is the acoustic bass guitar studio, because there you’ll have access to form BassLab (basslab.de)—a market is small. Perhaps more importantly, excellent external microphones. On the manufacturer of monocoque upright players make better candidates other hand, showing up with a good, pre- guitars and basses. for a mic-only system because the upright installed mic can save a lot of expensive offers a higher output volume than acoustic studio and soundcheck time. bass guitar, and it tends to be used in quieter music styles. Acoustic bass guitarists As with piezo systems, instrument often prefer to use an onboard mic as a mics vary, both in their construction secondary or complementary pickup. and how they’re deployed. Putting aside the mic-technology itself for a moment, Although a mic is more prone to instrument mics can be categorized as feedback and crosstalk than a piezo or contact, interfacial, or free-floating. A magnetic pickup, it’s capable of delivering typical free-floating mic can be mounted a premium acoustic image, so it’s worth on a gooseneck and will pick up less investigating. That said, there are very mechanical noise, as it’s acoustically few systems targeted directly at acoustic decoupled from the body, which—as bass guitarists, so most players either opt its name implies—is not the case with a for a custom solution or end up adapting contact mic. a device designed for upright bass or acoustic guitar. The interfacial version might appear to simply be a mix of the other To maximize volume on an acoustic two categories, but in fact, it uses an bass guitar, a mic needs to be very close interesting acoustic effect that happens at116 PREMIER GUITAR SEPTEMBER 2015 premierguitar.com
夀䤀一 夀䄀一䜀 䘀伀䐀䔀刀䄀 䜀唀䤀吀䄀刀匀匀吀䄀一䐀䄀刀䐀 匀䔀刀䤀䔀匀 䤀䤀 䄀一䐀䠀䄀一䐀䌀刀䄀䘀吀䔀䐀 䤀一䈀刀伀伀䬀䰀夀一Ⰰ 一夀 嘀䤀䌀吀伀刀 圀伀伀吀䔀一 匀䤀一䌀䔀 㤀㠀㌀ 圀圀圀⸀䘀伀䐀䔀刀䄀⸀䌀伀䴀118 PREMIER GUITAR SEPTEMBER 2015 premierguitar.com
WELCOME TO THUNDERDOME FIVE 5-STRINGS UNDER $1,500 An in-depth look at new basses from Ibanez, Dingwall, G&L, Spector, and MTD.In his On Bass column, touring and BY DAVID ABDO these five instruments all displayed tones, session low-ender Victor Brodén 5th string handling low-E duties). The playability, and construction that will suit recently wrote about the essential concept of an electric bass with a lower a variety of players.instruments a working bassist should 5th string was popularized in the mid-’70s,possess [“The Wrecking Crew—Basses exemplified by offerings from Alembic, We checked out these basses onstageYou Need to Get the Job Done,” January Michael Tobias, and Carl Thompson. and in a home studio. In the studio2015]. A third of this must-have list By continuing to develop and refine the we examined build quality, took notesconsisted of 5-string basses. It’s just design, such luthiers as Ken Smith have on playability and setup, and criticallyone example, but there’s no doubt that helped increase the 5-string’s popularity. auditioned each instrument through anextended-range instruments have found a Epifani UL 501 head and an Epifani UL3permanent and important place in many This year, the low-end community DIST 112 cabinet. The live evaluationsa bassist’s arsenal. was treated to a fresh crop of 5-string happened in a small club while playing machines. Keeping the price between in the house band during a jam night. Leo Fender planted the seed in the $750 and $1,500, we picked new creations There, all five basses ran into the UL 501mid-’60s with the Bass V (though his from Ibanez, Dingwall, G&L, Spector, driving a Bergantino HD212 cab.creation added a higher 1st string with the and MTD to measure their musical mettle. Tested under the same conditions, Who’s ready to rumble?premierguitar.com PREMIER GUITAR SEPTEMBER 2015 119
IBANEZBTB33 VoloIn 2014, Ibanez embarked on one of their most Short and Sweet experimental projects: the Bass Workshop. Taking a “why The organic aesthetic of the BTB33 conveys looks rarely found not?” approach has breathed new life into their bass at its price point. Boasting neck-through construction, the bassdesigns by transforming some of their popular models into has mahogany body wings covered with a heavily grained ashexciting, eye-catching instruments meant to push boundaries. top, a 5-piece neck/center core constructed from maple andIbanez introduced the most recent Bass Workshop designs at bubinga, and a rosewood fretboard adorned with abalone inlays.winter NAMM 2015, and that included the 5-string BTB33. Rosewood is also used for the finger ramp, which encouragesOpting for finesse over burliness, this bass is equipped with consistent right-hand plucking across all strings by preventinga high C string to facilitate fluid solo and chordal playing. your fingers from digging in too deeply.Tuned E–A–D–G–C, the 33\"-scale BTB33 is nicknamedthe “Volo.” Ibanez combined forces with Bartolini for the BTB33’s electronics. A pair of long BH1 humbuckers sends the signal to Bartolini BH1 humbuckers Adjustable finger rampMono-rail V bridge 3-band EQ with mid-frequency switch120 PREMIER GUITAR SEPTEMBER 2015 premierguitar.com
When I played octave patterns around the mids helped a bit, but I still ended the upper portions of the fretboard up spending most of the time on the during a bass solo, I was able to cop bottom four strings. I experimented with a nice jazz-guitar sound. chords during a jam of the jazz standard “Footprints,” which added some extraa 3-band Ibanez preamp with switchable Fans of Matt Garrison might feel support to the guitarist playing the250 Hz, 450 Hz, and 700 Hz midrange compelled to copy his technique on the melody. When I played octave patternssettings. The 5-knob arrangement BTB33, and I was no different. The around the upper portions of theuses two sizes of dials that allow easy finger ramp was particularly helpful fretboard during a bass solo, I was abledifferentiation between the preamp and in keeping my right hand in check, to cop a nice jazz-guitar sound. Thevolume/blend section. whether I was attempting Garrison’s overall experience with the BTB33 was multi-finger strum style or plucking definitely rewarding, but with a 5-string Other features include a Neutrik closed-voice chords. bass in hand, I did find myself missinglocking jack, Mono-rail bridge, and a the opportunity to drop those low andGraph Tech nut. Hardware of this quality The BTB33’s sounds resemble its deeply satisfying 5th-string bombs onspeaks to the care that Ibanez puts into fellow BTB models. With both pickups the audience.every detail of the BTB33. balanced and a flat EQ, the bass produced a voice with warm mids and a The VerdictLearning to Fly ding in the top end. Soloing the bridge The BTB33 Volo is a cool take onVolo is Italian for “flight,” and the pickup and boosting the mids at 450 Hz Ibanez’s BTB formula. Bassists whocompact makeup of the BTB33 certainly formed a barking tone that will satisfy are developing their solo voice orinvites you to soar across the fretboard. fusion fanatics. The neck pickup on its experimenting with chords will find thisContributing to speedy shifting is the own had a smoother timbre, but pushing an ideal instrument for exploration. Theinstrument’s balance that held its position the robust bass EQ helped transform the build and components are impressive,at any angle. The 17mm string spacing bass into a boom machine. and when you also consider that a Mattat the bridge provides effortless string Garrison Fodera would set you backskipping, though some traditionalists Onstage, the size and shape of the several thousands of dollars, the $999might find it a bit cramped. Creating BTB33 made for no stress on the back price tag is pretty damn easy to swallow.chord shapes was a breeze, thanks to the and shoulder. My only real grievance is So if you’re seeking a smaller instrumentnarrow neck. that the 1st string didn’t cut through the that’ll help you push your musical voice band as well as I had hoped. Boosting to the front of the stage, the Volo is worth a test flight. CLICK HERE TO WATCH A DEMO of this bass at premierguitar.com/sep2015 Ibanez BTB33 Volo $999 street ibanez.com Tones Playability Build/Design Value PROS Slick, compact design with clean tones and cool looks. CONS 1st string can be a bit thin. Could be too specialized for all occasions.premierguitar.com PREMIER GUITAR SEPTEMBER 2015 121
DINGWALLCombustion NG-2Since the 1990s Sheldon Dingwall has forged his own unique shape and carbon-fiber-like patterning. A rigid five-piece instrument-design path, inspired in part by the Novax maple neck supports a maple fretboard. Fanning across the fanned-fret system. Periphery bassist Adam “Nolly” ’board are 24 banjo frets that deliver a fast feel. Thanks to theGetgood considers Dingwall’s designs the ideal tool for preserv- fanned-fret arrangement, each string has its own scale length,ing his sonic footprint within his band’s ultra-dense instrumen- ranging from 34\" for the 1st string to a mighty 37\" for the 5th.tation, so he and Dingwall collaborated on the NG-2. The NG-2’s engine combines Dingwall and DarkglassWithin the Periphery electronics. Two Dingwall FD-3N pickups are positioned closeThe NG-2 looks like the bass equivalent of an Italian sports together to maximize punch and note definition. Instead ofcar. A sleek, gloss-black finish protects our review model’s two- a blend control, Dingwall employs a 4-way rotary selector topiece alder body. The sporty look carries over to the pickguard’s engage different pickup combinations. The first setting solos the neck pickup. The second puts both pickups in series for a Dingwall FD-3N pickups Individual Novax fanned frets bridge saddles premierguitar.com 4-way rotary pickup selector122 PREMIER GUITAR SEPTEMBER 2015
My fellow musicians lauded the NG-2’s performers while supporting the bandstrong voice, especially the sound of the with just the right amount of definition. The preamp is voiced perfectly, whether 5th string. Its consistency and power boosting the bottom for big, blooming punched through the ensemble. lows, or turning up the mids for more assertiveness. Highs are abundant,fat, aggressive sound. The third position smooth, with a radius that lets the and the hi-mid control is effective forconfigures the pickups in parallel, and fretting hand maintain a natural position mellowing them out or adding extra bite.the fourth solos the bridge. Despite the while shifting along the fanned frets.pickups’ proximity to each other, they Making the transition to fanned frets My fellow musicians lauded thereveal noticeably different character with is a relatively seamless affair. My only NG-2’s strong voice, especially the soundeach turn of the selector switch. ding (no pun intended) is the somewhat of the 5th string. Its consistency and limited access to all the strings when power punched through the ensemble, The NG-2 also houses a Darkglass playing at the top of the fretboard. particularly on tunes like the Time’s “Junglepreamp with 3-band EQ. The preamp’s Love.” For gentler jams, cutting hi-midsdesign is the result of a three-way Tones are deep, punchy, and and soloing the neck pickup producedcollaboration between Dingwall, Nolly, aggressive. While position 1 doesn’t a deep, articulate tone that was spot-onand Darkglass that pushes the frequencies quite transform the NG-2 into a for songs like “Let’s Stay Together.” Be itNolly likes for growl and girth. The P-style machine, it conveys similar slapping or 16th-note bass lines, the NG-2bass frequency is set higher than most characteristics. The second position was responsive and a joy to play overall.bass EQs (at around 70 Hz). Mids are provides a monstrous sound with loadscentered at a familiar 500 Hz. There’s no of punch and top end that could make The Verdicttreble attenuator, but a hi-mid control StingRay loyalists do a double take. The The NG-2’s playability, tone, andwith a 2.8 kHz cutoff. An active/passive fourth setting nails the burpy bridge 5th-string power outperform someswitch lets you bypass the preamp. sound, particularly with a boost in the basses that cost two or three times as bass and mid controls. much. It’s more than just a rock bass—Canadian Power while its timbres may not cater to allThe NG-2 feels incredibly comfortable The NG-2 excels onstage. Using the old-school preferences, it can handleand balanced. The neck is fast and rotary switch’s second position, the bass’s almost every musical situation with strong voice cuts through the loudest authority. If you haven’t yet found your ideal 5-string, I recommend taking the NG-2 for a test drive. CLICK HERE TO WATCH A DEMO of this bass at premierguitar.com/sep2015 Dingwall Combustion NG-2 $1,500 street dingwallguitars.com Tones Playability Build/Design Value PROS Great tones. Inspiring playability. Fantastic 5th string. CONS Hard-to-reach notes high on the fretboard. Limited options for 37\"-scale 5th strings.premierguitar.com PREMIER GUITAR SEPTEMBER 2015 123
G&L MJ-5 After making marks with his namesake company and neck topped with a rosewood fretboard. The medium-jumbo Music Man, Leo Fender established G&L with part- frets are uniformly dressed with the aid of a Plek machine. The ner George Fullerton, (G&L stands for “George and neck’s satin finish is nice and smooth. Leo.”) From 1979 till Leo’s death in 1991, G&L improved on past designs and innovated new ones. This year, the Fullerton, The MJ-5 delivers modern yet classic tones via a pair of California, company released the new MJ-5 5-string bass, which G&L bi-coil alnico 5 pickups. They may look like typical combines G&L’s M-series designs with Jazz-style humbuckers. J-style pickups, but they’re actually split-coil hum-canceling pickups. G&L’s 18V “MJ-spec” preamp processes their sounds. Dressed for Success Unlike the switches and knobs found on the company’s L series The MJ-5’s body is alder, and our tester was decked out in a instruments, this system strips things down to a 3-knob, 3-band 3-tone sunburst finish. Six bolts support a quartersawn maple configuration. The EQ points are centered at 40 Hz for the bass, 600 Hz for the mids, and 8 kHz for the treble. Bi-coil alnico 5 pickupsAlder body G&LSaddle-Lock bridge 3-band EQ Plek-dressed frets premierguitar.com124 PREMIER GUITAR SEPTEMBER 2015
Like a fresh engine in a don’t precisely replicate vintage Fender Cadillac, the MJ-5 looks clean, sounds, but they get very close, and anysophisticated, and totally classic. differences are a small price to pay for eliminating 60-cycle hum. Rounding out the appointments are their instruments positioned at a hightwo company signatures: a heavy-duty angle may find the MJ-5 trying to settle The MJ-5’s qualities projectedSaddle Lock bridge, and the distinctive back to a lower one. nicely onstage, and its familiar tones fitG&L headstock, here with Ultra-Lite right into the mix. The mid control istuners. Like a fresh engine in a Cadillac, With the pickups blended, I dialed attractively voiced—not too honky orthe MJ-5 looks clean, sophisticated, and in a great slap sound with a bit bass and harsh—and a boost here helped the MJ-5totally classic. treble boost. The neck pickup alone cut through the band. delivers a familiar fatness that J-styleTraces of Familiar Faces aficionados will appreciate. Meanwhile, The 5th string produces satisfyingThe MJ-5’s 12\" radius and 1 3/4\" nut Jaco disciples should get the vibe they lows. Chromatic fretboard walks soundpermit hindrance-free movement. The seek by soloing the bridge with some clear, with each pitch easily distinguished.bass maintains a comfortable playing bass and mid boost. Most important, Like any great J-style bass, the MJ-5orientation, but those who like to wear you can obtain clear, articulate sounds performed well in a wide range of styles, with the preamp set flat. The pickups from R&B tunes like “Respect” to zydeco jams to a spontaneous rendition of Van Halen’s “Panama.” The Verdict G&L’s MJ-5 has the essentials most bassists desire: comfort, flexibility, and familiarity. Onstage or in the studio, the hum- cancelling electronics sound pleasing and are easy to operate. It should be mentioned that this is the only U.S.-built bass in this 5-string roundup, and the instrument has plenty to offer for a hair under $1,500. Whether you’re a 4-string player ready expand to 5-string, or simply seeking a new road-ready workhorse, the MJ-5 should definitely be on your audition list. Quartersawn CLICK HERE TO WATCH A DEMO of this maple neck with bass at premierguitar.com/sep2015 rosewood fretboard G&L MJ-5 $1,462 street glguitars.com Tones Playability Build/Design Value PROS Flexible, familiar sounds. Cozy neck. Classic looks. CONS Hum-canceling pickups might not please vintage connoisseurs.premierguitar.com PREMIER GUITAR SEPTEMBER 2015 125
SPECTORLegend5 Neck-ThruStuart Spector has been crafting high-end basses since the dig the attractive figuring and satiny feel. (The Legend Neck- ’70s. He diversified his product line in the ’80s with an Thru is also offered in a faded blue-gloss finish over a figured- affordable Korean-made series, whose latest offering is maple top.) Between the wings is a 3-piece maple neck stiffenedthe Legend5 Neck-Thru, a slick 5-string offering loaded with by graphite rods and topped with a rosewood fretboard.Aguilar electronics. While Spector has historically relied on his own and EMG for electronics, he chose to equip the Legend5 Neck-Thru withGhost in the Shell DCB humbuckers and an OBP-2 preamp from Aguilar.The Legend5 Neck-Thru’s boutique looks belie its $1,400 pricetag. The maple body wings of our tester were topped with a Playing the instrument immediately reveals the quality ofbubinga veneer. Players who prefer natural looks will most likely Spector’s craftsmanship. Whether playing seated or strapped, the body balances almost perfectly. Players accustomed to a Aguilar DCB humbuckersBubinga top126 PREMIER GUITAR SEPTEMBER 2015 Neck-through construction premierguitar.com
The Legend5 Neck-Thru was ensemble. Soloing the neck pickup andclearly designed with hand boosting the bass EQ creates a buh-likecomfort and speed in mind. tone that bassists have come to know so well. (If you leave your trusty Ptraditional 34\"-scale length may find the deeper so I could better reach the top of at home, this configuration gets very35\"-scale odd at first, but the extra inch the fretboard. close to replicating that sound.) Finally,greatly benefits the 5th string’s response. the soloed bridge pickup produces a Brutal Legend mid-heavy snarl that lent my bass lines Shifting your fretting hand into higher Sonically, the Spector is a growler. The presence and power.positions, you feel the neck gradually combination of Aguilar electronics andtaper to a flatter profile. Despite a slight the long scale deliver quick attack with The Spector works great live. Ibump in the neck around the 6th fret, strong articulation. The lower notes needed a little time to adjust to thethe shape invites quick position shifts of the 5th string speak with punch long scale, but occasional glances at mywith minimum effort. With its 1.75\" and definition, and the first five frets left hand eventually established musclenut width and .66\" string spacing at the deliver impressive clarity. Engaging both memory. The preamp solved any sonicbridge, the Legend Neck-Thru was clearly pickups produces a sound that reminds issues, from boosting the bass EQ fordesigned with hand comfort and speed in me of a bass voice in an a cappella increased fundamentals, to pushing themind. I only wish the cutaways were even treble to cut through the band. The switch from bridge-pickup aggression for tunes like “Uptown Funk” to neck- pickup punch for Motown-influenced jams was seamless. And after the set, I felt no fatigue due to the instrument’s long scale. The Verdict The latest addition to the Legend series offers neck-thru construction for the cash-conscious bassist while adding a new voice to the Spector family. I found the Legend5 Neck-Thru to be an attractive 5-string axe that’s highly adaptable to many musical situations. Graphite-reinforced CLICK HERE TO WATCH A DEMO of this maple neck bass at premierguitar.com/sep2015 Spector Legend5 Neck-Thru $1,399 street spectorbass.com Tones Playability Build/Design Value PROS Versatility. Attractive natural looks. Solid 5th string. CONS The scale length may take some getting used to.premierguitar.com PREMIER GUITAR SEPTEMBER 2015 127
MTD KINGSTONSaratoga DeluxeMichael Tobias’s handcrafted offerings are the instru- Kingly Build ments of choice for a number of notable players, The Kingston Saratoga Deluxe’s contoured J-style body is while his overseas-built Kingston series provides bass- constructed of basswood and capped with a nice piece of flamedists a taste of his innovations at a more comfortable price point. maple. The deep cherry burst finish of our test bass adds fire toBringing hints of MTD’s classic characteristics, the Kingston the flamed top and also colors the matching headstock.Saratoga Deluxe—the luthier’s most recent offering—spruces upthe style and sound of the original Kingston Saratoga, yet still The maple neck has an asymmetrical neck profile—acomes to the party at under a grand. hallmark of MTD design since the late ’70s—so it was no surprise to see (and feel) the comfy, fast shape on the Saratoga Hum-cancelling J-style pickups Active/passive switch 3-band EQ128 PREMIER GUITAR SEPTEMBER 2015 premierguitar.com
This axe’s specialties are produced excellent scooped, supportiveglassy highs, present mids, sounds that were well suited to funk and R&B. The bass delivered punchy, and deep lows. zing-infused thumping and popping on “Never Too Much” by Luther VandrossDeluxe. A rosewood fretboard fronted 34\" scale and asymmetrical neck make and Sly and the Family Stone’s “Thankthe neck of our tester, but those seeking for a great combo by offering smooth You (Falettinme Be Mice Elf Again).”brighter sounds can opt for a maple transitions to all areas of the fretboard.fretboard or fretless ebony fingerboard. Unplugged, the notes of the open 5th The Saratoga Deluxe’s bridge-pickupAnother MTD staple is the Buzz Feiten string and its first four frets had plenty of tones fit best within an ensemble thattuning system, intended to provide better low end, but they did leave a little to be consisted of a keyboardist, guitarist, andintonation and tuning stability. MTD desired in terms of definition. drummer. The sound from blending bothalso outfits the Saratoga Deluxe with a pickups equally with the EQ flat tendedquick-release bridge for on-the-fly string After a quick re-soldering of one of to get a little lost in the mix, but a simplechanges and optimum transference of the mid-control wires that had a loose boost in the mids and lows with thisstring vibrations. connection, the Kingston Saratoga Deluxe configuration maintained the Kingston was ready to display its tones. With Saratoga Deluxe’s presence in the band. A pair of passive J-style hum-canceling everything set flat, the instrument hinted And while I would have liked a bit morepickups feed the signal to a 3-band, at MTD timbres—lots of glass and plenty clarity from the 5th string’s lower notes,9V preamp. A switch lets you choose of ass. The single-coil pickups convey it did provide a big low-end that filledbetween active or passive modes, and also more of a modern vibe than a classic-J the room nicely.offers a way to keep playing if the battery voice, and the 3-band preamp is geared for The Verdictdies unexpectedly. In passive mode, a contemporary tones. This axe’s specialties The Kingston Saratoga Deluxe takestone knob stacked within the volume dial are glassy highs, present mids, and deep samples from MTD’s handcraftedprovides subtle shaping control. lows. Though the Kingston Saratoga instruments and works them into a budget- Deluxe’s electronics package could be friendly package. Its playability is pleasing,The MTD Touch initially perceived as a slapper’s delight, I and its sounds cover a variety of styles fromStrapped up, the Kingston Saratoga was able to dial in barking, bridge-pickup modern gospel to metal. If you’re seeking aDeluxe was easy on the shoulder and tones and solid dub-style thump. taste of Michael Tobias’s designs, yet wantback, and it rested at a comfortable to save a whole lot of coin while doing so,playing angle with zero neck dive. The The characteristics displayed at home this bass is worth a good look. transferred to the stage, where the bass CLICK HERE TO WATCH A DEMO of this bass at premierguitar.com/sep2015 Matching MTD Kingston Saratoga Deluxe flame-maple $999 street headstock mtdkingston.com Tones Playability Build/Design Value PROS A comfortable, modern-sounding bass that’ll give players a satisfying sam- ple of MTD’s upper-echelon offerings. CONS Somewhat underwhelming 5th string. May not satisfy J-style purists.premierguitar.com PREMIER GUITAR SEPTEMBER 2015 129
STATE OF THE STOMPThe Golden Age of EchoBY BENJAMIN HINZW hen we look around our distorts as it fades out. There are also few things very well, and audiences will musical lives, we can have many interesting harmonic changes and probably never notice the things they a tendency to be grouchy accents as the delay fades out or … oh fall short on. Having plenty of optionsand see only the worst. (Auto-Tune, my … you turned the feedback way can also provide a feel for the exact styleanyone?) We get overwhelmed with up… it’s not stopping… it’s getting of delay you connect with. It may turncontent, both the good and the really louder! IT’S YELLING AT ME! And out you really need a tape delay from thebad. But from my perspective, things when I turn the delay knob it goes ’60s. In that case, flip your modeler andhave changed for the better since I started BBBBWWWWIIINNNNGGGGGGGG! … wait, no! You don’t want to be withoutplaying 15 years ago, and we are certainly a delay pedal for even one day! Youin the golden age of gear. We call that self-oscillation, and I love should get that tape delay, and then flip it. It’s a trick that (in my experience) your modeler. Someone will be glad to From recording software to effects really only sounds right with an actual get a discount on an essential effect.pedals, there is so much out there to analog delay. Digital units have a hardinspire our creative work and make it time simulating an analog machine going I have a lot of delay pedals, and twoeasier. But since this is “State of the haywire. This is where the “75 percent” of them are big digital jobs. (I especiallyStomp,” let’s focus for a moment on one figure comes in. Digital delays sound like having the big guns onstage.) Presetsof my favorite pieces of gear: the delay very convincing at “normal” settings, but are a gift of modern science, one I utilizepedal. There was once a time when your usually fall a little short when pushed at every show. I also keep a big analogonly choice for echo was to manipulate into freak-out territory. Tape simulators delay and a few more esoteric echoa huge recording studio rig. But in the also fall into the category of “great for the effects around for the “special something”magical year 2015, you can choose to basics, but missing some magic.” each one can offer in the studio. Andwork with anything from a great big tape if a particular analog artifact becomesdelay to a tiny digital delay. Getting Loopy imperative, I make room for the pedal on Nowadays we also have access to delays the big board. This luxury wasn’t possible For well under $300 you can grab that take it a step further with a trick until very recently. We truly live in thea digital unit that will cover a solid 75 called looping. When that technology golden age of echo.percent of delay sounds. These fantastic became fully featured and widelylittle computers with footswitches promise available in the mid to late ’90s, a new BENJAMIN HINZ is the Supremeto give you all the classic echoes, and they era of technique, if not composition, was Commander at Dwarfcraftlargely deliver. From tape simulation to born. If you find loopers boring, you may Devices and Devi Ever FX. Inbucket-brigade to digital to stereo, these be listening to the wrong players. For addition to experimentingboxes cover lots of ground. Earlier digital example, Nick Reinhart of Tera Melos with audio, he really enjoyssystems had artifacts and idiosyncrasies, has intense looper techniques that create Blade Runner and Tom Petty’sbut most modern digital delays have sounds I assumed were computer effects Wildflowers.squeaky-clean echoes and a few fun tricks or clever editing—until I saw them(if you’re into that kind of thing). happening in front of me.Bring on the Buckets So today, in the thick of the boutiqueLet’s dial our virtual time machine back a pedal boom, and as digital technologybit to the analog-delay days, particularly reaches heights heretofore untold, webucket-brigade circuits. From what I have our pick of almost every style ofunderstand, there are hundreds of tiny delay. And most of them are availablepeople in the pedal. The first person brand new from the factory/workshop/grabs your sound, puts it in a bucket and basement, depending on your taste.holds on to it for a moment, and thenpasses it to the next person. The “delay” The Great Delay Questsetting determines how many tiny people My advice to anyone interested in startingget in line to grab the sound. the Delay Quest (which will probably never end, because it’s awesome) is to get Among my contemporaries, bucket- one of the big modelers or multi-delays. Ibrigade delays provide some of the know some will call that recommendationabsolute favorite echoes. With bucket- blasphemy, but those delays all do abrigade chips, the delayed signal gradually130 PREMIER GUITAR SEPTEMBER 2015 premierguitar.com
PORTRAITSIN TONE Not just another version of the Fly Rig 5® simply bearing his name, the Richie Kotzen RK5 Signature Fly Rig was a close, year-long collaborative effort. Meticulous about every facet of his playing, singing, songwriting and tone, Richie’s attention to the details of this pedal was nothing less. What distinguishes the RK5 from the Fly Rig 5 is Richie’s Signature OMG overdrive. Tuned specifically to Richie’s ear, the OMG section brings in the organic Class A-style distortion, but with a tighter, snappier response. It is designed to articulate every nuance of Richie’s dizzying playing style for all modes and moods, from clean to aggressive and from rhythmic chords to infinite sustain when it’s solo time. The RK5 offers the same other essential features as the Fly Rig 5: the all- analog SansAmp™, reverb, delay with tap tempo, and a powerful boost. For fly gigs across the globe, jamming at the local hang, and running off to last minute sessions, just pop your RK5 into your guitar case and head for the door. photo by greg vorobiovThe Richie Kotzen OMG Signature Actual size: 11.5”l x 2.5”w x 1.25”h • Weight: 18.6 oz.Overdrive is also available as astand-alone pedal. DESIGNED AND MANUFACTURED IN THE U.S.A. WWW.TECH21NYC.COM
MOD GARAGE Les Paul Master Wiring #1 BY DIRK WACKER This month we’re going to explore This arrangement works great, and switch to toggle between two different the first of three “Les Paul master almost every other guitar company tone caps: 0.022 µF paper-in-oil cap for wirings,” which involve rearrang- copied it. But the dual-volume/dual-tone the bridge pickup, and a “lighter” 0.01 ing the control layout. As you know, design is now almost 60 years old, and µF Mylar cap for the neck pickup. (He when we talk about Les Paul mods, we’re many of today’s players prefer different was totally happy with this configuration, usually referring to a two-humbucker configurations. We regularly perform but of course, you can use the two configuration with individual master such mods in our shop. We refer to some unpopulated holes however you like.) volume and master tone controls for each of the most common arrangements as pickup. That means you can apply these “master wirings” because one of their Let’s look at two versions of master mods to virtually any guitar with similar main goals is to create a master-volume wiring #1: one based on modern Gibson configurations, including SGs, ES-335s, function for both pickups, removing the tone-control wiring, and one based on and countless other models from many need for at least one volume control and vintage ’50s-style wiring. Fig. 1 shows the manufacturers. freeing up one or two pot positions for modern option. Here, the tone control other uses, such as kill switches, phase- is linked to the volume pot’s third lug The Les Paul design dates back to the reverse switches, rotary switches, blend via the tone capacitor. This is the usual mid ’50s and has changed only slightly pots, and the like. arrangement on most contemporary guitars. since then. Gibson has experimented with various tone caps, tone-pot wirings, Here are three common master wirings: Fig. 2 depicts the ’50s-style option. and pot resistances and tapers. Yet you • Master volume + master tone Here the tone capacitor connects to the still encounter the original ’50s wiring • Master volume + two tone controls volume pot’s middle lug. Some players concept in today’s Les Pauls. Gibson • Master tone + two volume controls prefer this arrangement because it never abandoned the notion of We’ll consider all three options, preserves more high end when you roll separate volume and tone controls starting this month with the most radical down the volume pot. for each pickup. one: master volume + master tone. “Master wiring #1” allows you to That’s it! Soon we’ll look at the other The basic idea: Players would dial control the entire guitar with only two master wirings, but next month I’ll in a lead tone from the bridge pickup pots, much like in a Telecaster circuit. show you a very special Telecaster circuit (with, say, the volume at 8 and the tone This arrangement lets you remove two designed by the great Bill Lawrence, so stay control fully open), and then switch to a pots, leaving the holes unpopulated, or tuned. Until then ... keep on modding! softer neck-pickup rhythm tone (perhaps using them for alternative functions. with the volume at 5 and tone backed We recently modded a customer’s SG DIRK WACKER lives in Germany down to 6). The 3-way toggle switch can this way. He wanted a kill switch in one and has been a guitar addict since change quickly from lead to rhythm and of the now-vacant holes, plus a second age 5. He’s also a hardcore DIY-er back. It’s like having two tone presets, for guitars, amps, and stompboxes plus both pickups in parallel in the and runs a website on the subject middle position. (singlecoil.com). When not working at his guitar workbench, he plays country, rockabilly, surf, and flamenco. Contact him at [email protected].. Fig. 1 Fig. 2 Images courtesy of singlecoil.com132 PREMIER GUITAR SEPTEMBER 2015 premierguitar.com
It’s not about whatyou play, or how.But why.”We are in the studio right now recording the new album, using Heaven 57® pickups.They sound amazing. We’ve also, since long, been using Smooth Operators playing liveand both sets of pickup are really great. Quality…”Quintessence & Alpha of GhostWe never claimed that our handmade pickups sound better. Our artists www.lundgrenpickups.comand customers certainly did and we trust that they know why. Since American distributors: Conklin guitars, The Axe Palacemaking the first Lundgren pickups in 1990 our ambition has alwaysbeen to find the short cut between your heart and ears. If you’re stillsearching, trust your heart; trust our pickups.
ASK AMP MAN Troubleshooting a Peavey Classic 50 BY JEFF BOBER Amps from Q: Jeff, simply have you remove one tube at a Peavey’s Classic I recently acquired an older Peavey Classic 50 that functions well time. But for this particular amp, you series are great (except for its broken spring reverb), though it occasionally pops for need to acquire one known good 12AX7for straight-ahead no apparent reason. At first I thought this only occurred when the amp and one EL84. That’s because Peavey was on but idle, but it’s done it a few times while I was playing it. It’s wired some of the tube filaments in series rock ’n’ roll. never done it while on standby. in these amplifiers, so removing one tube can prevent the filament in another from I play through five pedals (TC’s Flashback Mini and HOF Mini, and lighting. (Kind of like an old-fashioned EHX’s Soul Preacher, Bad Stone, and Soul Food, in that order, and all string of Christmas lights—one goes, and powered by a Visual Sound 1 Spot). But the popping seems to occur they all go.) To see if a particular tube is whether I have the pedals on or off, though I haven’t tested every causing the noise, you need to remove it possible combination. The popping doesn’t seem to be triggered and replace it with a known good one. when I move around, like when you have a bad cable—it just happens randomly. I’m using the tubes that came in the amp. I believe they’re One more point regarding safety: On all Groove Tubes. I’m disabled and on a limited fixed income, and I live most amps it’s okay to perform tube 100 miles from any reputable amp tech. Is there a simple and cheap substitutions with the amp on standby, solution to this problem? but on these particular amps you should Michael turn both the standby and power switches off prior to swapping tubes. A: Hello Michael, even when the effect is disengaged. One That’s because there’s always high voltage Peavey’s Classic Series by one, remove each pedal from the applied to the output tubes’ plates, even represents some of the signal chain and see if this alleviates the when the amp is on standby. (Yet another best amps the company problem. If you find the culprit, great. If anomaly from the guys at Peavey.) has produced, at least for straight- not, we need to try them without the AC ahead rock ’n’ roll. Sorry you’re having adaptor. This is easy on the EHX units, Start with the preamp tube closest to problems with yours, but let’s see if we which can be battery powered. Remove the input jack, removing it and replacing it can make it better by following some the TC units from the signal chain for with the known good substitute. If the amp routine troubleshooting steps. These are now, as they don’t accept batteries. Load no longer pops, you’ve found the cause. If all pretty generic and can be applied to up the EHX units with 9V batteries not, replace the original and move to the most guitar rigs. (I know you’re on a (the inexpensive “heavy duty” ones work next tube down the line until you’ve gone fixed income, but the second half of this fine for this test) and see if the problem through all three preamp tubes. If you’ve had troubleshooting exercise requires you to is resolved. If so, great—now we know no success, move on to the output tubes. obtain two substitute tubes, as I’ll explain it’s the power supply. If not, we need to Remove them one at a time, substituting the later. But first, let’s see how the first half move on to the amplifier. known good EL84. Hopefully one of these of the procedure goes.) will be the cause of the noise. You mention that you have five pedals First, make sure the reverb control is in your setup, and that the popping set to minimum. You mentioned that the If these steps don’t expose the cause occurs whether the pedals are on or off. internal reverb doesn’t work, but there’s of the noise, I’m afraid I’ve exhausted The problem here is that if the pedals are a chance the reverb recovery circuit ideas for repairing it yourself without not wired for true bypass, just because could be making noise, especially if its a tech’s help. But hopefully that won’t they’re off doesn’t mean they’re out of the input stage is unloaded due to an open be the case, and we’ll have removed the signal path. Many pedals have a buffer transducer in the reverb tank output. cacophony from your Classic. circuit that the guitar signal runs through Now we’ll rule out each tube as the JEFF BOBER is one of the noise source. On most amplifiers I’d godfathers of the low-wattage amp revolution. He co-founded and was WARNING: originally the principal designer All tube amplifiers contain lethal voltages. The most dangerous voltages are stored in for Budda Amplification, though electrolytic capacitors, even after the amp has been unplugged from the wall. Before he launched EAST Amplification you touch anything inside the amp chassis, it’s imperative that these capacitors are (eastamplification.com) in 2010. discharged. If you are unsure of this procedure, consult your local amp tech. You can catch his podcasts at ampsandaxescast.com or email him at [email protected] PREMIER GUITAR SEPTEMBER 2015 premierguitar.com
TOOLS FOR THE TASKMulti-Guitar StandsAt home, onstage, or in the studio, you need to have your favorites at the ready. We’ve corralled some options thatsecurely group your instruments for quick changes, but don’t demand much stage or van real estate.1 1 3 2 5STAGG MUSICSG-A008/5 BK 4This A-frame stand supports up to five instruments in anycombination, folds for easy transport and storage, and isextremely strong thanks to its square tubing.$81 streetstaggmusic.com2GRUNDORFG-GSCThis plush-lined case-style stand is compact and easy totransport, yet holds up to six guitars when opened. It featuresa black-vinyl exterior, leather straps with snaps to secureeach instrument, and adjustable spacers for a custom fit.$249 streetgrundorf.com3HERCULESGS432BThis stand features a trio of “Auto Grip System” yokes,folding backrests, and specially formulated foam at allcontact points. Optional carry bag available for easytransport.$69 streetherculesstands.com4D&A GUITAR GEARHydraThis ultra-stable stand with a lifetime guarantee featuresthe patented “Headlock” gravity activated hanger systemand a 6-point-stance base that can maintain stability atup to 30 degrees of tilt.$199 streetheydna.com5HAMILTON STANDSKB5500GThis rack features five rubber “hands” acting as neckrests, which can be moved to accommodate instrumentsof varying depths. The cradle rails can be narrowed andthe neck rest lowered to safely stow smaller instruments.$109 streethamiltonstands.com136 PREMIER GUITAR SEPTEMBER 2015 premierguitar.com
6 6 7 FENDER 8 7-Guitar Case Stand 10 This seven-axe stand looks like a traditional case, but 9 transforms into a stage-worthy rack for up to seven electric guitars. It’s available with a vinyl or tweedpremierguitar.com exterior and boasts a plush interior in either black or red. $319 street fender.com 7 GATOR CASES GFW-GTR-3000 This three-instrument stand accommodates acoustic and electric guitars. It features heavy-duty steel construction, rubber padding, durable neck restraints, and removable red safety trim on its feet. $29 street gatorcases.com 8 KÖNIG & MEYER Guardian 5 This stand holds five instruments securely while saving space and providing an easy overview of your axes. Sub- divided support arms with integrated pick holders leave the strings untouched. $239 street km-america.com 9 ON-STAGE STANDS GS7561 The wide, stable bass of this foldable stand can support five instruments in single file, supported by a padded yoke and base. $57 street on-stage.com 10 ULTIMATE SUPPORT JS-HG103 This triple hanging-style stand features heavy-duty powder-coated tubing, protective rubber at all contact points, and safety gates to secure headstocks. $30 street ultimatesupport.com PREMIER GUITAR SEPTEMBER 2015 137
REVIEWS Quick Hits WAY HUGE JGS GUITARS Saffron Squeeze Mk II T3 Africaster By Charles Saufley By Shawn Hammond It seems everything from Jeorge Built by luthier John Soderlund in Tripp’s Way Huge workbench Pietermaritzburg, South Africa, the T3 has been a treat lately. His Africaster features an ash body with a top new Saffron Squeeze Mk II made of a hardwood called red bushwillow. resurrects one of his lesser- The fretboard and body binding are Gabon known classics, a compressor ebony, the bridge is a TonePros Tune-o-matic- based in turn on the much- style, and electronics consist of a set of Kent coveted Ross Compressor. Like Armstrong Texas Vintage Strat pickups and a its inspiration, the SS Mk I was typical Strat control complement. deliciously smooth, but like most stompbox compressors, Although I was surprised at the T3’s it could be noisy. This newest not-quite-tight pots and rough fret evolution tames noise with a ends and nut corners, I was highly effective tone knob. I pleased to find that—as you’d love compressors in less-than-subtle settings (super-squashed expect—the Africaster avails 12 strings and ’60s fuzz are specialties) so an added knob to a wide variety of quality dial out post-comp high-end noise is a godsend. tones great for everything from country (including a The tone control isn’t the only new feature. The attack very Tele-like spunkiness in control has great range. And the new input gain control the bridge position) to funk, interacts awesomely with the sustain and volume controls R&B, and a schmorgasbord (which are already interactive). The result is smooth, quiet of rock sounds—including compression at subdued settings (it’s a fantastic clean boost wonderfully corpulent tones and low-gain sustainer) and the ability to precisely sculpt from the neck pickup high-gain sounds. (It made unruly silicon Fuzz Face and when paired with a nice Fuzzrite clones sound huge and smooth.) The pedal is a joy fuzz pedal. to work with, and its price is more than fair. TEST GEAR Jaguar HC50 TEST GEAR Fender Jaguar, Fender Telecaster Custom, silverface and Goodsell Valpreaux 21 Fender Bassman, Xits X10 amps, various pedals $149 street, jimdunlop.com PROS Pragmatically $2,549 street, jgsguitars.com PROS Flexible, quality tonal Tones interactive sustain, volume, Tones palette. Unique aesthetics. Ease of Use and gain controls. Effective Playability Build/Design tone control. Great with fuzz Build/Design CONS Disappointing fretwork Value and overdrive. Quiet at subtle Value settings. and setup. Pricy. CONS Small knobs not the easiest to use on dark stages. CLICK HERE TO HEAR this pedal at premierguitar.com/sep2015 CLICK HERE TO HEAR this guitar at premierguitar.com/sep2015138 PREMIER GUITAR SEPTEMBER 2015 premierguitar.com
KLIQ HUNGRY ROBOTUberTuner StarliteBy Rich Osweiler By Jason ShadrickThere are some The number of pedals that letexcellent clip-on guitarists emulate, twist, andtuners out there probe the sounds of space andtoday. But even time can be staggering. Butsome of the better Iowa-based Hungry Robotones can be hard cuts through the herd withto read and a bit the Starlite, a modulated-slow. KLIQ Music reverb stomp with a twist:Gear built their UberTuner with an emphasis on tuning fast tap tempo. Within its sturdywithout having to squint. enclosure, the Starlite features controls for mix, mod, and At first glance, the UberTuner appears like many others in decay, along with an inputits class: It’s black, it clips to your headstock, and the view- for an external tap tempoing angle of the screen is adjustable. Turn it on, however, switch—essential for crowdedand the large, color display become as bright and liquid as pedalboards.your prized lava lamp. The flat/sharp and note indicators are,yes, uber-easy to read. Three different adjustment points also Ambient flavors andmeans you can position the screen to suit whatever stringed textures immediately cameinstrument you have in hand. to mind when I plugged in. Once I’d dialed in a moderate amount of modulation and decay, I found the mix control The UberTuner is +/- 1 cent accurate (I cross checked most intriguing. It was a total blast to go from strummingwith both a Korg Pitchblack Pro rack tuner and BOSS a few Andy Summers riffs with hints of chorus-filled reverbTU-2.) It also has five different tuning modes for chromatic, to maxing everything out for a tidal wave of madly self-guitar, bass, violin, and uke, and adjustable pitch calibration oscillating ‘verb. One downside: There’s a fair amount offrom 430-450 Hz. I’ve owned a ton of clip-on tuners and LFO noise at higher mod settings, though I was able tothe UberTuner ranks up there in the top of the class in terms control it with a tempered touch. If soundscapes are your bagof speed, accuracy, and convenience. At just over 20 bucks, and you want a responsive, tempo-based reverb, Starlite maywhat’s not to like? answer your atmospheric dreams. TEST GEAR Fender Stratocaster, Fender Deluxe ReverbTEST GEAR Dell’Arte Dark Eyes Selmer-style,Fender Precision$29 street, kliqmusicgear.com PROS Brilliant display. $197 street, PROS Wonderfully rich and hungryrobotpedals.comEase of Use Excellent display adjustability. Tones ambient tones. External tap-Build/Design Ease of Use tempo jack.Value CONS Control buttons are Build/Design Value CONS A bit noisy. uber tiny. Know them before venturing onto a dark stage. CLICK HERE TO HEAR this pedal at premierguitar.com/sep2015premierguitar.com PREMIER GUITAR SEPTEMBER 2015 139
REVIEWS PRS S2 Vela By Joe Charupakorn Sexy Vela While it’s accessibly priced (at least relative to most PRS axes), W hile they’re treasured or coveted by countless the S2 line is made at PRS’s Stevensville, Maryland factory. players, PRS guitars can be polarizing, particularly While the Vela doesn’t boast one of the flashy “10 tops” that to those who align with the Leo Fender School define PRS for many, it exudes the quality and craft that mark of solidbody design. But the recently released S2 Vela and its the company’s other USA-built models. The McCarty tobacco curvaceous offset body might be the battering ram that breaks sunburst finish on our test guitar is striking yet understated. The down such notions. It’s more than just a new body shape for asymmetrical mahogany body, with its bevel cut and stylized PRS—the Vela also boasts a host of new sounds. With its pickguard, lends the Vela a hip “Fender offset meets Gibson cool combination of coil-tap humbucker and single-coil neck SG” profile that still looks quintessentially PRS. pickup, it has the potential to satisfy many players across myriad styles. Coil-tap PRS Starla humbucker PRS Type-D single-coilPlate-style bridge 10\" fretboard radius140 PREMIER GUITAR SEPTEMBER 2015 premierguitar.com
Stylistic departures aside, many Vela Princeton Reverb (along with a Radial humbucker rang clearly. Unisons andspecs are classically Paul Reed Smith. Tonebone Classic and a ProCo Rat pedals double stops that might have soundedIt’s built around a 25\" scale, a “pattern for a little dirt.) mushy on some of my other humbucker-regular” profile mahogany set neck, and equipped guitars stayed dagger-sharp.a rosewood fretboard with a 10\" radius. The single-coil Type-D pickup isYou can choose dot or bird inlays and S2 a new design for PRS. PRS’s Judith The ability to split the bridge pickuplocking tuners. The pickups are a bridge Schaefer says it was conceived as “sort adds further tone possibilities. With thePRS Starla humbucker (which can be coil of a cross between a ’54 Stratocaster and coil tap engaged, the Starla humbuckertapped via a push/pull pot on the tone a DeArmond,” adding that “it took a sounds open and robust. Volumecontrol) and a DeArmond-inspired PRS month or so to get that pickup right.” discrepancies between the split pickupType-D single-coil in the neck position. It seems to me that they got it very and full-on humbucker aren’t drastic, right. It has a nice vintage vibe and an and the subtle differences enable cool One surprising twist is the Vela’s exceptionally lively and dynamic feel. contrasts between song sections. I admitT-style, top-loading aluminum plate Its inherent snappiness makes double- it was tricky at first to pull up the tonebridge. The strings pass over two brass stops and Chili Peppers-style funky riffs control knob to split the coil whilebarrel saddles. Each saddle holds three sound sharp and complex with clean or performing, but I soon got the hang ofstrings, with intonation adjustable via dirty tones. The Type D’s vintage-output it. The relative levels of the coil-tappedfour spring-and-post assemblies. While design provides great note-to-note detail bridge and neck single-coil are also fairlyPaul Reed Smith used a similar bridge on and separation in chords. Even when I balanced, enhancing the expressive rangesome of his early, “pre-factory” guitars (he rolled the tone control back to a point of the pickup set.holds a 1976 patent on the design), the that would sound like mud on other The VerdictVela is the first production PRS guitar to guitars, the Type-D remained nuanced, While I found the Vela best suited forfeature this bridge. clear, and fantastically touch-sensitive. roots and alternative rock, it’s versatileViva la Vela Playing fingerpicked blues leads with this enough to cover nearly any style. ItRight out of the gig bag the Vela’s factory much expressive range was a revelation. displays the craftsmanship and attentionsetup was fantastic. Intonation was to detail typical of PRS guitars that sellspot-on, and the medium/low action Switching to the bridge pickup and for far more. Best of all, it’s an incrediblyfelt comfortable and fast. The real fun dialing in low-to-medium gain generates responsive instrument. If you’vebegan when I plugged into a silverface killer rootsy tones that beg for grinding previously balked at trying a PRS because Stones and Tom Petty riffage. Even you didn’t dig the styling, this beautiful S2 locking tuners with the Rat pedal and higher gain, the machine—and its beautiful tones—might flip that notion on its head. CLICK HERE TO WATCH A DEMO of this guitar at premierguitar.com/sep2015 “Pattern regular” Paul Reed Smith S2 Vela neck profile $1,279 street prsguitars.com Tones Playability Build/Design Value PROS Incredible bang for the buck. Impeccably built. Curvy good looks. Beautifully dynamic and sensitive. CONS None.premierguitar.com PREMIER GUITAR SEPTEMBER 2015 141
XITS REVIEWS10 Baltic birchBy Charles Saufley ply cabinetTwo EL84s and a Celestion Alnico Blue speaker. For most of the guitar-speaking universe,that adds up to something a lot like aVox AC15. But it doesn’t take muchtime with the XITS 10 to hear just howfar it departs from the old Vox recipe. To be certain, some things about theXITS 10 do recall the AC15. It’s chimyand bright, and it can be explosivelypotent when pushed. Yet the XITS alsoinhabits a unique sonic universe. It’sbold, bass-rich, and sweetly sparkling,and at extreme settings it’s a thunderouslittle monster. For rock players wholove straight-line Brit crunch—andless dogmatically constrained playerswho like their bass massive and treblesizzling—the XITS 10 is an intriguingpartner in chime.Devilishy Detailed Celestion AlnicoIf you savor every facet of the amp- Blue speakerconstruction craft, the XITS 10 is afeast for the senses. Its exterior is a turned bespoke furniture builder. Look closer, though, and itdelightful deviation from tweed and becomes just as easy to imagine him as a stern Teutonic labblack-vinyl norms. The grey linen- technician. The 1/2\" Baltic birch plywood cabinet is flawlesslypatterned vinyl seems to be a nod to assembled and reinforced by finished hardwood trim. Thethe original fawn AC15s (and a few chassis hood, made from the same finished aluminum as the1950s blazers I’ve coveted). The woolen control plate, reveals a similar fixation with detail. The tubesdot-pattern grille cloth looks and feels a protrude from precisely machined ports. Nearby are two 1/4\"little like a throw rug or sweater cloth— speaker jacks. (The onboard speaker uses one.) There’s also aan inspired bit of design irreverence that sturdy 8-/16-ohm switch.works unexpectedly well. Even the speaker baffle and alloy preamp tube enclosuresappear color-coordinated, adding cool highlights thatcomplement the deep blue of the Celestion Alnico Blue and thesky-blue highlights in the XITS logo. (We realize these toucheshave no bearing on how the XITS sounds, but they’re emblematicof the craft and care put into this thing—plus they look bitchin’!) With so many playful design details, it’s easy to imagineXITS mastermind Michael Koski as a groovy design professorpremierguitar.com PREMIER GUITAR SEPTEMBER 2015 143
Master volume Sparkle switch Preamp gain control Passive bass and treble controlsBright as the Blue Sky Above the EL84’s characteristic fizziness to The VerdictOne thing the XITS 10 is not, however, positively sizzling levels. Depending on your The XITS 10 is no AC15 clone. But itsis a blank slate. That’s not to say it doesn’t guitar, pickups, and approach, this may unique approach to the potential of EL84ssound great clean or work well with be a wonderful thing. A Hi-Gain pickup- and a Celestion Alnico Blue make thispedals—it does. But its cleanest tones equipped Rickenbacker 330 (which is very handsome box of bass and brightness anstill tend to be hot in the highs and fat midrange-rich) sounded intoxicatingly intriguing alternative for players needingin the bass. Using the AC15 as a baseline panoramic. Even better was a Rickenbacker to cover the extreme ends of the frequencycomparison, you’ll find the XITS capable 12-string with toaster pickups. With heavy spectrum at club volumes.of a far hotter high end and much more compression, the “sparkle” switch on,bass. In fact, the considerable—if not and a treble boost (perverse, we know). HEAR this amp atdownright corpulent—low-end is probably The XITS delivered dead-on facsimiles of premierguitar.com/sep2015be the first thing that will strike you. It’s McGuinn’s and Harrison’s hyper-squashedhuge for an amp of this size, and it can studio 12-string tones. Guitars with dark XITS 10sometimes overpower the midrange tones humbuckers also benefitted enormouslythat many folks seek from EL84 amps, from the XITS’ sonic profile. A mid-’60s $2,900 streeteven with the bass control near minimum. Gibson Trini Lopez was a natural fit for xits-sound.com the amp—the burnished humbucker tones This low-end enormity is no bad collaborated with the XITS’ brightness and Tonesthing once you get acquainted. It sounds bottom end to achieve a kind of equilibrium Ease of Usecolossal with primitive, buzzing fuzzes from which you could still access the amp’s Build/Design(which tend to be pretty midrange- delightfully lacerating high end.heavy), and it lends profound drama to Valuemodulation effects. The lows are similarly Stratocaster and Telecaster players maypowerful on effect-free tones. This amp find the XITS to be a tricky fit, however. PROS Insane low end for an amp ofis tailor-made for bass-less duos, or trios The bridge pickup on both ’63 and ’86where the bass player tends to venture Stratocasters could be ear-frying without this—or any—size. Great match for darkbeyond root notes. The substantial bass dialing the tone controls way back on humbuckers and midrange-centric guitars.can also color jazzy chord phrasings and both guitar and amp. Even the Strat neckslow folky arpeggios in unexpected ways, pickup could generate vicious treble. Like CONS Bass can be overpowering. Highlending weight and gut-rumbling sustain. the huge bottom end, these sometimes- piercing highs can be an asset—it’s easy to end can be even more overpowering The XITS’s other prominent aspect is see imagine a resourceful engineer using the with single-coils.its super-hot high end. With the onboard XITS’ high end to killer effect in the studio.“sparkle” switch enabled, the amp elevates144 PREMIER GUITAR SEPTEMBER 2015 premierguitar.com
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REVIEWSHUDSON ELECTRONICSBroadcast Low-cut control High and low gain modesBy Joe GoreIt’s no secret that a vast majority of overdrives That Darn Germanium Single NOS are Tube Screamer derivatives. But one cool In any case, this transistor sounds killer, exemplifying everything germanium aspect of the boutique pedal boom is the way cool about germanium. The dynamic response is phenomenal. transistorbuilders are reviving earlier circuits, often using You can dial in the most corpulent crunch sound, and then cleantransistors in lieu of the integrated chips deployed it up almost completely by backing off the guitar’s volume—is Screamer-family drives. something impossible on a Screamer-style device. Tones are thick and harmonically satisfying, with a thrilling high-end sparkle Hudson Electronics’ Broadcast is a stellar that’s also hard to summon from IC-based overdrives.example of this retro trend. Hudson says Broadcastwas inspired by the mic preamps in an old RCA There are downsides, though: Germanium can get noisy. That’sbroadcast console. But even though the pedal cool if you approach the effect with a gung-ho rock attitude, but ifhouses two transistors, (the second is silicon), it you’re obsessed about your rig’s noise floor, germ transistors mightsounds and feels a lot like the single-transistor not be for you. Also, some say that the tone of germanium variesDallas Rangemaster and its spinoffs. noticeably according to the air temperature, though I’ve never observed this. (But I live in San Francisco, where the temperature, And that’s a fine thing. Many modern players like the fog, is relatively constant. It might be more of an issueshun the Rangemaster because it was billed as a treble during seasonal migrations between Siberia and the Gobi Desert.)booster. (It was originally designed to make ’60sBritish amps sound more like Fenders, which were Control Your Crunchprohibitively expensive in the UK at the time—or so Despite its simple controls, Broadcast is exceedingly versatile.the story goes.) But the concept, as realized here by Hudson, is far Here, the low-cut control enables everything from amore than a “bright” pedal, though it performs that task superbly. Rangemaster’s lacerating edge to stout, Sabbath-style sludge. ThisThis ultra-versatile stompbox offers many colors of crunch. filter resides upstream from the distorting transistor, so it’s also a gain control of sorts—bright treble sounds are cleaner and betterMade by Hand defined, while bass-heavy ones yield thicker distortion. ThatA glance inside Broadcast’s standard BB-sized enclosure reveals means the low-cut knob interacts with the dedicated gain-triman immaculately handmade affair, with (mostly) moderncomponents tidily arranged and fastidiously soldered on perfboard—there’s no PCB. Pots and switches are mounted tothe chassis, and the board is well secured. Wire runs are neatand efficient. This is quality craftsmanship, ready for abuse.(There’s no battery option, though—you must use an adapter.I tested Broadcast with a standard 9V adapter, but accordingto Hudson, it can run at up to 24V, with greater headroom athigher voltages.) The sole retro parts are the transistors. Our test unitfeatured a coveted NOS Mullard OC71, as did an initial runof Broadcast pedals, now sold out. According to Hudson,future units will use a different NOS germanium transistor.(And according to me, that’s no biggie. Extensive testing hasconvinced me that any two properly functioning germaniumtransistors of equal gain sound nearly identical in circuits likethese, an opinion shared by many builders. Yes, the tolerancesof individual parts vary greatly. But with carefully selectedtransistors, the brand and part number don’t matter much.)premierguitar.com PREMIER GUITAR SEPTEMBER 2015 147
control. Between the two pots, you can low, expect to be disappointed by the HEAR this pedal atconjure far more timbres that the simple buzzy, underwhelming results. (This isn’t premierguitar.com/sep2015layout might suggest. Broadcast’s fault—it’s how all germanium overdrives behave.) But with an amp Hudson Electronics Broadcast The high-gain/low-gain toggle does running warm-to-hot and a nice strongexactly what you’d think. Low-gain mode signal from Broadcast, the results are $285 streetexcels at the crisp, defined guitar tones glorious. Tones have a violent, crackling hudsonelectronicsuk.comof British rock from, say, 1966 through energy hard to duplicate with latter-day1971. It’s also an effective and musical- dirt pedals. Tonessounding not-quite-clean boost. (Think Ease of Useof it as a deep-fried quasi-clean tone that The Verdict Build/Designstill works nicely for many clean parts.) If you love British rock guitar tones fromMeanwhile, high-gain mode oozes thick, before the mid-’70s, or if you’re the sort Valuefull- frequency distortion. A modern of player who likes to shape sounds viametal sound, it ain’t—there’s nothing your guitar’s volume and tone knobs, you PROS Superb ’60s-style germaniumdjun djun djun about it. It’s fat, loose, and must have a germanium overdrive—andfuzz-like. Yum. the beautifully made Broadcast is one of crunch. More tonal range than vintage the best. It equals the violent intensity units. Superbly handcrafted. There’s also a master volume control, of any primitive overdrive, but withbut it’s best used sparingly. One thing more tonal range. Its dynamic response CONS No battery option. Germaniummany players love about Screamer-type is superb. Priced at $285, Broadcast isn’toverdrives is the way they can produce the cheapest way to capture some of these can get noisy.satisfying overdrive even when the amp (or colors. But it’s a great-sounding, great-the signal feeding it) isn’t very loud. But looking pedal likely to withstand years ofwith germanium, it’s best to clobber your heavy use.amp with ample signal. If you dial in ahigh-gain pedal setting but set the master HenriksenAmplifiers.com • 303-674-0842World’s Smallest, Biggest Amp1. Can I _________ with it? 2. Is it _________ enough?verb adjective 3. Does it have _________? noun Answer: 1.Yes, 2.Yes, 3.Yes Introducing The Bud, from Henriksen Amplifiers. premierguitar.com This is the the smallest, TRULY GIGABLE guitar amplifier on the market. At 9”x9”x9”, 17 pounds and 120 watts of analog power, you won’t believe the volume and tone coming from either your electric or acoustic guitar. With a feature set that offers the versatility to cover almost any kind of gig, this is a MUST HAVE piece of gear for the working musician.148 PREMIER GUITAR SEPTEMBER 2015
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