Beruflich Dokumente
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LUCINDA WILLIAMS
APRIL 2016
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Human Touch
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TUNING UP
@PG_shawnh
ears ago I read an interview where a famous shred guitarist recalled fans complimenting him in a way
that implied he had virtuoso genes while theyd been gypped with lackluster DNA. In a nutshell, he
said, Look, Im not a genius. If you wanna be good, turn off the TV and hit the woodshed.
Today that lesson has been learned: Every hour were bombarded by GoPro videos chronicling
players winning gold, silver, and bronze in their own personal fretboard Olympics. Yay for humanity.
Still, no single person is to blame for the obsession with young, photogenic guitarists playing
fast, complex lines along to soulless backing tracks. But rather than dissect this depressing technocultural phenomenon, lets look at the instincts driving it: Even those of us who loathe fleet-fingered,
wannabe-viral feats must admit the primal ambitions and insecurities driving YouTube shred heads
lurk in our own hearts. We all want to make music thats unique and specialwe just have different
definitions, methods, and measuring approaches.
That said, the Zappa-esque route prescribed by that shredder seems to be corroborated by cognitive
scientist Scott Barry Kaufmans recent Scientific American article Why Creativity Is a Numbers
Game. He references research by UC-Davis Distinguished Professor of Psychology Dean Keith
Simonton, who points out that many of historys most revered geniusesThomas Edison and William
Shakespeare, for examplealso came up with a lot of not-so-genius stuff. But because they were
always cranking out new ideas, the likelihood of hitting a home run was higher. Edison, inventor of
the light bulb, had 1,093 patents, but only a handful were for truly remarkable things. Shakespeare,
widely regarded as the greatest English-language writer, wrote 38 plays, 154 sonnets, and reams of
poetrybut only a few plays written in his mid to late 30s are heralded today.
Beyond the apparent value of incessant woodshedding, a recent write-up in The Atlantic [The
Quantified Welp, February 25, 2016] cites a new study from Journal of Consumer Research, as well
as experiments at Duke University, that suggest the act of measuring an activity that were engaged in
with a specific goal in mind can increase how much we enjoy doing it.
Clearly we should all set quotas for hours spent playing, numbers of scales played, and BPMs clocked
on metronomes, right? After all, itll increase the fun factor and optimize our chances for success!
Lets get real. Its a no-brainer that you should adequately prepare for a gigbut that should be
more about listening and observing than numerical goals. Approaching music as a contest of statistical
probabilities isnt just ridiculous, its the root evil of a lot of crap music being doled out to us today.
Paradoxically, many of us have this mindset without realizing it. We dont think, Im going to
practice more because science and statistics prove Ill have a better chance of striking melodic gold.
Its more innocuousIf I just keep woodshedding, Ill be better. And better is good, right?
But Simontons conclusion was not that greatness comes by dint of mind-numbing repetition. As
Kaufman puts it, the secret to creative greatness appears to be doing things differentlyeven when
that means failing creative geniuses simultaneously immerse themselves in many diverse ideas and
projects. We should approach music differently from both other people and from project to project.
Further, while the Duke study found that tracking data can bolster enjoyment of activities such
as exercise (where surpassing past performance instills a sense of accomplishment), professor Jordan
Etkins main takeaway was that measuring any activity typically undertaken for pleasure tends to
undermine the inherent fun or enjoyment.
So the question becomes, is it your goal to create great music or show off? Is it important that your
music come from a place of joy? And if so, what brings you joymoving a human being, or flaunting
chops? Further, what will bring your audience joyfretboard gymnastics or exposing a place in your/
their heart that no one has seen before?
Shawn Hammond
Chief Content Officer
shawn@premierguitar.com
premierguitar.com
Dreadnought Junior
D-45
LXM
FEEDBACK LOOP
Remembering
Bowie
Dinosaur March
Hi Shawn,
Just wanted to thank you for your
editorial [Tuning Up: Death
to Asinine Clickbait! February
2016]. Usually most editorials
I read from guitar mags are
pandering pieces of marketing shit.
I just buy them to gawk at guitars
and gear I could never afford.
But your editorial has restored (a
little bit, lets not get carried away
now!) my nearly extinct hope in
journalism. There are still some
sane editors out there telling it like
it is. Looking forward to reading
more of them in the future.
Best Regards,
Pierre E. Heroux
Socialize
with Us!
Is it more
frustrating to read
@premierguitar too
slow to make it last
or too fast and have
nothing to read?
#magazinebudgeting
@WhiteRabbitObj
@premierguitar
@LutherDickinson
The world needs
more Luther.
@nomas4447
Keep those
comments coming!
Please send your suggestions,
gripes, comments, and good words
directly to info@premierguitar.com.
65
Wolfmother
Andrew Stockdale
builds the riffs and
calls the shots on new
album, Victorious.
73
Lucinda
Williams
85
Parliament
Funkadelic
92
Ben Harper
99
John Jorgenson
The virtuoso experiments with genres on
his new triple album.
35
115
NAMM
Recap 2016
Mobile
Recording Tips
REVIEWS
132 Roland JC-40
132 Vick Audio V-2 Distortion
133 MXR Carbon Copy Bright
133 Chellee Odie Classic
134 Korg Pitchblack Custom
134 Big Tone Music Brewery
Gray Box
144
147
150
153
FANOGUITARS.COM
APRIL 2016
RIG
RUNDOWNS
PETER
FRAMPTON
&
AUGUST
BURNS RED
License
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30+ Gear Delights
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30+ Gear Delights
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John Bohlinger,
Last Call, p. 176
19
24
130
164
176
178
Opening Notes
Obituary: Glenn Frey
Tools for the Task
Staff Picks
Esoterica Electrica
Last Call
GEAR
26 Rig Rundowns
30 Vintage Vault
32 Trash or Treasure
56 Tone Tips
HOW-TO
80 Acoustic Soundboard
82 The Recording Guitarist
106 Guitar Shop 101
108 On Bass
110 Bass Bench
112 State of the Stomp
124 Mod Garage
126 Ask Amp Man
Above left: Photo by Eleanor Reiche / Frank White Photo Agency Left: Photo by Tim Mullally
On guitar,
youre never
more than one
fret away from
something that
will work.
LUCINDA WILLIAMS
premierguitar.com
APRIL 2016
On the Cover:
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Your guide to the latest stories, reviews, videos, and lessons.
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After learning Norwegian Wood on a nylon-string acoustic at his first guitar lesson, Josh Landau
quit playing for a while. At that point I was interested in learning punk songs, Black Flag songs,
says Landau, who went on to pick up the tools of the trade from his guitar-playing father and form
the Shrine, where he doubles as singer and guitarist.
Premier Guitar caught up with Landau to discuss how he came up with some of Rare Breeds eartwisting tones, the origin of the Shrine Fuzz (the magic ingredient behind Landaus sound), the trios
addiction to analog, and how Lemmys sonic DNA will be imprinted in future music from the Shrine.
In other artist news, we hear from jazz guitar innovator Liberty Ellman, who discusses his latest
album, Radiate, his impressive guitar collection, and his small role in a Jimi Hendrix documentary.
Weve got much more content exclusively online this month, including chats with Intronaut, Lake
Street Dive, All Them Witches, and Vince Gill.
Click here to read these interviews and more.
CRAM SESSION
Modern Legato Techniques
By Jamie Humphries
THE RUMBLE SEAT
A Bass Groove Toolbox
By Tim Lefebvre
BEYOND BLUES
Billy Gibbons
By Levi Clay
FUTURE ROCK
Hybrid-Picked Shred Licks
and the 2-1-2 Method
By Sam Bell
NEW FOOTAGE!
Theres no shortage of video action at PG.com right now. If you havent started
watching our dozens of new gear demos from NAMM 2016, you have a lot to
catch up on! In addition to our weekly Rig Rundowns and gear reviews, weve
got a few new video lessons up our sleeves, too. John Bohlinger gives his best
pointers on how to play Scotty Moore-inspired banjo rolls in the latest What
Bohlinger Plays series, and youre in for a special treat with an exclusive
video lesson from North Mississippi Allstars guitarist Luther Dickinson.
Dickinson not only gives the story behind Hurry Up Sunrise, a track from
his ambitious new double album,Blues & Ballads (Folksingers Songbook: Volumes
1 & 2), but he also gives pointers on how to approach the hill country blues
fingerpicking style he learned how to play from studying guitar heroes like
Mississippi Fred McDowell.
Above left: Photo by Debi Del Grande Bottom left: Photo by Don Van Cleave
Sacrilege!
premierguitar.com
JULIA CHORUS/VIBRATO
GUITARDOMS
TOP TWEETS
Alice Cooper called Vampire Weekend
wimpy in 2008. Fuk u, Alice. I am
stronger (& more vampire) than you.
Shame on Johnny depp.
@arzE
walrusaudio.com
JULIA
Analog Chorus/Vibrato
premierguitar.com
READER GUITAR
OF THE MONTH
Name: Peter Ellman
Location: Pinehurst,
North Carolina
Guitar: Nagel Kramer Baretta
premierguitar.com
OPENING NOTES
James Bay
February 7, 2016
Brisbane Convention &
Exhibition Centre
Brisbane, Australia
Photo by Kylie Keene
OPENING NOTES
Robert Trujillo
February 6, 2016
AT&T Park
San Francisco, CA
Photo by Kaytee rae
premierguitar.com
OPENING NOTES
Kat Bjelland
January 30, 2016
First Avenue
Minneapolis, MN
Photo by Billy Briggs
OPENING NOTES
Mike Watt
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| 1948-2016 |
OBITUARY
premierguitar.com
RIG RUNDOWNS
FACTOID
PETER FRAMPTON
The Phenix is
Framptons famous,
modified 1954 Les Paul
Custom from the cover
of Frampton Comes Alive.
The name refers to the
mythical bird that was
raised from the ashes.
This guitar, thought to
be destroyed and lost
for over 30 yearseven
surviving a plane crash
in Venezuelarecently
found its way back
home to Frampton.
To commemorate this
historic guitar, Gibson
has recreated a very
small, exclusive run of
reproductions with every
burn, scratch, ding,
and crack faithfully
copied to match
Framptons original.
premierguitar.com
GUITARS CONTD
AMPS
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RIG RUNDOWNS
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FACTOID
AMPS
EFFECTS
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VINTAGE VAULT
Opposite page:
This electric
mandolin,
made two years
after Fender
introduced the
instrument in
1956, sports the
same 3-color
sunburst used
on Strats. It
leans against
a 1960 Fender
Champ.
Left: Typically
Fender, the
electric
mandolin has
a bolt-on neck
along with
tuners mounted
on one side of
the headstock.
premierguitar.com
TRASH OR TREASURE
A Pre-Fender Fender
BY ZACHARY FJESTAD
Q:
A:
Howdy Zach,
I acquired this amp at a yard sale for $50. I played a little guitar when
I was younger and I love vintage gear, but have never seen an amp
like this before. I havent plugged it in to see if it works because of the
age and all the dust, but it appears to be mostly intact. I would love to
know the approximate year it was built and how desirable it is today.
Any information you could provide is appreciated!
Thanks,
Lance in Tuscon, Arizona
Hey Lance,
I dont think whoever held
this yard sale knew what
they had! Amplifiers under the K&F
Manufacturing Corporation brand name
represent some of Leo Fenders first
commercially available amplifiers, prior
to his starting the company we are all
familiar with. Very few of these amps are
known to exist, so they are quite hard to
come by. First, let me provide you with a
little background.
As most amplifier enthusiasts know,
Leo Fender was interested in electronics
at an early age. He opened a radio repair
shop in 1939, about the same time that
guitar amplifiers were appearing on the
scene in appreciable quantities. One of
Fenders customers in the early 1940s was
Clayton Kauffman, who designed electric
guitars for Rickenbacker in the 1930s
and invented one of the first vibrato
units, called the Vibrola. In 1943, Fender
and Kauffman collaborated on a guitar
pickup/test guitar, and, in 1945, they
began producing guitar amplifiers and
lap steel guitars that were typically sold in
sets under the K&F name.
In 1946, Don Randall (who would
become a large part of the Fender Musical
Instruments Corporation and went on to
found Randall Amplifiers) approached
Kauffman and Fender about becoming a
distributor for K&F. Kauffman, however,
soon left the company and Leo went on
to start FMIC, moved to a larger facility,
and began building Fender-branded
amplifiers that were very well received
premierguitar.com
1966 FENDER
STRATOCASTER
ITEM: 110025693
855-484-6824
License
toLicense
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to Lust
Electric Guitars
WILD CUSTOM GUITARS
ACLAM 20:14
The suave and sophisticated Gran Royale hollowbody has 2.4" sides, internal
soundposts for feedback control, and classic-looking new Phonico pickups
controlled by the 4-position dial selector on the treble bout. It goes for
approximately $3,150 street. duesenbergusa.com
premierguitar.com
Like its siblings, the latest member of Kiesels Aries series features a
beveled top and a multiscale bolt-on neck with fanned frets. It might look
intimidating, but because the neck feels so sleek and fast its rather easy
to acclimate to. Its available with a wealth of options, and with a starting
price of $1,299 street, the AM7 is an impressively priced, head-turning
multiscale for the prog set. kieselguitars.com
For retro-minded players driven to frenzy trying to score the 6-string that
Tame Impala frontman Kevin Parker is shown with on the back cover of
Lonerism, freak out no more. The Impala and its three pickup cousin the
Condor (pictured here) are back, resplendent with a gaggle of switches
and sporting a reengineered Hagstrom trem. Other cool updates abound,
most notably the deep carve in the treble bout, which puts just about
every fret within reach. But for all the updates, it still feels and looks
authentically vintage. The Condor will be $649 and the Impala $599 street.
hagstromguitars.eu
premierguitar.com
Acoustic Guitars
SANTA CRUZ Ghost Oak
premierguitar.com
LTD2016 DECOY Body size: FXC. Top and back: Flame Maple (arched). Sides: Flame Maple.
Neck: Maple. Fingerboard: Ebony. Inlay: Watermelon Fish. Binding: Ivoroid. Purfling: Abalone.
Finish: Gloss Green-Blue Burst. Hardware: Gold. Nut width: 42.5 mm. Nut and Saddle: Bone.
Electronics: Palathetic Pickup with CTP-3 CoolTube Preamp.
for more information, contact The ESP Guitar Company, 10913 Vanowen St., North Hollywood, CA 91605
800-423-8838
www.esptakamine.com
A gorgeous new addition to the Fat Lady series, this dread is built from
100 percent sustainable timber: Queensland maple for the neck, Australian
blackwood for the back and sides, and Australian redwood for the top. Cole
Clarks 3-way pickup system comes standard, and street price is approximately
$1,600. coleclarkguitars.com
BOURGEOIS L-DBO
The boutique flattop outfit from Maine is going big into the classic L-OO
shape this year, but none will be bigger or bling-ier than this L-DBO
Presentation. With miles of pearl on the fretboard, an Adirondack spruce top,
and Brazilian rosewood back and sides, this heirloom piece will be expensive at
north of 17 grand. Theres just 10 of these, but Bourgeois will be offering many
more affordable L-OOs as the year goes on. bourgeoisguitars.net
premierguitar.com
Amps
STONE DEAF SD50
Amp maven Reinhold Bogners latest is a singlechannel rock machine that uses both 6L6 and
6V6 tubes to cop sweet tweed-style tones that
are harmonically rich and full of warmth. The
combo will be around $3k street and should be
available soon. bogneramplification.com
OTIS Starla
premierguitar.com
Get your groove on with TRIO+ Band Creator. TRIO+ listens and learns the
chords and rhythm you play and automatically creates drum and bass accompaniment.
TRIO+ now also allows you to loop your guitar parts and arrange custom looped
sequences to create full songs on the fly. Additional features like: Expanded Styles, FX
send/return, SD card memory expansion, and simplified bass make TRIO+ irresistible.
DigiTech is distributed by KMC Music, a division of Jam Industries, LTD. | (855) 417-8677
Amps Contd
CODE amps are Bluetooth and USB enabled, and feature 100
editable presets, 14 preamp models, four power-amp models, eight
speaker-cab models, 24 effects, audio and headphone inputs, and
compatibility with the online Marshall Gateway community, where
players are encouraged to creatively interact and share sounds.
Prices range from $199 street for the 25-watt 1x10 combo on up
to $349 for the 100-watt head, and $399 for the 100-watt 2x12
combo. marshallamps.com
premierguitar.com
Effects
EMPRESS Reverb
IBANEZ
WALRUS AUDIO
Julia
WMD DEVICES
NEUNABER
Immerse Reverberator
If you have a hard time deciding between plate,
hall, and spring verbs, then Neunabers Immerse
might be for you. It houses eight wonderfully
spatial reverbs, including an angelic shimmer
setting and a fun, quirky wet-plus-detune
settingall for $225 street. neunaber.net
premierguitar.com
Bass Gear
GALLIEN-KRUEGER PLEX
premierguitar.com
SINGLE V
The Magnatone Single V. Inspired by 1958. Made even better in the 21st century.
MAGNATONEUSA.COM
Magnatone LLC 2015
Baggs jumped feet first into the bass game with the
Stadium electric bass DI, which features a fat switch
for beefing up tone, adjustable compression, an
attack dial for adding clarity or reducing brightness,
and a growl control for adding harmonic distortion.
$TBD. lrbaggs.com
SPECTOR Euro4LX
premierguitar.com
Accessories
MONO Vertigo
The PX-8 loop-switcher features eight loops, multiple preset banks, preset
and live operating modes, and MIDI capability, all for around $350 street. It
also attaches to the front edge of the medium-sized version of Voodoo Labs
three new pedalboardsa bonus that prevents you from losing any precious
board space. Board prices are TBD but will include a padded carrying case.
voodoolab.com
premierguitar.com
TONE TIPS
Hi Sebastian,
Different speakers, of course, have
different tonal qualities, but they also
have different sensitivity ratings. A
typical G12H speakerwith a 50-ounce
magnethas a sensitivity rating of
100 dB, whereas the Scumback M75
and its lighter 35-ounce magnet have a
sensitivity rating of 97 dB. In laymans
terms, this means the G12H will be 15
to 20 percent louder than the M75. So
if youre recording the two speakers by
placing an identical mic on each, and you
want to achieve an even blend, be aware
of the volume discrepancy and adjust
your microphone preamps accordingly.
This isnt an exact science, so you should
experiment with mic placement and
balance until you achieve an acceptable
result. Tone Tip: When blending two
speaker types with different sensitivity
ratings in a 4x12 cabinet, try putting the
less-efficient speakers on top. Theyll be
more audible this way.
Hi Pete,
I recently bought an old Ernie Ball volume
pedal for a bargain off eBay. My intention
is to use it as an expression pedal for
my TC Electronic Flashback X4, but Im
currently using it as a volume pedal until
I sort out a cable. Do you run your volume
Hi Ben,
Its important to notegenerally
speakingthat volume and expression
pedals are not interchangeable.
Impedance is a primary concern, as is
the taper of the potentiometer in the
pedal. High-impedance (pot rating of
250k to 500k) passive volume pedals
with logarithmic (audio) taper pots
will work well with guitars with passive
pickups. A volume pedal like this tends
to work best early in your signal chain,
before buffers and as close to your passive
pickups as possible. Low-impedance (pot
rating of 25k to 50k) passive volume
pedals with log-taper pots work well with
active-pickup guitars, or placed after
any buffered (non-true bypass) pedals.
They will work well after any overdrive
or distortion pedals to set your overall
volume without affecting the amount
of distortion. They will also work in the
effects loop of an amplifier to control
the overall amp volume post-distortion.
Expression pedals, in most cases, should
be low impedance (5k to 50k) with a
linear taper pot. Id recommend checking
the specs on your Ernie Ball pedal, and
only using it for its intended purpose.
Hi John,
When I toured with Melissa Etheridge
in 2011, I used the Fractal Axe-Fx in
place of my full rig for many of the fly
dates and TV shows we did, as well as
a European tour. Beforehand, I set up
my main rig and the Axe-Fx rig in my
studio on an A/B switcher. I spent two
days duplicating every preset from my
main rig by simply switching back and
forth and matching each tone as best I
couldlistening closely to things like
volume, gain level, overall tonal balance,
and effects settings. Since I only used one
speaker cabinet type with my main rig,
I kept things simple by using only one
speaker-cab model in the Axe-Fx for all
the tones. To closely mimic the various
amp tones my Suhr PT-100 amp was
capable of producing, I used just a few
amp models on the Axe-Fx. Ultimately,
my presets were nicely balanced and
required very little tweaking when used
with the band.
Thanks to my Facebook followers for
all the great questions. I hope my answers
will help provide some insight for my
fellow guitarists on the journey towards
tonal nirvana. Until next month, I look
forward to more questions and I wish you
good tone!
PETER THORN
Hi Pete,
My question is about modelers. Ive
always been a simple amp and pedals
guy, but volume has been a real obstacle
since Im playing more weddings and
premierguitar.com
BY TZVI GLUCKIN
premierguitar.com
Deftones
frontman
Chino Moreno
prefers simple
gear (usually a
Gibson SG, but
hes shown here
with his Knaggs
Keya T2 tobacco
burst). He
started playing
guitar live
during the White
Pony tour. I had
to figure it out,
Moreno says
about balancing
his singing and
guitar duties.
Slowly but
surely, I did.
premierguitar.com
GUITARS
GUITARS
Gibson SG
Knaggs Keya T2
AMPS
AMPS
EFFECTS
EFFECTS
Fulltone True-Path ABY Splitter
Eventide H9 Harmonizer
Effects Processor
TC Electronic Ditto Looper
Radial JDX 48 Reactor Amplifier DI Box
(.011.050) 7-string
Jim Dunlop Tortex 1 mm picks
Carpenter says
new metal bands
like Animals
as Leaders
and Periphery
are inspiring
to him as a
player. Tosin
[Abasi] told
me they were
into dropped-E
tunings. He said,
Hey you should
check that out.
So I did.
premierguitar.com
Deftones frontman Chino Moreno discusses his double duties as vocalist and rhythm guitarist.
You first started playing guitar on
White Pony?
Yes sir, around 2000 is when I officially
started playing onstage in front of people.
What inspired you to start playing guitar
with the band?
I think the catalyst was that Stephen had
moved from Sacramento to Los Angeles.
We had a studio in Sacramento for a few
years at that point. We always rehearsed
and wrote our records thereand he wasnt
there. We started writing songs after the
Around the Fur record cycle and Stephen
wasnt really around so I started picking
up the guitar and jamming. Hed come
down and wed do little sessions and we
wrote some of the record therealthough
a lot of the White Pony record was written
in the studio. I forgot the guitar I usedI
think I had an SG. I might have had one of
Stephens old Jacksons that he gave me.
How has your playing changed and
developed since that time?
I hope its gotten a little bit better. Honestly,
I just really like to play. You can put out
emotions through the guitar without having to
speak words or having to talk about something
specific. Being a singer and the lyricist of a
band, sometimes the difficult part is trying to
communicate what it is Im trying to saybut
a lot of times I dont know what Im trying
to say. The guitar has always been a way to
express emotion without really understanding
what youre doing or trying to do.
Nowadaysespecially with this new
record, where I play guitar pretty much
on every songIve switched to the
opposite of that. I love writing the songs
and love playing them, but now Im
almost restrained a little bit because I
have to pay attention to what Im doing
on guitar [laughs]. I really have to use two
sides of my brain, coming from a singers
standpoint and a guitar standpoint.
So youll be playing a lot more guitar
onstage this tour?
I believe so. Honestly, when we write
setlists, the most important thing for me is
spacing out the songs that I play on guitar
and the songs that I dont play on guitar,
because live I really like to just sing. I do
like to play guitar, but I know that Im a
way better singer than guitar player. I kind
of put myself in this corner and Stephen
is pretty adamant: You play this on the
record. Youre playing it live. And hes
premierguitar.com
YOUTUBE IT
Watch the Deftones full set at Rock in Rio 2015 in Rio de Janeiro,
Brazil. Skip to around the 14-minute mark to see Chino break out his
white SG on the track Tempest from 2012s Koi No Yokan, while
Stephen holds down the melodic lead guitar swells and drones on
one of his signature ESPs.
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Andrew
Stockdale talks
about building riffs,
calling the shots,
and borrowing megarock-producer Brendan
OBriens guitars for his
bands new album, Victorious.
BY JOE BOSSO
Whether
releasing
albums under
the Wolfmother
name or his
own, its clear
that everything
Andrew
Stockdale
writes, records,
and plays is the
result of his
own vision.
YOUTUBE IT
premierguitar.com
Introducing
The
Swart
AMPLIFIER COMPANY
swartamps.com
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AMPS (live)
EFFECTS
Xotic AC Booster
Electro-Harmonix Micro POG
Dunlop Cry Baby Wah Wah
Foxx Tone Machine octave
Roland AF-100 Bee Baa
fuzz/treble/reverb
Fulltone Supa-Trem ST-1
MXR Phase 90
Radial BigShot A/BY
True Bypass Switcher
Electro-Harmonix Big Muff (studio)
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The CE 24
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EL34B EF806s Gold Pins EL84/6BQ5
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GHOST
WHISPERER
Lucinda Williams drafts Bill Frisell and
Greg Leisz to create a cosmic folk-rock guitar
masterpiece built on haunting songs and her
acoustic 6-string launching pad.
BY TED DROZDOWSKI
premierguitar.com
Click here to
read Bill Frisell's
and Greg Leisz's
accounts of the
Ghosts of Highway
20 sessions.
FACTOID
Lucinda Williams
new album was mostly
recorded at the same
time as her previous
disc, Down Where
the Spirit Meets
the Bone.
DEL
McCOURY
AND HIS STRINGS HAVE IN COMMON.
martinstrings.com/LifespanSP
#staytuned
AMP
Victoria 20112 Tweed 1x12 combo
Lucinda Williams
prefers to
carry just a few
guitars on the
road, including
her mid-70s
Fender Deluxe
Telecaster
Thinline and
several Gibson
J-45s.
premierguitar.com
Smokey darkness
premierguitar.com
1.800.788.5828
www.rainsong.com
Above right:
Greg Leisz, here
onstage at Red
Rocks, brought
a 64 Fender
Jazzmaster and
as many guitars
as I could fit
in my car to
the sessions
for Lucinda
Williams new
album, which
he also coproduced.
GUITARS
GUITARS
55 Fender Telecaster
64 Fender Jazzmaster
61 Gibson Les Paul Junior
(pre-SG designation)
Guild Starfire V
AMPS
Howard Dumble
EFFECTS
Ibanez TS9 Tube Screamer
Electro-Harmonix
Nano Pocket Metal Muff
Line 6 DL4 Delay Modeler
Electro-Harmonix Freeze Sound Retainer
TC Electronic Hall of Fame Reverb
Strymon Flint Tremolo & Reverb
Catalinbread Katzenknig
overdrive/distortion
Voodoo Lab Pedal Power
TC Electronic PolyTune
AMPS
Fender blackface Princeton Reverb
Princeton Reverb
modded by Howard Dumble
EFFECTS
Strymon El Capistan dTape Echo
Strymon Flint Tremolo & Reverb
Strymon Lex Rotary
Arion Stereo Chorus
Above left: Photo by Daniel Sheehan Above right: Photo by Anjali Ramnandanlall
Above left:
Whether hes
flying to a
session or
tour dates, Bill
Frisell travels
lightwith
one Telecaster
and a modest
pedalboard. But
he confesses to
having a roomful
of gear at home.
premierguitar.com
premierguitar.com
ACOUSTIC SOUNDBOARD
ut is it original?
This question is raised
about everything in, on, and
around a vintage guitar, from tuners to
tailpieces to all parts in between.For those
who play their vintage guitar only casually,
acquiring the exact match for a missing
tuner can be a fun treasure hunt. For
guitarists who want their older instrument
to play as well as a new one, the quest is
often more problematic. How can you
improve the function of your vintage guitar
without compromising its originality, and
thus its value? Just because those lightweight
WWII-era tuners are original doesnt mean
they allow you to tune effectively, and
you cant plead originality when your jam
mates are always waiting on you.There are
some solutions that involve only a small
compromise, but sometimes the very best
solutions for the serious player require some
real play or preserve decisions.
Its unfortunate that some of the
most desirable guitars come from
periods when the metal parts on those
instrumentstuners and tailpieces, for
examplewere not of the same quality
as the woodworking.During the 1930s,
this was often due to an attempt to keep
prices down on lower models during the
Great Depression. A few years after that,
war-time restrictions meant higher-model
Gibsons and Martins were often equipped
with flimsy parts that wouldnt be found
on even the cheapest imports today.
The conflict between originality
and function often goes beyond the
instruments themselves. Demand for
original cases (and the importance of
keeping one, no matter how flimsy)
brings up an interesting dilemma for
those whose living accommodations
do not include lots of unused square
footage.Sure, you were delighted the
original chipboard case came with your
vintage J-45, but youre probably not
going to carry your $5,000 guitar around
in it. And when you buy a real hardshell
case, you then have to store the old one.
In many climates, storage in a basement
premierguitar.com
premierguitar.com
all the pitches in four-, five-, and sixnote chords, often omitting the lowest
ones. For example, it would sometimes
interpret my five-note D9 chord as Am,
correctly perceiving the A, C, and E
pitches, but missing the D and F#.
Fix it in the mix. Fortunately,
Music Memos has an excellent tool for
correcting interpretation errors: You
bracket the problem section using a tool
much like the iOS text selector. The
app proposes a list of likely chords, or
you can enter your own chord names
manually (Image 3).
premierguitar.com
PORTRAITS
IN TONE
dUg Pinnick. Unmistakable in every way --that voice,
the songwriting, his style, and, of course, the dUg tone.
Since the formation of Kings X in the 80s, dUg has
been one of the most influential players to garner
attention for the then hardly used, 12-string bass.
dUg also devised his own method of using guitar and
bass amps together to merge high-end distortion with
low-end bass. The combination resulted in a sound
as subtle as a freight train, yet ironically musical and sensitive. Just like dUg.
And just like dUg, there is an unconventional structure
to the design of his Signature Ultra Bass 1000 bass amp
head. The intent is to use both channels mixed or the Bottom channel by itself. The Top channel handles distorted
guitar amp tones and the Bottom provides a clean (yes,
clean!) pre-amp and compressor for more conventional
bass amp sounds. Mixed together, you get dUg.
We are honored dUg chose Tech 21 to collaborate with in
the creation of his own signature amp, the dUg Ultra Bass
1000. For uncontrollable smiles and endless groove, get
one of your own today.
dUg Pinnick
Kings X, KXM, Pinnick-Gales-Pridgen, Grinder Blues
Parliaments
PUNKS OF FUNK
George Clintons legacy is long and storied, from early
doo-wop beginnings in the 1950s to going way out in
the 70s during the birth of psychedelic rock, funk, and
beyond. We assembled a roundtable of players past and
present to discuss how the 6-string was central to
Parliament Funkadelica pioneering music collective
that made history, influenced generations of hip-hop
and R&B artists, and continues to make music today.
BY TZVI GLUCKIN
premierguitar.com
A group shot
of the early
Funkadelic
ensemble circa
1970. Standing,
left to right:
Clarence Fuzzy
Haskins, Lucius
Tawl Ross,
Bernie Worrell,
Ramon Tiki
Fulwood, Grady
Thomas, George
Clinton, Calvin
Simon, Ray
Davis. Seated:
Eddie Hazel
and Billy Bass
Nelson (supine).
premierguitar.com
premierguitar.com
S
A
L
I
S
N
A
E
S Signature Series
ometer
Guitar Potenti
PDB241-SOTL1-504A3 PDB241-SOTL2-504A3
for Volume Control
for Volume Control
Knurled shaft
Plain shaft
500 k
500 k
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88 PREMIERGUITAR APRIL 2016
premierguitar.com
yamaha.com/revstar
EDDIE HAZEL
RON BYKOWSKI
MICHAEL HAMPTON
CATFISH COLLINS
Catfish Collinsolder
brother of Bootsywas
a guitarist with James
Brown before joining up
with Clinton. In addition to
his work with Parliament
Funkadelic, he also played
on other P-Funk projects like
Bootsys Rubber Band and
the Horny Horns.
If you listen to Bootsys
music, Catfishs guitar
tracks are woven together,
McKnight says. It would be
two guitars layered over each
other and it just meshed. It
was like one guitar.
Collins was active until his
death from cancer in 2010.
Check out his iconic rhythm
work on the Parliament
mega-hit Flash Light.
Its unclear how many guitarists played with Parliament Funkadelic throughout its six-decade existence,
but heres a brief rundown of the eight prime movers.
Blackbyrd McKnight photo by Alex Matthews; Ricky Rouse photo by Hight ISO Music; Garry Shider photo by Tim Bugbee / Tinnitus Photography
DEWAYNE MCKNIGHT
RICKY ROUSE
GARRY SHIDER
"DeWayne 'Blackbyrd'
McKnight is one of the
greatest guitar players
around, Clinton says.
Prior to joining P-Funk in
1978, McKnight was in the
Headhunters and worked with
jazz legend Charles Lloyd.
He was in the band with
Dennis Chambersthey were
the Brides [of Funkenstein]
bandand they were the
band that just kicked Bootsys
ass and our ass.
McKnight grew up
listening to jazz and bebop
lines, which are an integral
part of his playing. But
Hendrix was also a huge
influence. I was in junior
high school when I saw
Hendrix the first time.
McKnight says. He opened
up for Eric Burdon and
the Animals.
McKnight has also worked
with artists as disparate as
the Red Hot Chili Peppers,
Bill Laswell, H.R. of Bad
Brains, and Macy Gray.
BY JASON SHADRICK
premierguitar.com
premierguitar.com
In November
2013, Ben
Harper emotes
at Davies
Symphony Hall
in San Francisco,
in a concert that
also teamed
him with blues
harmonica
legend Charlie
Musselwhite.
I put a lot into
the words, the
guitarist asserts.
AMPS
2010 Dumble Overdrive Special
Fender Princeton
EFFECTS
Strymon Flint Tremolo & Reverb
Vox wah
Hermida Audio Zendrive
Electro-Harmonix #1 Echo digital delay
Boss TU-3 tuner
Ernie Ball volume pedal
Voodoo Lab Pedal Power 2 Plus
premierguitar.com
YOUTUBE IT
With the
exception of
a holy grail
Overdrive
Special amp by
Howard Dumble,
Ben Harpers rig
is fairly simple,
with a tuner,
volume pedal,
reverb/tremolo,
overdrive,
channel
switcher, digital
delay, and power
unit on his
pedalboard.
premierguitar.com
premierguitar.com
SHUBB
The best performers will settle for no less.
f
Jef k
un xter
k
S Ba
info@shubb.com www.shubb.com
707-843-4068
PREMIERGUITAR APRIL 2016 97
John Jorgensons
instrumental album, Gifts
from the Flood, features
guitars that were rescued
and restored after being
submerged for days in
river water, diesel fuel,
and raw sewage. Here
he cradles one of these
instruments, a 61 SG
Les Paul. It was my first
good guitar, he recalls.
I bought it with monthly
payments when I was 15
or 16 years old.
premierguitar.com
BY ADAM PERLMUTTER
lost most of my
instruments. But
I have to admit
I was one of the
lucky ones. I had
good insurance that covered everything,
and Joe Glaser went into my locker, took
everything apart, and started to triage it
as much as someone could at that point.
Through that process a number
of instruments were saved, and once
they were playable again, I actually
appreciated them so much more the
second time around. They ended up
giving me so many songs. Thats why
there are some titles like 64 SG
Custom 3. That guitar gave me two
other songs, but there was only so
much I could fit on one album.
What was the extent of the damage?
Some of the guitars had to be taken
apart and cleaned with a toothbrush
to get the rust out of everything. But
some had grown mold inside and
needed more extensive work.
What was it like to receive the
repaired instruments?
It was amazing because they were new
and familiar at the same time.
It must have been interesting to see
how different pieces fared. What did
you learn?
I learned that Fender pickups dont
fare as well as Gibsons, because a
Gibson has a metal bottom piece and
Fender has fiber. Fiber tends to take
on the water and cause the coils to
break. On the other hand, Gibsons
have more holes in them for the water
to get into the wood. Also, it seemed
like the cheaper the finish, the better it
withstood not just water, but the diesel
fuel and sewage that came with it.
How did the revived guitars sound?
Some seem to sound better than before.
I asked Joe about that, and he told
me a number of people had said that
same thing. He speculated that, for
newer guitars, being waterlogged would
artificially age the pickups due to the
premierguitar.com
premierguitar.com
ALANCE
OWER
w/ MIDI Control
Balance power and ease with The Nemesis Delay, a compact and easy-to-use stereo
delay pedal featuring 24 distinct effect engines ranging from vintage tape and analog
delays to highly advanced pitch shifting, reverse, filter modulating, and rhythmic delays.
The Nemesis features 128 presets, multiple delay taps, a hold function, tap tempo, full
MIDI control, deep editing functionality with the Neuro Mobile App, and much more.
GUITARS
GUITAR
Altamira flamenco
Gitane DG-300 John Jorgenson model
1942 Selmer oval-hole 14-fret
MANDOLINS
1980 Gibson F-5L
2010 Kentucky KM-1000
tortoiseshell flatpicks
Shubb capos
GUITARS
1957 Fender hardtail Stratocaster
1983 Fender Telecaster Custom
Fender Jazzmaster
Fender Paisley Telecaster
Fender Custom Shop John Jorgenson
Signature Telecaster
1960 Gibson J-160E
1960 Gibson Les Paul Junior
1960s Gibson Firebird
(from components)
1961 Gibson SG Les Paul
1964 Gibson SG Custom
1970 Gibson Les Paul Custom
1966 Silvertone U-1
TakamineJJ325SRC John Jorgenson
Signature acoustic-electric
OTHER INSTRUMENTS
1968 Coral Electric Sitar (by Danelectro)
1990 Atlansia Victoria Bass
1998 Fender Duck Dunn Precision Bass
1967 Fender Telecaster Bass
AMPS
1966 Danelectro DS-50 through a
EFFECTS
Boss DC-2 Dimension C chorus
Boss DD-2 Digital Delay
Colorsound Tremolo
Digidesign Eleven Rack
multi-effects unit
Ibanez TS5 Tube Screamer
Ibanez TS808 Tube Screamer
Matchless Hot Box preamp
Vox Stereo Fuzz-Wah
premierguitar.com
Jorgensons bluegrass quartetJ2B2features Jon Randall on guitar, Mark Fain on bass, and the
legendary Herb Pedersen on banjo. I took what I learned on guitar and transferred it to the mandolin,
says Jorgenson, who cites Clarence White, Tony Rice, and Doc Watson as his favorite flatpickers.
premierguitar.com
jazz album I did, in 2003, was called FrancoAmerican Swing. By that time there was more
of an established scene for the music, and I was
asked to recreate two tracks for a film featuring
Django Reinhardt called Head in the Clouds.
It was great to actually get paid for something
I would have done anywayto transcribe and
learn exactly what Django played.
In any case, when I finished FrancoAmerican Swing and started touring in support
of it, I needed more material than what was on
the album, and so I started bringing in some
of my other compositions from other styles
for example, a piece from the Hellecasters
called Le Journe des Tziganes, which was
influenced by Eastern European folk music.
And when I brought in flamenco, classical, and
other influences from outside of the Gypsy jazz
tradition, things got really interesting.
It seems like youve repurposed some nonGypsy material in a cool way on the disc.
Theres one called Istiqbal Gathering.
Thats a piece I originally composed for full
orchestra, with cimbalom [a large Hungarian
dulcimer], violin, and guitar as soloists. I dont
get the chance to perform with a full orchestra
that often, so I adapted it for quintet, and
it worked really well. And strangely enough
theres one song I recorded in two different
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ON BASS
YOUTUBE IT
premierguitar.com
Bottom: This
disassembled
T-style guitar
and a batch
of strings are
about to take a
cold bath.
Top right:
Although the
change is
invisible, theres
evidence that
bass strings
benefit from
cryogenic
treatment.
premierguitar.com
NEW
SOUNDS
FROM BOSS
VO-1 VOCODER
An innovative vocoder/talkbox for powerful
vocal expression on guitar, bass, and more.
VB-2W VIBRATO
The legendary analog pedal reborn
with new custom features.
BC-1X BASS COMPRESSOR
A studio-quality multi-band compressor
pedal for bass players.
w w w. B o s s U S . c o m
In Defense of Noise
BY PHILIPPE HERNDON
The potential
sources of
noise are both
maddening and
manylying
in wait along
every step of the
signal chain,
and beyond.
premierguitar.com
Introducing the AV Series from VOX, offering players 8 all-analog amps in one.
VOXs new AV Series uses a pair of 12AX7 tubes and a unique analog circuit design
to deliver robust guitar tones, reminiscent of the most coveted amplifiers of all time.
VOXAMPS.COM
n the early 1970s, mobile recording studios were the size of trucks. Actually, they
were trucks. The first famous examplethe legendary Rolling Stones Mobile
Studiosat atop the chassis of a British Motor Corporation Laird lorry.
Today, a mobile studio can be as small as a laptop, tablet, or smartphone.
Throw in the growing power of compact stand-alone recorders, and you have
an overwhelming number of potential tools for recording that can fit in a backpack
or back pocket. The combination of power and portability is redefining our very
understanding of the concept of mobile recording.
[A mobile device] is capable of recording everything from a songwriters demo to a
fully finished track, but in its own way and time, says Vincent Leonard, co-author with
Thomas Rudolph of The iPad in the Music Studio: Connecting Your iPad to Mics, Mixers,
Instruments, Computers, and More! and Musical iPad: Creating, Performing & Learning
Music on Your iPad. It can [also] function as an extension of a desktop system
allowing you to work on projects remotely and finish them in your home studio.
I would define [mobile recording] as recording music anywhere in the world
outside of a commercial studio or your own home setup, says Rich Tozzoli, whose
credits include production and engineering for artists like Al Di Meola, Ace Frehley,
and David Bowie, as well as composing original music for Fox, the NFL, Pawn Stars,
Duck Dynasty, and others. For mobile situations, less complicated recording systems
are better.
Choosing a mobile recording device is about balancing factors like portability,
simplicity, fidelity, and flexibility. The sweet spot is often less about the equipment than
it is about your working method and the task at hand. Rather than make some blanket
recommendations, lets look at things to consider for a number of common situations.
Capturing Ideas: Keep It
Simpleand Light
The Muse can be a cruel mistress. She
shows up unannouncedand she doesnt
like to stick around. So while shes there,
youd better be ready to grab everything
shes giving you. For mobile Muse patrol,
you need a recorder thats easy to keep
close at hand and that gets ready to track
as quickly as possible.
A standalone recorder or a smartphone
with a basic recording app can each work
well here. Even a compact camera, like a
GoPro, can serve you well. But no matter
what hardware youre using, readiness is
more important than any other feature.
Your device needs to be charged and it needs
premierguitar.com
Audio-Technica, and
others. But if it means
shifting focus from
the creative flow, dont
bother. You dont need
great sound to capture
an idea.
That said, recording
quality isnt completely
unimportant. You dont
want things to be so
distorted or lo-fi that you
cant hear that brilliant,
complex chord you just
played by accident. With
a stand-alone recorder, this isnt much of
an issue as long as you position the mic
close enough to the source and adjust the
input levels accordingly. If it has direct
inputs and your guitar has a pickup, all
the better.
If youre using a phone, tablet, or
computer, the devices internal mic may
even be okay. Remember, youre looking
for clean, not studio quality. The app
youre using can make a difference,
however. The audio apps that come
with most phones are usually designed
for voice. They tend to offer limited
frequency response and store recordings
in space-saving (but bad-sounding) lowresolution audio files.
Youre actually better off using your
phones video camera to capture sound.
The sound quality can be quite good,
but because video is data intensive, the
file will be huge. Use the camera for
quick captures, not long sessions. Ive
run out of storage space in the middle of
recording, didnt realize it, and lost some
ideas as a result.
So it pays to invest in a basic audiocapture app designed for music. One
A stand-alone
recorder, like the
Tascam DR-40, is
ideal for making
a homework
tapea clear
recording of
your bands
practices and
performances.
The advantage?
Larger storage
space and
the fact that
a dedicated
recorder wont
be interrupted
by calls, texts,
and other
intrusions that
can plague
phones and
tablets.
MAKING ALBUMS
ON iPADS
With an iPad,
recording
software, and
a batteryoperated
interface like
the Apogee
One, you can
record wherever
and whenever
inspiration
strikes.
Stand-alone recordersespecially
those with built-in mics and removable
storagecan be ideal for this. You can
set the machine up some distance away,
point its mics at the music, hit record, and
forget about it for the rest of the night.
A mobile phone or tablet may be able
to get you through an entire session,
but for peace of mind, a stand-alone
recorder is probably a better choice
thanks to its larger storage space and
the fact that it wont be interrupted by
phone calls, texts, and other intrusions
that can plague phones and tablets.
And avoiding interruptions is the key:
Most stand-aloneseven those at budget
pricescan record in both compressed
(like MP3) and uncompressed (AIFF or
WAV) audio formats. And although the
uncompressed audio offers higher fidelity,
youll save spaceand therefore increase
potential recording timeby using a
compressed format. When youre tracking
with mics from across the room, youll
hardly notice the trade-off in sound quality.
In addition to storage, you also want
to make sure that your device isnt going
to run out of juice midway through
the session. If its an option, run it on a
plug-in power supply. If you are using
batteries, make sure theyre fresh or
freshly charged.
When it comes to placing the unit
and setting your recording levels, thats
a matter of trial and error. If youre
recording in the same space regularly
(such as a rehearsal studio), pick a spot
and use it as consistently as possible.
Take the time to do a quick level
check by recording a song at the start of
rehearsal or during soundcheck. Listen
back, and adjust your input levels and
placement as needed. I always keep the
levels just a little lower than optimal
because bands tend to get louder as the
night progresses.
Heres an idea to consider when
youre capturing a live show: If your
recorder can use its internal mics and
external line inputs simultaneously,
combine the mics with the feed coming
from the PAs front-of-house mix. This
can be especially good if each input is
saved to its own audio file, because you
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Full, comfortable access, all the way to the upper end of the fretboard is one
of the de ning characteristics of Ibanez playability.
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The advantages of less drastic string break angles are many, both mechanically
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the need for compensating components like string trees.
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WARNING:
All tube amplifiers contain lethal voltages. The most dangerous voltages are stored in
electrolytic capacitors, even after the amp has been unplugged from the wall. Before
you touch anything inside the amp chassis, its imperative that these capacitors are
discharged. If you are unsure of this procedure, consult your local amp tech.
premierguitar.com
One important thing to bear in mind when doing a repair this way is to keep all the
capacitor ground connections as close to the original ground point as possible.
3
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A NEW GENERATION OF
TWO-ROCK
AMPS
HAS BEGUN - INTRODUCING THE
2016 TWO-ROCK CARDIFF
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Pedalboard Amps
Schlepping a heavy amp from home to practice to gig to home is not likely on any guitarists list of favorite things to
do. If you like to keep things light and easy, having an amp on your pedalboard might just be the ticket.
TRAYNOR
QuarterHorse Microamp
traynoramps.com
DIAGO
Little Smasher
The 5-watt Little Smasher has four analog cascading gain
stages that range from chimey clean to rock crunch, and
its speaker out works with cabs from 4 to 16 ohms.
$199 street
diago.co.uk
TAURUS
Stomp-Head 5
This 40-/90-watt, 3-channel amp boasts a tube preamp,
noise gate, boost, and mode switch. The amps mix mode
allows all three channels to run simultaneously.
$1,299 street
taurus-amp.pl
QUILTER LABS
Tone Block 200
This solid-state amp delivers tube-like tone up to 200
watts and features gain, master, and contour controls, a
proprietary direct out, and a universal power supply.
$399 street
quilterlabs.com
DEMETER
TGA-1-180D Mighty Minnie
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RANDALL
RG13
This 3-channel, 1-watt stomp includes footswitchable
effects loop/volume-boost functions, aux in, headphone
BLUGUITAR
AMP1
Amp1 pumps 100 watts through four channels (clean,
vintage, classic, and modern), and has switchable boost
and reverb, and a speaker-simulated output for recording
or headphones.
$799 street
bluguitar.com
ELECTRO-HARMONIX
44 Magnum Power Amp
This palm-sized box delivers 44 watts into 8 or 16 ohms,
has a selectable top-end boost, and can be driven to tubelike amplifier saturation.
$151 street
ehx.com
9
9
CUSTOM TONES
Ethos Overdrive Amp
The 30-watt (at 8 ohms) Ethos two channels have
independent EQ, and tone-stack toggles for bright,
modern/classic, and jazz/rock voicing. Optional upgrades
include 3-band, post-drive EQ, and active effects loop.
$595 street
customtonesinc.com
10
10
HOTONE AUDIO
Mojo Diamond
This 5-watt, class-AB amp was inspired by tweed Fender
amps, and includes a 3-band EQ, effects loop, headphone
out, and auxiliary in.
$99 street
hotoneaudio.com
premierguitar.com
REVIEWS
Quick Hits
ROLAND
VICK AUDIO
By Jason Shadrick
By Charles Saufley
Just because an
amp lacks glowing
glass tubes doesnt
mean it cant
deliver iconic
and immensely
inspiring tones.
Take the Roland
Jazz Chorus.
It has come in
many shapes and
sizes over the decadesthe big JC-120 is perhaps the most
famous. But the latest model, the JC-40, offers a lighter,
more compact option to players seeking the JC series classic,
clean solid-state sounds and airy chorus and vibrato effects.
The JC-40 is a clean machine that delivers wonderfully
three-dimensional sound by splitting the dry and wet signals
between the two 10" speakers. The range of the vibrato and
chorus controls can move between subtle warbles reminiscent
of Mike Sterns and John Scofields old recordings, to twisted,
psychedelic modulation when the effects are maxed. As you
will hear in the clips on the online version of this article, the
distortion control might not replace your favorite overdrive
or low-gain distortion pedal. But few buy a Jazz Chorus for
its dirt tones. And even if the JC-40 can, at times, seem like
a one-trick pony, it does that clean, rich modulated thing so
very well.
JC-40
V-2 Distortion
Build/Design
Build/Design
Value
Value
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MXR
CHELLEE
By Charles Saufley
By Charles Saufley
Ibanez TS-9
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Odie Classic
KORG
Pitchblack Custom
By Rich Osweiler
By Charles Saufley
Build/Design
Ease of Use
Value
Build/Design
Value
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Giveaways
Smokey SMH
Value: $2,000
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REVIEWS
FENDER
Reverse angle
bridge pickup
American Vintage
65 pickups
Alder body
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Reverse headstock
Medium jumbo frets
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REVIEWS
WARWICK
Seymour Duncan
Quarter Pound pickup
Alder body
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Warwick Rockbass
Adam Clayton Artist Line
3-piece maple neck
$799 street
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Tones
Playability
Build/Design
Value
premierguitar.com
REVIEWS
ECHOPARK
F-1 Fuzz
By David Von Bader
premierguitar.com
Master volume
Fuego Gris
The F-1 balances brashness and
musicality in a way that can make the
simplest riffs sound massive. High notes
and leads ring with great sustain and
tasty compression that you can transform
into exceptionally controllable feedback.
Low notes have a high-calorie chewiness,
textured dirt, and a chunky saturation
that sacrifices nothing in the way of
focus. Like any germanium fuzz worth its
salt, the F-1 is extremely touch sensitive
and feels very responsive to changes in
pick attack and guitar volume. In fact,
the F-1 becomes a nice taut overdrive as
you roll off guitar volumealthough the
wide-open settings are so addictive that I
rarely used the pedal in this context.
The F-1 is powerful enough to turn
any clean amp into a beast, but it melded
in particularly pleasing ways with highheadroom Marshall-inspired circuits
and tube amps at the verge of breakup.
And while many fuzzes disappear or
sound just plain crappy when mated
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.................................................
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Drawing on an epoch of American guitar design, these instruments
Civil War era, the Grand Concert---from the turn of the century, and
the Dreadnought, a creature of the roaring 20s. Rich with tone from
.................................................
touches like antique nickel tuners and aged bone saddle and nut.
Grand Concert
AVC6DTS
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Parlor
AVN6DTS
Dreadnought
AVD6DTS
REVIEWS
TYYSTER
Pelti 12-String
By Joe Gore
Two Tyyster
humbuckers
Steel body
Internal contact
microphone
Strings attach to
metal tailpiece
Microphone
volume control
premierguitar.com
The Verdict
I dig the Tyyster Pelti more than any
electric 12-string Ive played. It looks
beautiful. The workmanship is flawless,
and it plays like a dream. It outperforms
vintage models on their own terms, and
then adds more cool colors via its internal
mic. Bravo.
But theres a solid-gold elephant in
the room: the daunting $4,570 price.
To be fair, the amount isnt out of line
compared to other high-end, handmade
guitars with metal bodies or ornate metal
engraving. Still, youd have to really
love electric 12-string to invest so much
in this specialized instrument. But for
such hardcore jangle-holics, its hard to
imagine a more gratifying fix.
CLICK HERE TO WATCH A
REVIEW DEMO of this guitar.
Maple neck
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BOUTIQUE GUITAR EFFECTS MADE IN THE USA SINCE 1993 WWW.BLACKCATPEDALS.COM 203.764.2644
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REVIEWS
VENTURA
Solid wood
head cabinet
premierguitar.com
Footswitchable boost
(pedal included)
Components
assembled on
circuit board
Mercury Magnetics
transformers
The Verdict
With tones ranging from Fender-like
sparkle to plexi-colored crunch, Ventura
Valve Amps VVA550 is an ultraversatile head that can cover most styles
short of full-on metal. With its fine
dynamic response and highly interactive
gain controls, its an uncommonly
responsive amp as well. Regardless of
gain settings, notes are well defined
and harmonically rich, with powerful
fundamentals, zingy highs, and relentless
sustain. This amp could be a great
choice for guitarists who covet a top-tier
boutique head but cant quite cough up
the cash.
CLICK HERE TO WATCH A
REVIEW DEMO of this amp.
premierguitar.com
ELEMENT
ME1
Dreadnought
Solid spruce top
Sapele back/sides
ME1CE
Dreadnought/cutaway
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Sapele back/sides
Fishman electronics
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REVIEWS
ALLEN EDEN
1987
By Joe Charupakorn
Wilkinson
humbuckers
Floyd Rose-licensed
tremolo
Neck-throughbody design
Burl maple
body wings
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858-500-7998
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REVIEWS
BERGANTINO
Program button
By David Abdo
premierguitar.com
USB port
for profile
uploads and
firmware
updates
Ceramic
magnet
woofers
Premium
Baltic-birch
construction
premierguitar.com
delay
DOPPELGNGER
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156 PREMIERGUITAR APRIL 2016
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REVIEWS
RADIAL
Headload
Compact footprint
(approximately
6" x 12" x 3.5")
By Joe Gore
premierguitar.com
tones are buzzier and less threedimensional. Ex. 4 features the same
reamped guitar performance through
various Headload emulations. Theres a
nice range of choices, though none sound
as realistic as the miked examples.
In fairness, though, Ive never heard a
guitar DI box with genuinely convincing
speaker emulation, and Headload is
better than many. In Ex. 5, I use EQ
to nudge the direct sound closer to the
miked sound, but theres still a strong
character difference. (Which isnt to
say that the ultra-present direct sound
wouldnt be perfect in some contexts.)
But there are many ways crafty engineers
might incorporate direct sounds other than
blasting them as-is. They might add EQ
or mix it with the miked sound, dialing
in the least phasey-sounding blend via the
Phazer tool. They might also use just part
of the direct signal. (For example, I once
did a tour with a two-guitar/no-bass band.
My signal ran through a DI on its way to a
small amp. The engineer isolated only the
premierguitar.com
Enter on PremierGuitar.com/contests
REVIEWS
MAGNETIC
EFFECTS
Bias control
White Atom
By Charles Saufley
premierguitar.com
Germanium/
silicon hybrid
fuzz circuit
premierguitar.com
STAFF PICKS
This month were talking about the golden era of guitarthe 1950s and 60s birth of rock n roll. Filter frontman
and guitarist Richard Patrick joins us in naming our favorite pioneering players.
Winston Smith
Filter
Current obsession:
The Zoom G5. I programmed
a bunch of the patches and
Im obsessed to see what
the kiddies think. I love
noise. I love being able
to make music relying on
equipment. People who say
you should be able to play
everything on an acoustic
guitarthats bullshit. I
want more tech, more chaos.
Current obsession:
To see how I can adapt my
playing style and tone to
genres of music Im not very
comfortable playing. Pushing
my technique and ear into
new territory. I have to learn
15 songs by this weekend, in
three different keys, to play
live in a genre Im not familiar
with, with musicians that play
said genre as masters.
premierguitar.com
Andy Ellis
Shawn Hammond
Tessa Jeffers
Senior Editor
Managing Editor
Current obsession:
My Phantom MandoGuitar.
Its designed to be tuned
like a 12-string capoed at
the 12th fret, although I
tune it a whole-step lower:
DDGGCCFFAADD.
The top three string pairs are
each tuned in unison; the
lower three pairs are octaves.
Deluxe chime!
premierguitar.com
Current obsession:
My PureSalem Pink Beard
fuzz, which can go from
wonderfully organic and
dynamically responsive to
mutated and scuzzy.
Current obsession:
Thinking about guitar
phrasing in terms of voice
or approaching melodic
lines, like a singer would. My
favorite players make their
parts distinct and memorable,
like a skilled vocalist catches
you with their inflection.
Gearheads win!
Enter at PremierGuitar.com/Contests
Void where prohibited. Read full rules on
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by mail, legibly hand-print your first and last
name, address, age, and day and evening phone
numbers on a 3x 5 card and mail to:
Sweepstakes
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ROSEWOOD
Guaranteed for life.
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MADE IN USA
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hand made custom
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Giveaways
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170 PREMIERGUITAR APRIL 2016
premierguitar.com
Multiselector 4X
Four in, to one out.
bidirectional switcher.
MULTISELECTOR PRO
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Wt2000
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New Product
MULTISELECTOR AMP
1x4 Amplifier Switcher
MULTISELECTOR REMOTE
The optional MultiSelector REMOTE stomp box style
footswitches contains four switches that remotely
control the switching functions of the rack mount units
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proprietary communication protocol ensures reliable
switching with mic cables up to 100 feet long.
mltselPRO4XR remote works with the multiselector PRO and 4X only. mltselamPR remote works with the multiselector amP only.
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ESOTERICA ELECTRICA
Electric guitar
love at first
sight. But hang
on ... its made
of what?
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b a s s e s b u i lt f o r a l i f eti m e s i n c e 1 9 7 6
Introducing new Euro4LX / Euro5LX in Tobacco Sunburst with custom-wound Bartolini pickups
and Euro4 / Euro5 in solid white or black gloss with EMG P/J (Euro4) or 40DC (Euro5) pickups.
W W W . S P E C T O R B A S S . C O M
LAST CALL
Premier Guitar ISSN 1945-077x (print) and ISSN 1945-0788 (online) is published monthly by Gearhead Communications, LLC. Principal office: 3 Research Center, Marion, IA 52302. Periodicals postage
paid at Marion, IA 52302 and at Additional Mailing Offices. 2016 Gearhead Communications, LLC. All rights reserved. Reproduction in whole or in part without written permission is prohibited.
Premier Guitar are registered trademarks of Gearhead Communications, LLC. Subscribers: If the Postal Service alerts us that your magazine is undeliverable, we have no further obligation unless we
receive a corrected address. U.S. Subscriptions: $24.95 for one year. Call for Canada, Mexico and foreign subscription rates. Postmaster: Send address changes to Premier Guitar, 3 Research Center,
Marion, IA 52302. Customer Service and subscriptions please call 877-704-4327 or email lois@premierguitar.com. Printed in USA. Volume 21 Issue 4 April 2016
D'ANGELICO
EX-SS Deluxe
Tone, sweet tone. The smallest of all the
DAngelico semi-hollows, the 15-inch
EX-SS Deluxe boasts punchy tone while
remaining impressively lightweight.
Featuring our new Seymour Duncan
DA-59 pickups and a six-way switch for
maximum tonal variety, the SS Deluxe
is a beacon of tone. With only a post
behind the bridge, the SS is nearly fully
hollow, making way for the guitars
organic sound. Its gold Grover locking
tuners, gold Stairstep tailpiece, and
Skyscraper truss rod cover all stand out
to define DAngelicos Art Deco aesthetic
against its Midnight Matte finish, offered
only in the Deluxe Collection. Truly
a versatile instrument, the SS Deluxe
shines in any genre, clean or overdriven,
and at moderate or stage volumes.
Street price: $1,999.99
dangelicoguitars.com
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FISHMAN
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FISHMAN
Fluence Signature Series Pickup Sets for Greg Koch, Stephen Carpenter and Devin Townsend
Three of the worlds most expressive,
creative and daring players have joined the
Fluence Revolution, choosing Fluence as
the voice for their electric guitars!
Fishman R&D has collaborated with each
artist to deliver the spirit and essence of
their individual tone.
Each set of Fluence Signature pickups
incorporates two unique voices that
these playershave been searching for,
and may have achieved across multiple
instruments, but are now available at the
flick of a switch.
Street price: $259.95
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GIBSON ACOUSTIC
L-00 Standard
The legendary Gibson L-00, a small
body with a full J-45 sound. Developed
in the 30s, the L-00 was for years
an industry standard. The 2016 L-00
Standard captures the heritage of those
exemplary early models. So perfectly
balanced that the L-00 has unparalleled
projection not found in comparable
small body guitars. Specd just like the
iconic J-45 including mother-of-pearl
Gibson inlay, black Graph Tech nut, and
LR Baggs VTC pickup.
Street price: $2,349
gibson.com
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CELESTION
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EARTHQUAKER DEVICES
Sound Projector 25
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EARTHQUAKER DEVICES
Spatial Delivery
The Spatial Delivery is an oddball, voltagecontrolled envelope filter allowing you to step
outside the universe of funk while reinforcing
your secret love affair with auto-wah. It has 3
modes- Up Sweep, Down Sweep, and Sample
and Hold. With the Range, Resonance and
Filter controls, you can achieve subtle and
tame or super-emphasized filter sweeps.
Whereas in Sample and Hold mode, the filter
is controlled by random voltage and the Range
controls the speed.
Street price: $195
earthquakerdevices.com
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EARTHQUAKER DEVICES
Avalanche Run
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EARTHQUAKER DEVICES
Spires
OVATION GUITARS
Elite TX - 1868TX-GO
Heres where Ovation artistry runs
deep. The Elite series builds upon our
philosophy of constructing unique
instruments for visionary players. With
striking silhouettes and understated
finishes, Elite series guitars make a
statement all their own, but theyre
astute and reliable in any performance
situation. Their message is clear and
manifest: Youre here to shift the musical
landscape. Youre here to inspire.
This Elite TX features Ovations Super
Shallow Bowl, which is ergonomically
designed for comfort in any playing
position. A deluxe AA solid-spruce top
and Ovations legendary lightweight, yet
high-strength bracing give this guitar
tremendous sonic power. An ultrathin finish allows the soundboard to
resonate freely, and soundports on the
bass-string side of Ovations sculpted
cutaway composite body enhance
lower-frequency projection. Shaped
to offer the fast feel of an electric
guitar, the slim, hard-rock maple neck
delivers superior sustain, while the
OP-Pro preamp and OCP-1K pickup
produce uncompromising plugged-in
performance.
Street price: $799
ovationguitars.com
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WEB 9
OVATION GUITARS
Elite Plus - C2078AXP-AF
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FANE USA
Ascension F70
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FRYETTE AMPLIFICATION
Pittbull UltraLead Head
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Deliverance II
DIGITECH
Trio+
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DOD
Looking Glass
Step Through the Looking Glass Into a
New World of Overdrive.
Dial in the ideal reflection of your
sound with a set of powerful, yet simple
controls. You can keep things simple and
use the Looking Glass for tone shaping,
glassy boost and light overdrive, or go
further down the rabbit hole into the
raw, psychedelic sounds of a vintage
amp pushed to the brink of failure.
Featuring a new hybrid of Class-A
discrete FET design, the Looking Glass
asymmetrical clipping is so responsive
that it can go from one end of the
spectrum to the other with not only a
flick of a switch, but with pick attack
alone. Its true bypass, which allows
your guitar tone to remain pristine even
when the it is off and the power supply
input makes it pedalboard friendly. The
Looking Glass is collaboration between
DOD and the boutique pedal company
SHOE Pedals.
Street price: $149.95
digitech.com
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RANDALL AMPLIFIERS
EOD88
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KH103
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WASHBURN GUITARS
PX-SOLAR160C
The PX-Solar Series is the signature line
of Swedish guitarist and producer Ola
Englund (The Haunted, Feared, former
Six Feet Under...). The PX-SOLAR160C
is a sleek looking shred machine for
those who don't need a whammy bar.
All 24 frets of its ebony fretboard are
accessible thanks to its full access
maple neck. The alder body is fitted
with exclusive Duncan Solar Pickups
designed to Olas specifications and
Grover 18:1 tuners get you and keep
you in tune quickly and accurately. The
PX-SOLAR160 is also available in Matte
White with chrome hardware and left
handed versions.
Street price: $649
washburn.com
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HD10SCE
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GRETSCH GUITARS
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CORT
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CORT
GA5F-MD
The new Grand Regal Series from Cort is
based on the popular Grand Auditorium
body shape that sits right in between the
dreadnaught and concert-size shapes for
a full but balanced sound. The 45mm nut
width also makes it ideal for fingerstyle
playing. Offered in various models with
solid Sitka spruce top with mahogany
back and sides, solid European spruce
top with Madagascar rosewood back
and sides and solid red cedar top with
blackwood back and sides, the Grand
Regal Series offers variety of choices to
suit virtually any musical style and taste.
Street price: $399.99
cortguitars.com
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TAKAMINE GUITARS
LTD2016 Decoy
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TAKAMINE GUITARS
EF360S TT
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GUILD GUITARS
Starfire II ST
Introducing the Starfire II ST, a
hollowbody guitar with a graceful
single Florentine cutaway and extra thin
mahogany body. The Starfire II ST comes
equipped with dual LB-1 Little Bucker
pickups, replicas of Guilds original
smaller size humbucking pickups. These
pickups, which have a footprint that
falls in between a full size humbucker
and mini-bucker, define the Starfire IIs
uniquely-Guild sound. Other premium
features include a mahogany neck,
rosewood fingerboard, elegant ivory
white body binding, and a beautiful
high gloss natural finish. This model
features a Tune-O-Matic bridge and
stopbar tailpiece for increased sustain
and stability. The Starfire II is a welcome
addition to the Starfire family, offering
Guilds classic vibe and vintage tone.
Street price: $799
guildguitars.com
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GUILD GUITARS
OM-240E
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JHS PEDALS
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PANAMA GUITARS
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GOODSELL AMPLIFIERS
Mark IV Series Custom Amplifiers
Goodsell's Custom Mark IV Series amps feature
a cathode-follower 3-way tone stack, offering
more control over Goodell's sumptuous tubedriven sonics. Available with reverb and awardwinning bias-vary tremolo. Configurations
include 1x12 combo shown here; 2x10, 2x12
and 1x15 combos; and head-only versions built
to order. Call Richard Goodsell today to discuss
your next custom build.
Street price: Starting at $1,499
superseventeen.com
CE DISTRIBUTION
Apex Tube Matching
Apex Tube Matching is
performed entirely in-house
on our brand new custombuilt tube matching system
using our custom-designed
software testing and matching
methodology. What this means
is we are not matching your
tubes on inferior matching
hardware or using outdated
equipment. Rather, we are using
state-of-the-art equipment
designed and built to our
specifications using our years
of experience in the music
industry. Our systems are highly
robust and extremely accurate,
measuring current and voltage
to provide the best possible
matching for our tubes. These
systems are a result of many,
many years of experience and an
incredible amount of planning,
design, prototyping and testing,
resulting in the best tube
matching available in the entire
industry. We know you'll find
our tube matching exceeds your
expectations in every way!
Street price: TBD
apexmatching.com
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JENSEN SPEAKERS
Nighthawk
Jensen Musical Instrument
Speakers is pleased to announce
the latest addition to the Jensen
Jet series, the 12" Nighthawk. The
Nighthawks sound is warm, smooth
and open with strong, throaty note
definition which is complemented
by crisp, clear highs. It has the
perfect combination of growl,
power and tone.
The Nighthawk is the first Jensen
speaker with a 1.75" voice coil.
With its 50 ounce ceramic magnet
and specially designed frame and
cone, the Nighthawk delivers 75
watts of rich tone.
This new Jensen speaker once
again demonstrates Jensens
tradition of giving players what they
are seeking in tone. Watch for more
Jensen Jet series speaker designs
on the horizon.
Street price: $109.20
jensentone.com
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PRS GUITARS
SE 277
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PRS GUITARS
SE Acoustics
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PRS GUITARS
CE 24
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PRS GUITARS
S2 Standard Satins
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TV JONES
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TV JONES
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TV JONES
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DWARFCRAFT DEVICES
Twin Stags
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DWARFCRAFT DEVICES
The Necromancer
SINGULAR SOUND
BeatBuddy Mini
From the makers of the award-winning
BeatBuddy, comes the newest product:
the BeatBuddy Mini. Bring the drummer
right into your home with the BeatBuddy
Minieffortlessly insert fills, transition
from verse to chorus, add accent hits,
throw in drum breaks, and more, to
create an unprecedented live drummer
effectall with the simple ease of a
guitar pedal format.
BeatBuddy Mini enables full, handsfree, creative control of the beat. This new,
smaller version of the critically-acclaimed
BeatBuddy has many of the original
products features and functionality, but is
only half the price ($149).
No programming is necessary. Just cue
your drummer and start jamming.
Street price: $149
mybeatbuddy.com
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ENGL AMPLIFICATION
Artist Edition E651A
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BLUGUITAR
BluGuitar Amp1
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ENGL AMPLIFICATION
What else would you need to step in the world of ROCK than
two well-dressed channels of Clean and Lead Tones? The
New ENGL ROCK MASTER delivers more. The built in Power
Soak offers all colors of pure tube excitement and extends
the tone range for each channel. Warm compressed clean
tones, smooth crunch fatrhythm and lead- or even fuzz
orientated sounds all ina handy format.The perfect matched
EQ section including the Mid Boost plus modern features
likeabuilt in digital reverb, the switchable FX Loop and
the frequency compensated line out is the perfect base to
master the sound of ROCK.
Street price: $999.99 (heads); $1,099.99 (combos)
engl-amps.com
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THORPYFX
Peacekeeper
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THORPYFX
Warthog
WEB 41
METROPOULOS AMPLIFICATION
Metropoulos Metro-Plex
The Metropoulos Amplification MetroPlex delivers the iconic plexi tones
you crave while offering the versatility
that you demand. The Metro-Plex's
uncompromising master volume offers
zero tonal sacrifice from a whisper to
a scream. It features a switchable high
voltage FET boost. You can select your
mode from '68 Superlead, modified
'68 Superlead and '66 45/100. From
Hendrix to EVH, iconic plexi tones are
available at the flip of a switch.
Street price: $3,550
metro-plex.net
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BOURNS
Better. By people.
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TECH 21
VT Bass 500
Not too big, not too small, even Goldilocks
would say the VT Bass 500 is just right. This
6.5-lb., 500-Watt head features an all-analog
SansAmp pre-amp. Key to its flexibility, the
unique Character control sweeps through
decades of the most distinctive bass amp
tones on the planet. Get thick, girthy tones in a
compact, all-metal enclosure. An optional B112VT cabinet is available to deliver the low end
right to your rear end.
Street price: $499
tech21nyc.com
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TECH 21
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SHADOW GUITARS
JM 600 MCE
Shadow's line of all solid wood acoustic
guitars offers exceptional quality and
value. The JM 600 cutaway dreadnought
features a German Spruce top with solid
Mahogany back and sides for warm,
balanced tone. The Indian Rosewood
fingerboard, bone saddle and nut adds
clarity to the balance and looks as good
as it sounds.
The JM 600 MCE features the
Microsonic HD-VT pickup tucked
discreetly into the sound hole offering an
outstanding dynamic range to reproduce
the subtleties and nuances of this
finely crafted guitar. Cleartone strings
and Shadow's 18:1 MB machine heads
complete this outstanding package.
Shadow has a long history of building
exceptional products featuring time
proven German craftsmanship and
attention to detail. The JM 600 calls on
decades of guitar building experience
and rewards the musician with a fine
instrument of uncompromising standards
and value.
Enter to win a Shadow JM 600 MCE at
shadow-electronics.com
Street price: $699
us.shadow-electronics.com
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MODTONE
Dirty Duo
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QUEST-TONE AMPLIFICATION
Versalux
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TETON GUITARS
Arm Rest Guitar
Boom! Finally, high quality, great
sounding, comfortable arm rest guitars
that you can afford. All six new Teton
Guitar Arm Rest models feature solid,
rarefied sitka spruce soundboards
which helps the guitar stand out and
cut through acoustic mixes. Fantastic
Rosewood back and sides are set off by
the Flame Maple binding and scalloped
arm rest. Pure Comfort.
Usually found on custom models,
these Arm Rest guitars start at the
exceptional value of $799 MSRP and
come in Auditorium, Dreadnought and
Grand Concert body shapes. Cutaway
models come equipped with Fishman
electronics.
Come visit Teton Guitars on our
YouTube channel and hear the tone
and projection from these comfortable
guitars. Then hop on over to your
independent music dealer to play them
for yourself.
MSRP: $799.99
tetonguitars.com
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REDPLATE AMPS
BlackLine
WEB 51
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boost for rock, turn on both for endless sustain. The active
master volume means no attenuator is needed even for small
rooms and a fully buffered tube effects loop lets you place
your time based effects where they belong, after the preamp.
Another RedPlate amp that truly sings!
Street price: $2,699 (head); $2,899 (combo)
redplateamps.com
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