Mountainview Publishing, LLC

INSIDE the
Vince Cunetto on
the birth of
Fender’s classic
The Player’s Guide to Ultimate Tone
$10.00 US, March 2004/VOL.5 NO.5 Report TM

Relic beaters and

the new Vinetto
guitars!
Vince Cunetto
14
I f you currently own a pristine vintage Stratocaster or Telecaster built during the Golden Era in
Fender history (1952-1964), odds are you rarely take yours out of the house. Yes, Keith, you do,
but you also have an army of gremlins to watch over them and you’ve probably given away more
Relics revisited… blackguard Telecasters than you own… For the rest of us, unless we’ve managed to hold on to a
great old Strat or Tele since the days when they were affordable, these guitars have just become
Our take on a too dear. Well, don’t despair… not all of the classic Fender guitars of old are necessarily stunning

‘Cunetto’ relic
14
The new Vinetto
Legato
16
Meet Lou
Rosano…
Custom amp
builder for Danny
Gatton & Keith
Richards... tone monsters or great players today. In our experience, most 40 year-old guitars require some
restoration to be truly playable again. Tuners wear out, pickups die, and necks just get played out
19 over time. Once you’ve replaced them, there goes the integrity of your ‘original’ guitar, if you
care about such things. We don’t, but when you’re paying $10,000 for a vintage Strat or Tele that
Ruined by the is supposedly “all there,” you better. So how did prices for vintage Fender guitars climb from

Louis Electric $200 or less in the ‘70s to $10,000 or more ($20,000 for a custom color Strat, and there are far
more around today than Fender ever painted). Did a hurricane level all the good punk ash grow-
Amplifier Co. KR12 ing in the Louisiana bayous in 1956? Was the sole copy of the recipe for Fullerton’s secret sauce
lost by CBS in 1964, never to surface again? Was Janet Jackson’s Super Bowl half time nipple
‘reveal’ a random act of nature? No! As Baby Boomers grew older and their spending power bal-
24 looned with their waistlines, the market for vintage Fender guitars exploded simply due to supply
(dwindling) and demand (ballooning). Oh… and Japanese dealers were among the first willing to
Back Issue Index pay top dollar, so while we were still whining over the demise of the $200 ‘60 Strat, container
11/99 - 1/04 loads of vintage Strats and Telecasters were leaving the country by way of Los Angeles and
Seattle. If you are willing to buy a $250 ticket to a big guitar show on Friday before the doors

www.tonequest.com
 cover story

open to $10,000 each. We have bought, played, restored and upgrad-

the pub- ed Strats and Teles from virtually every era, including a 1956
lic, you hardtail Strat (pictured left) and a ‘54 Tele, stock American
may Vintage reissues, Custom Shop Strats, early and more recent
still see Relic Nocasters and Stratocasters, and many Japanese
dozens Vintage reissues made during the past 10 years. We’ve played
of gui- Masterbuilt guitars by John English, Mark Kendrick and
tar John Page, and we’ve sat cross-legged on the Philips Arena
cases stage, six inches from Eric Clapton’s tour rack, eyeballing his
stacked curiously plain (by request) Stratocasters built by Fender
on dol- master builder Todd Krauss (thanks again, Lee). We’ve
lies in otherwise empty booth space rented by Japanese deal- played utterly inspiring $400 Japanese reissues (after making
ers. By Sunday, the only evidence of their presence will be the a few upgrades, of course), plain vanilla American Vintage
torn paper bands littering the floor in which their crisp, new reissues that often
$100 bills were bound, and still more guitars will be headed seemed as good as it
to Japan. What else is new? We happily relinquished our gets, stellar early
world domination of the TV and automobile industries to Custom Shop Strats
Japan, why not our finest guitars, too? You’ll see ten times as (one of our favorites
many new Fenders at a vintage guitar show today than any- was an 8.5 pound
thing that remotely qualifies as ‘vintage.’ Does a 10-pound, Shoreline Gold ‘62 reis-
mustard yellow ‘79 Telecaster really deserve ‘vintage’ status? sue with an offset neck
Does a 20 year-old bottle of Mad Dog? One of our favorite signed by Kenny Gin),
amusements at big guitar shows is to linger near the main and lots of superb
entrance, scanning the crowd for gimpy old guys toting a Relics. But the defining
beat tweed case and a wary, “Ain’t gonna get screwed on this moment for the Relic
one” scowl. Old school, Bryl Cream and dip guys from Series occurred for us
places like Oak Cliff in Dallas, home of the first 7 Eleven, two years ago at the
The Bronco Bowl, Charco Broiler, The Pig Stand, chicken Dallas Guitar Show…
fried steak and gravy and Stevie Ray Vaughan. If you call a Like everyone else, we
cab late at night from certain places in Oak Cliff, they just spent most of the day
won’t come get you. Not for love or money… not even for Joe admiring notable exam-
Barden. Now that’s our kind a party! We do digress…Dealers ples of classic vintage
are supposedly prohibited from lurking near the entrance at guitars. But twice dur-
guitar shows (also called the ‘shark pit’) and pouncing on ing that day, pro gui-
unsuspecting sellers, but if you want to see the dark under- tarists whose opinions
belly of the used guitar bidness, watch the entrance. Or the we respect mightily
parking lot. We’re not mad or bitter about it, we’re just urged us to check out a
sayin’… new 2001 Relic
Stratocaster at the dis-
As the supply of vintage Fender Strats and Teles grew play booth of Dave’s
increasingly scarce and expensive in the ‘90s, the timing was Guitar Shop. Think
perfect for aged ‘replicas’ of old Fender guitars, and who about that… At the
better to knock off vintage $10,000 classics than the company Dallas Guitar Show — one of the largest vintage shows in the
that built them in the first place? Fender delivered, and the world — a new Relic created the biggest buzz among the vet-
Relics were introduced in January 1995. The focus of our eran players present that we knew.
cover story this month is on one of the principle members of
the team that created the first Fender Relic guitars, Vince The point is, each guitar is as different as the people that
Cunetto, and his new Vinetto guitars. play them, and anEric Clapton’s main Strat
instrument that truly connects with you is
a priceless find, regardless of its age, value or scarcity. On
Not every player embraced the idea of buying a beat up new that weekend in Dallas not so long ago, it was a Relic
guitar, but the Relic and Time Machine Series are among the Stratocaster that made a connection with us, and with some
most successful lines in Fender history. Some models are very experienced and knowledgeable veteran guitarists…
back-ordered six months, and the limited edition Stevie Ray With that, it is our pleasure to introduce you to Vince
Vaughan #1 Relics being built now will all be pre-sold at Cunetto. Enjoy…
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2 TONEQUEST REPORT V5. N5. March 2004

 cover story
TQR: Did your interest in guitars develop more as a play-
er or as a builder?
Actually, I think it started from being a listener first. I have a
sister who’s about 8 years older than me, and she was sort of
our babysitter. I’d hang with her a lot, and of course she
always had the radio on. She’d tutor me about the tunes on
the radio and the bands. Little did we know at the time what
kind of ground was really being broken by those bands we
were hearing. Then she when she got a car, we were mobile
and there were always garage bands you could check out.
There was a great music thing happening in St. Louis — I
guess it came from that old R&B, soul and blues vibe from
Ike & Tina, Johnny Johnson, Albert King and Chuck Berry.
There was this great radio station, KSHE — they called
themselves “Real Rock Radio,” and they meant it. They were
bringing Janice Joplin to town way before anybody knew
who she was. So the good stuff was always around. Then one
day my sister brings home this gigantic Kalamazoo acoustic.
I have no idea what model it was, but I’ll never forget the
huge fingernail divots in the first and second frets on the first
three strings. Somebody had put gut strings on it, so the frets
were OK, but the ebony board was dipped! Every time she
went out, I’d sneak into her room and play it. It was the first
‘relic’ I ever saw. I got my own guitar on my ninth birthday
and I’ve been cursed ever since.
TQR: Did you ever receive any structured training in gui-
tar construction, repair, or finishing?
Not really. Like
a lot of guys,
I’m pretty much
self-taught.
There really
wasn’t any for-
mal training
back then. You
start by taking
guitars apart,
putting them
together,
destroying a
few, and build-
ing a few that
don’t even
work. Maybe
you end up
doing repair in a store somewhere, and you learn on some-
body else’s stuff. Everybody has a different path. It’s funny
how you come into experiences that eventually evolve into
your passions. My dad was a pharmacist, but he used to do
carpentry on the weekends to relax. I think that’s where I
started to pick it up. I’d hang with him and hold the cut end
TONEQUEST REPORT V5. N5. March 2004
while he worked the saw. You could sense the satisfaction he
got from building things, so between that and the guitars and
the Beatles and the time, it all just came together. I remember
cutting my first solid body from a chunk of 2" by 12" scrap I
found at a construction site. I traced out the shape and walked
up to a local cabinet shop to have the guy band saw it out.
You couldn’t get parts, and trying to find a pickup was
insane. There was nothing out there unless you cannibalized
from something else. I screwed on some parts I’d stripped off
a Japanese black beauty and thought I was on to something.
No neck pocket, no cavities… just stuff screwed on a piece of
wood. I guess I was always foolin’ around with something
electronic, too… speakers, amps and tape recorders. When I
was about 13, we moved to a new place that was a stone’s
throw from a small auto body repair shop. The owner hap-
pened to be a friend of my older sister’s, and he used to let
me hang out. That’s where I learned how to paint. I’d do
whatever I could to be helpful so he wouldn’t run me off too
quickly, and I eventually learned how to paint and prep-sand
and I learned about lacquers. He would let me use his guns to
paint our bikes or whatever, and that was kind of going along
with the guitar thing.
TQR: How did you acquire such a thorough knowledge of
vintage Fender guitars?
What I really wanted was a Les Paul growing up, but there
just weren’t that many around, which was fine, because I
couldn’t have afforded one anyway — but there were always
Fenders… Mustangs, MusicMasters,Teles, maybe a Strat.
Guys had ‘em here and there and you got to check them out
first hand. You talk one of these guys into letting you borrow
it for a while, and the first thing you do is take it home and
take it apart! You
study it inside and
out and find out
what it’s all about.
They were simple,
yet pretty damn
effective. There was
just something that
appealed to me
about their simplic-
ity and their tone.
Eventually, I started
doing repairs and
refins for people.
Then in the ‘80s, I
began making bod-
ies, necks, parts,
and building repli-
cas. By then I was
living in Kansas
City and I’d started
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3
 cover story
playing in bands again and hanging with Jim Colclasure. He
worked out of his house and he would call me up and say,
“Hey, I’ve got this cool guitar,” and I would go over and take
a look at an old Broadcaster or some old Strat, 335 or an
amazing, pristine whatever. All I ever really wanted was a
sweet old blackguard Tele, but there was no way I could
afford it. I started to run local ads, buying and selling some
vintage guitars myself, and I went to the vintage shows to
hone my knowledge of the old stuff — specs and things like
that. When you’re laying out your hard-earned cash for an old
guitar, you have to know what you’re looking at — it’s that
simple. But I know in the back of my mind I was always
thinking that eventually I was going to get a call from some-
body with a ‘52 Tele they wanted to sell for $200. Needless
to say, that never happened. That’s when I really started to
work on building my own reproductions for myself. I started
making pin router templates for Telecasters, templates for
pickguards and necks, and just trying to make the ultimate
replica of a guitar I couldn’t afford!
TQR: Where did you learn to use the pin router and all
the skills that you needed to build the parts?
That was pretty much just self-taught. You start digging
around, and the books were coming out by then, and you just
had to figure it out. You might not do it exactly like the way
they did it, but once you realize what the tool is and how it
works, then it’s just a matter of putting your brain to it and
doing it. Some of the specs were there, but I would also take
guitars apart and spec them out. If I didn’t have the tool, like
a pin router, I’d find a shop that had one and then con them
into selling me some tool time. Of course, I was always inter-
ested in the finish aspect of it because it went back to that
whole thing about cars when I was a kid.
TQR: How did Jay Black and Fender enter the picture?
One night in like ‘85, Jim Colclasure came over with Jay and
they hung out when I was working on some Teles, and we got
to know each other. When I’d be in New York for business,
I’d stop by and see Jay when he worked at Roger Sadowsky’s
shop. Eventually, Jay moved to Corona to work with John
Page and Michael Stevens at the Custom Shop, and one day I
was talking
to Jay and
he was
telling me
about not
having the
right
decals for
some gui-
tars, like
Vince Cunetto
Tele
4 TONEQUEST REPORT V5. N5. March 2004
Customs or mid-sixties Strats they were building. I told him I
could do all the art work for him, which I did, and they made
some of the specialty decals off that artwork. Of course, this
was way before Adobe Illustrator and scanners. I had to use
reference shots from headstocks, old “stat” cameras, rubdown
type and a lot of hand work, but they looked pretty darn
good. I guess that was the start of my relationship with
Fender, the company.
TQR: And the relic concept came out of your relationship
with Jay?
Well, the concept of aging had been unofficially happening in
the repair industry for a long time. A lot of the guys would
restore a repair or a spot refinish to make it match the rest of
an old guitar. I’m sure there are lots of old guitars that had
been repaired in that fashion, and probably nobody will ever
know. That’s the idea, right? You want the repair to be as
invisible as possible, and if the guitar is old and beat, then the
repaired area has to match it. But as far as the concept for an
aged production guitar? I’d have to say it became a reality
because of Jay Black’s persistence and John Page’s vision.
TQR: So how did you get the gig?
Well, now it’s the
‘90s and I’d been
doing guitars and
parts for Teles
and Strats — like
bodies and pick-
guards. I’d take
this stuff to guitar
shows and sell
them to dealers
and repairmen.
Then I started
fooling around
with aging the
parts, because I
was just trying to
get myself a gui-
tar that looked
like the guitar I
wanted. I still have a couple of aged guitars that I built for
myself back then that are as good as, if not better than the
originals, in my mind. Anyway, I just kept working on it and
building guitars. Sometimes, I’d take them to guitar shows
and show people just for fun, but I had to be really careful
about it. Remember, I was doing quite a bit of vintage trading
myself, so I didn’t want people thinking I was faking vintage
guitars. I would show a few select people a guitar I’d built,
but then they’d give you this cross-eyed look like, “Don’t you
sell vintage guitars too?” and I’d say, “Yeah, but I never mix
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 cover story
the two, I swear!” I remember having a lot of fun with Norm
Harris at one of the shows. I put one of my guitars in a real
brown tolex Strat case and pulled him over. “Hey Norm, what
do you think of this one?” and he pulled it out and he was
like, “Wow, this is really nice. Where’d you dig it up?” Of
course, when I told him that I built it in the garage he was a
little surprised, but that was really fun, because Norm is one
of the best there is. At that point in my life, I thought the ulti-
mate dream job would be to just make reproduction Fenders
from the ‘Golden Age.’
In 1993, I moved to Colorado with my family and I got back
into the advertising and marketing communications consult-
ing business. I’d sworn to myself that I was going to grow up
and never work on guitars again. I guess I thought it was
counter-productive and wasn’t really ever going to pay off —
like the guy that sells all of his equipment because he never
got a record deal. I didn’t take a single tool to Colorado. I’m
living in the High Country and Jay Black and I are talking
one day and he asks, “Are you still doing that stuff?” and I
told
him,
“No, I
decid-
ed to
leave it
all
behind
because I have children to raise now and I don’t really have
time to diffuse the focus of my life…” He says, “Great, but
do you think you could do me a little favor? I have an artist
and he needs a pickguard.” I said, “Yeah, I could do that. In
fact, I think I have a couple of the pickguards with me.” I
sent one out to Jay and he really didn’t tell me much about it,
but I think it was for Ronnie Wood. At that time, Jay was
working on guitars for a lot of high profile clients like the
Stones, Clapton, Jeff Beck, on and on. In fact, Jay and I were
talking about this just the other day — about how we got
started on the entire idea of doing the whole guitar. He
reminded me that he had a guitar he was working on for the
bassist and producer, Don Was. Jay built him a bass and Don
really liked it, but he was like, “I can’t play this. It’s not me.”
It’s like coming to school with a brand new pair of shoes, and
that was sort of Don’s take on the whole thing.
TQR: Didn’t that story get attributed to Keith Richards?
There may have been a similar incident with Mr. Richards at
some point, however, I can’t say for sure. I do know that on
more than one occasion I had the opportunity to be in very
close proximity to Keith’s gear, as well as Ronnie’s guitars,
and I have seen some that looked incredibly similar to guitars
I’d worked on with some of the Custom Shop builders. But
then again, if I’d really done my job, who could be sure?
TONEQUEST REPORT V5. N5. March 2004
So, to
me,
you’ve
got a
few
events
and
some
impor-
tant
artists,
Vince with John Page
and all
of this stuff was working in Jay’s head. We were just shooting
the breeze one day and talking through it. People were buying
blue jeans that were already beat up, they would spend a lot of
extra money for a worn leather jacket, and the vintage market
was going nuts with people paying $10,000.00 for an old
Strat. Why not guitars? It wasn’t more than a couple of days
before Jay called and asked, “Do you still have any of those
aged guitars — that thing you were doing a while back?” I
did, so he says, “Why don’t you send one out? I want to show
it to John Page and see what he thinks.” I sent him a Strat and
he took it in to John, who looked at it and said, “Cool, another
old Strat.” Jay said, “No, this is a new Strat.”
That’s when John and Jay started putting two and two togeth-
er and John greenlights the project. “Okay, this might work.
This is something I think we can do, but don’t tell anybody.
Don’t tell management. Do it under the radar. Take the parts
that you need and we’ll go from there.” This was the Fall of
1994, and we started doing it. I was getting boxes full of
parts to play with — mostly scrap raw bodies and necks for
finish tests. Jay was sending me the parts that were painted
with the undercoats and finishes they were using back then,
which was poly and some lacquer. The finishes were really
thick, and I just couldn’t make them look real. We tried lots
of stuff with the stock paint on them — sunburst, blondes,
butterscotches, but they just looked stupid. Finally, I said,
“Jay, I can’t do this. Send me some raw parts.” So he sent me
completely unfinished necks and bodies and I immediately
bought all the tools again and set up my shop — compressors
and guns and everything. So much for swearing off guitars…
I kept at it and finally nailed it with what we had to work
with. All the time, I was keeping lab notes to translate them
into production if we needed to. After looking at prototype
samples, they settled on the Nocaster and the Mary Kay Strat.
Page saw the final samples and said, “OK, we’re going to
show them at NAMM.” You know, I’ve always thought John
was a great guy personally, and of course he was very well
respected, but this was a pretty risky move. I don’t think he’d
really told anybody outside of the Custom Shop. He went out
and had a couple of Lucite display cases made for these two
guitars. This is NAMM 1995, and they set the whole thing
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5
 cover story

up. He’s got these two museum display cases with little brass lacquer they could spray with the exhaust equipment they
plaques on them that say ‘50s Nocaster and ‘50s Strat. had. From a business standpoint, without having a crystal ball
Dealers are coming up and looking at them and saying things to see how successful the line would be, out-sourcing was the
like, “Hey, that’s really cool that you guys have included a right decision. John agreed to it, and we put the business plan
couple of your old guitars in here for a tribute to your her- together — a rough plan with the pricing and how we would
itage and your history.” Of course, the Fender reps were eat- send parts back and forth, and all of a sudden I’m looking
ing it up… “Yeah, great, but how many do you want to buy? around in Colorado for a place to do this, and the Relics are
These are new guitars.” People went nuts. In the first three in the Fender catalog. It was my dream come true. I was
days we had 200-plus guitars on order. actually going to build vintage reproduction Fenders for
Fender. So, after looking in Boulder, which didn’t work out,
TQR: Then what did you do? we decided to make the move back to Missouri. We picked
my ex-wife’s home town of Bolivar so the kids could be by
We really didn’t know what to do. We didn’t have a produc- family and I did the advance work in May of ‘95, rented a
tion plan going into NAMM, and we just thought that for facility, hired staff, designed the production and shop layout,
whatever might get sold, I’d consult with the Custom Shop to put in the spray booth up and got it going. Our first day in the
show them my techniques and the guitars would be done shop was the 5th of May and we shipped the first batch of 20
there. We didn’t really have a plan in place for setting up pro- Relic Telecasters on June 27th.
duction for a big order. So I stuck around Corona for a couple
of days after NAMM and stayed with Jay, and I would go TQR: How many people did you need to hire initially?
into the shop and work with the guys to try and get it started.
The plan then became one where I was going to go home and Two. It was myself and one guy and my sister-in-law at the
write the manual to send back, but while I was on my initial time. She was working for someone else, and she knew this
consultation it quickly became apparent where the biggest guy was a guitar player who was interested in the whole idea
problem would be. and we started setting everything up. For quite awhile it was
me, Tony Morford, and my then sister-in-law, Terri Shaw. I’d
TQR: Were they shooting nitro? prep, paint, do the aging and the body and neck relic’ing, and
Tony would do some of the final sanding and wear spots. He
Yes, they were, but not in a way we could use. Remember, started
building replicas of old, thin-finish vintage Strats wasn’t real- with
ly their bailiwick at the time. They were into making nice the
shiny new guitars with durable finishes. It’s not like they’d less
developed any new processes to do these two spec pieces. intri-
They just didn’t have the paint system to the point where it cate
could work for that stuff
particular process. until
We looked at it, he
and getting the sys- started
tem over the hurdle getting
would have been his
dumb. At that chops down, then he started doing more and more. Terri was
point, you don’t handling the parts. She was aging the plastic and the all the
really know what hardware, all the while keeping meticulous production notes
the future’s going so we could improve our production and the look of the gui-
to be beyond those tars. In the spring of ‘96, we found another facility that had a
initial orders, so nice open area, a good office area we fixed up, and lots of
you can’t tell how room. I bought a very nice state of the art spray booth and we
much to invest, if were set. That’s when we really got our production up, and
anything! Plus, by that time the concept had really taken off. So I hired five
there were a lot of people plus some part-timers, and even with all the improve-
environmental reg- ments in our process, the new guys I’d hired and the
ulations in advances we were making, I think we had something like 900
Southern California guitars back-ordered at one time (laughing). I looked at some
that regulated what of the old records the other day, and on April 1, ‘97 we were
kind and how much back-ordered 552 line Relics! That’s not counting the huge
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6 TONEQUEST REPORT V5. N5. March 2004

 cover story
order of customs and one-offs we were doing with the master
builders for various stores and artists. It was amazing!
TQR: Which standard line models were released dur-
ing the time you were doing the Relics?
Well, we introduced the Mary Kaye ‘50s Strat and the Relic
Nocaster at Winter NAMM ‘95, then added the Olympic
White ‘60s Strat and Three-Tone Sunburst Jazz Bass at
Winter ‘96, then the custom color ‘60s Strats, the Three Tone
‘60s Strat and the Oly White Jazz Bass in Winter ‘97, and
finally, the Two-Tone Sunburst ‘50s Strat at Summer NAMM
‘97. The stock custom colors for Strats were Burgundy Mist,
Lake Placid Blue, Fiesta Red and Daphne Blue.
TQR: What was your weekly production?
At first we were doing 20 guitars a week, and that’s how the
cycle was set up. We’d get the parts in batches of 20–20 bod-
ies, 20 necks, 20 sets of parts. As we got better and more effi-
cient with more people, we’d get it up to an average of 25 to
35, sometimes more. But there’s a ceiling on that. You can’t
really push it. I mean, the stuff has to look right, and that’s
the main thing. So, until you’ve got the right people trained
to do the right thing, you ship what you can.
TQR: How did you train your relic ‘artists?’
It was pretty intense. We’d get in as many old guitars as we
could. I’d do slide shows and training seminars from refer-
ence shots I’d taken over the years, and I took a lot of the
guys to the Dallas vintage shows on several occasions to
study guitars and bring back reference shots. I’d just give
them a camera and tell them to go crazy. When we got back,
we’d review everything. “Look at this screw. Look at why it
looks that way. Look at the screw above the pickguard and
how much more rust is on it than the one up on the tip of the
horn because it was in contact with the player’s hand. Look at
how the bridge is more rusted on this side because that’s
where the hand rests. Look at the strum wear here, the finger
wear there. Look at this. This is why.” I was talking about
this all the time and it got to the point where they would do
things for a reason. For instance, one of the guys would be
TONEQUEST REPORT V5. N5. March 2004
working on a guitar and I’d ask why they were putting the
fingerboard wear where they were. Then they would give me
their rationalization for it. “Well, I did it like this because the
guy that owned this guitar played like this.” We gave each
guitar its own personality. David Jensen, one of my Relic
artists, would say, “I think the guy plays like this… He is a
country player, so he is going to fret in the country corner. He
strums up here, so I’m putting more strum wear at the 20th
and 21st fret, and I’m going to age the pickguards to match
that.” It sounds nuts, but it worked. Then we even took it a
step further. You see, you can’t really pull off the illusion
effectively by just throwing a bunch of parts together — you
can’t just take any old aged part and put it any place on a gui-
tar and make it look realistic. It doesn’t work. You just get a
guitar that looks like it was put together from a bunch of old
parts. So every Friday before we shipped, we would take all
these parts that we’d done that week and lay them out on a 24
foot long table. We’d put all the bodies and necks and pick-
guards and bridges and tuners and whatever else out, then
we’d “make” the guitar. We’d lay each guitar out and start
building it for the right visual vibe. You match the right neck
to the right body, and of course, you’re looking for a good
neck fit to make sure all the mechanics work, but you’re real-
ly going after the vibe. Then you put on a pickguard and you
make sure it works with the body and neck, then a bridge and
tuners and hardware… like that. You’re going after the visual
so you just let the guitar speak to you. Then once the parts
were matched, we’d package them and put a sticker on each
part with a particular number of that guitar by batch number
and serial number from that batch. Then we’d send them all
back in these “kits” we’d put together based on the batch
numbers.
TQR: Is there a way to date the Relics that you built?
That’s something I want
to clarify. We didn’t actu-
ally build the guitars. All
we shipped out were fin-
ished and aged parts. The
guitars were built in the
Corona Custom Shop.
But, the answer to your
question is “yes.” On the
day we received a ship-
ment of parts and put
them into production,
we’d ink and stamp the
wooden parts with a date
code. The first digit was the year, next three the day of that
year, and the last two digits were the piece number from that
batch. For example, you’d have a batch number… say 6241.
That batch was put into Relic production on the 241st day of
1996, whatever day that is. Then each guitar in that batch got
-continued-
7
 cover story

a number, like 1 through 20 or 1 through 40. So in that batch going on and it kind of became public knowledge.
you’d have a guitar marked 624101, 624102, and so on, up to
624120 or 624140. TQR: Did Fender send you mostly figured necks, and was
there a cut-off for body weights?
TQR: So a Relic Strat with number 632513 was #13 of a
batch put into production on the 325th day of 1996.
Where did you stamp these numbers?

They’re inked on the heels of necks and stamped in the pick-

up routs of bodies. On the Nocasters, sometimes they’re in
the bridge pickup rout, so you can’t see it unless you take off
the bridge. The necks coming out of the Custom Shop to us were fig-
ured, for the most part. I don’t know if there was a formal
TQR: Was this system pretty consistent? spec for what we got on body weights, but I do know I saw
quite a bit of outrageously light stuff, medium stuff, whatev-
For the line Relics, yes, pretty much until the very end in mid er. You know, weight is not necessarily a measure of tone. We
‘99 when we were doing the end of the line stuff in less than did get a lot of lightweight ash, though. We used to weigh all
full batches. Then we went with a straight 6 digit date code, the bodies just for fun and in case we got a special weight
like 041499, for April 14, 1999. But for customs and one- request. I think the lightest Strat body I’ve ever seen was
offs, we always used the Fender order number and not the right at 3 pounds even. It was like picking up a piece
date or batch code. Some of these were 6 digit codes as well, Styrofoam with wood veneer stretched over it! It doesn’t nec-
so I guess a few could look like line Relic date codes, but if essarily sound so great though. You know, a real lightweight
they don’t start with a 4,5,6,7 or 8, they’re custom. I think ash guitar might be great for your bedroom, but it just doesn’t
there are a few that could be mistaken, but then the spec or hold up at stage volume.
color should tell the story.
TQR: Did you paint a wide range of custom colors?
TQR: Today, the early Relics are often described as
“Cunettos,” and a higher value is placed on them Yes, we did literally every custom color that Fender ever pro-
because of it. duced, and we used Dupont Lucite just like the originals. I
remember when I was shooting guitars back in the ‘80s try-
Yeah, I’m aware of ing to find some custom colors, you had to go with a
that. I guess the Duracryl or a different manufacturer — like a PPG paint —
“Cunetto Relic” thing and you would have to cross-reference it and maybe you
just works for folks to could find a lacquer or some other thing. At some point,
differentiate the differ- somebody at Dupont went in and reformulated all of the old
ent eras of the line colors and made them available again as Fender numbers. So
more easily. I’m cool you could go to a Dupont paint store and ask, “Can you look
with it, and it’s flatter- up Lucite #4692L?” and they would say, “Oh yeah, that’s
ing in a way. What’s Blue Ice Metallic. That’s a Ford Motor Company color.
really cool is that not
only did I get to make TQR: I’ve got a ‘99 Strat
my guitar building stamped with John Cruz’
dream come true, but name, but I don’t know what
out of that I somehow some of these other stamps
get my little page in signify.
the history of a guitar
that I’ve really been Usually, the last guy at
into all my life. That’s Custom Shop to touch them
amazing to me. The put his stamp on it. That was
weird thing is, we never really publicized or broadcast our usually the person on their
involvement while we were doing it. The whole mojo was end responsible for getting
that it was coming out of the Custom Shop, and I was fine us the parts we needed, and
with that, because it was and still is a Custom Shop product. I there were different guys
was just a vendor. I guess enough people knew what was over the years. So you might see a S. Murillo, a Kenny Gin,
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8 TONEQUEST REPORT V5. N5. March 2004

 cover story

or a John Cruz. They did the final inspection before it coats, and that’s it. But the
shipped. John Cruz is a great guy and went on to do the Time way we laid the color down
Machine Relics, some QA, and lots of other things. He’s a was critical to making them
master builder now and he’s doing that amazing SRV #1 look right, as well. Take a
Relic series. My hat’s off to him, ‘because I know how much Mary Kaye blonde for
work that’s going to be! Hey John, I love ‘ya, but if you get instance… The color coat
behind… don’t call me! is the classic translucent
blonde in a nice cream
TQR: The neck profiles vary, too. Sometimes we’ve seen color. Then on top of that,
an offset neck profile, for example. Can you review you lay an aged yellow
exactly what was done to the guitars at your shop? transparent coat and a clear
coat on top of that, and
Well, then the guitar is ready for
depend- relic-ing. And the nice
ing on thing about that, and the
what reason you do that, is when
kind of you go to wear out a spot
guitar it where the arm wear
was, appears, you see the layers
we of color, just like on an old
would guitar. We used to call it
do dif- the ‘jawbreaker’ effect.
ferent When you look at old gui-
things tars, the color underneath
to it. When we got the bodies, the first thing we would do the arm wear or the case wear on the lower bouts is different
was stamp the bodies with the batch number to identify them than the color in other places where there isn’t any wear-
and then we would stamp color numbers into them. So if it through
was going to be a batch of Butterscotch, we would stamp the
Butterscotch blonde number. Some of them were going to be TQR: It changes and fades in a different way. Same thing
used for Sunburst, and we would stamp that and then they with the back of the neck… The fingerboard and
would go into our prep process. We had a completely sepa- the back of the neck can be artfully done, and they
rate preparation process on top of what they did at the can be done in a way that is not very convincing.
Custom Shop, because a lot of times the sanding on the bod-
ies wasn’t quite right for our process. So, we’d hand sand all You bring up a good point. Like I said, what you have to do
the bodies to get out any orbital sanding marks that would be to make it convincing is give the guitar a personality. You
OK for a thicker finish, but not with the kind of lacquer that can’t just beat up a guitar and make it look like an old guitar.
we were shooting. For that, the prep had to be perfect It was never about just making them look beat up, and I do
because we were really barely putting any paint on them. So, enjoy seeing them well done. People will bring me guitars —
we’d hand sand the bodies and necks, roll the edges of the guys locally will say, “I think I’ve got one of your guitars,”
fingerboards to make them feel and play better, and do the and they will bring it by and I’m like, “Yeah, that’s one of
other prep steps like paste-filling and sealing. Then they went ours,” and it’s really cool to see them after a few years. It’s
into paint and relic’ing after that. great. I love looking at them and seeing how they have aged.

TQR: Would you agree that one of the reasons why the TQR: You mentioned Relic Jazz Basses were part of the
Relics often sound so good is due to the finish line. I have never seen one. Did you do any P-
being thinner? Basses?

That’s one theory, but I think it’s a pretty solid one. To me, the
more the wood can do its thing without being encumbered, the
better. Same reason why dancers wear tights and not coveralls,
I guess. The finish we shot was definitely thin. It was like three
or four or five coats of really thin, watery lacquer on those
bodies. Our finishing schedule involved the prep, then a light
sealer coat, a couple of coats of color and a couple of thin clear
Relic Jazz Basses are sweet, and we did quite a few. We did
do a few P-Bass one-offs, but not as line product. There were
two 50’s P-Basses I did with Mark Kendrick that are particu-
larly memorable. The assignment was to duplicate the bass of
a very famous player who didn’t want to keep touring with
his old one anymore. We made two of them, and now when I
see the artist, I can’t tell which one of the three he’s playing!
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TONEQUEST REPORT V5. N5. March 2004

9
 cover story

TQR: I had this thing for Shoreline and Aztec gold Strats
for a while, and we would get them and it was like,
“Yeah, this is good, oh… this one is even better,”
and you are always looking for that special
one, whatever that may mean to you, and I’m not
sure that it ever really ends. It hasn’t for us…

In my mind, the reason why the Relics were so successful

and why they are still so highly regarded is that they speak a
language that more people can understand and one that they
want to hear. It’s like what Gordon Kennedy says about a
planning it for a while, doing a few more Relics in-house,
good song… Not only does it have to be well-crafted, but it’s
and they had completed the R&D and tool-up for the Time
got to be what people want to hear. Those guitars connected
Machine series for Winter NAMM ‘99. John Page had left the
with people. The only reason that you would have an affinity
Custom Shop to do the Fender Museum, and there was new
for any guitar is because of the unknown thing about it that
management in the Custom Shop. And there was the new
connects you to the guitar. I know how much work we put
paint capability… Fender invested heavily in a new ‘clean’
into making those guitars connect. It wasn’t about making a
painting facility in Corona. It meant they could shoot more
perfect thing, but it was about putting something into the gui-
lacquer and be in compliance with environmental laws, so
tar. When a person realizes that something has had a lot of
they didn’t need us for that part of it. Of course, I’d like to
attention put into it, there is a connection there. It’s like walk-
think that the success of the Relics and their thin lacquer fin-
ing into a Frank Lloyd Wright house or driving a Jaguar. You
ishes helped facilitate the decision to make that big invest-
realize that everything about this has been thought out.
ment, but you never know. I do think management was learn-
Somebody took a lot of time and devoted a lot of care to
ing what consumers were looking for, and having new paint
make this. That translates when you pick up the guitar. It’s
facilities fit into that. But I’m sure Fender was also just doing
totally about the connection between the player and the gui-
the math. Obviously, if you are paying someone to do some-
tar. That’s why guys like old guitars. It’s like, “There is
thing for you, it’s going to be cheaper to do it yourself if you
something
can figure it out and make it work. During the time that we’d
about this
been doing our thing, they’d had plenty of time to figure out
guitar that I
their own techniques. We never did share our process, by the
feel, that I
way, but it’s not rocket science. You just have to figure it out.
Custom “one-off” order code connect
I knew it was coming, and by then I was ready for a change,
with.” And
with no regrets. Remember, I got into the whole thing think-
that’s also
ing I’d do 200 guitars or so and maybe, if we were lucky, it
what I’m
would go a year and a half and that would be it. Well, four
trying to do
years and 4800 guitars later things were looking like they’d
with my
gone pretty well, and I was damn happy with it all the way
new guitar.
around. The cool thing was that the Relic project was done
I just want
without any contract, ever. I did it on a handshake with John
it to have a connection. If a guitar doesn’t resonate with you,
Page. He said, “This is what we are going to do,” and it was a
and I mean that figuratively, you’re not going to get into it. I
done deal. That’s the way it worked for us. I had done way
think the Relics just seem to resonate more with more people.
more than I’d ever set out to do, or imagined I could in that
Then again, there are a whole lot of people who never under-
realm, and I’d been part of a pretty outrageous and revolu-
stood the Relic concept — who would never buy one and
tionary concept in the industry, taking their product mix in a
think it is ridiculous.
new, yet old direction. I’d been part of putting some really
great guitars in the hands of lots and lots of people who real-
TQR: How did the Relic chapter of your life end?
ly liked them, including some of the biggest names in the
music business — my heroes. Where do you go from there?
Well, by ‘98 things had evolved to the point where I think it
The thing is, David, it was a great run, and I was damn lucky
just made business sense for Fender to take the work we did
to get it. So, officially, they took over in January of ‘99, but
on the Relics in-house, and they started to plan how to make
we had stock and back orders that kept us shipping until June
the transition happen. Custom Shop management at the time
of ‘99 — almost four years exactly to the day when we
never really came out and told me who would or wouldn’t be
shipped the first batch.
doing what by any particular date, but I knew it was coming.
You could just tell something was up. I know they’d been
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10 TONEQUEST REPORT V5. N5. March 2004

 cover story
TQR: This is mildly reminiscent of the conversation we
had with Tom Murphy and the story about who was
involved in getting the Les Pauls right at Gibson.
He is still doing it with a razor blade… sitting there
paint-checking those guitars. I don’t know how he
does it.
Tom’s a genius and
a real artist. I’ve
known “Murph” for
a long time and
I’ve looked at his
stuff and just been
blown away. The
first time I saw
some of it, I asked
him, “Murph, how
in the hell do you
do it, man? It looks
so right!” and he
says, “Don’t tell
anybody I told you
this, but…” He let
the secret out, finally. “I do it with the knife,” and I’m like,
“Kiss my ass, you do not!” and he says, “I do, too. I cut
every one of them open.” That’s why it looks so real. I know
he didn’t let that out publicly for a long time, but then he out-
ted himself.
TQR: How did you do the finish checking?
We didn’t actually do any finish checking on any of the line
guitars, because it wasn’t part of the spec at the time for us.
Only later with the Time Machines did they start that as a
regular feature. But we did offer it is as an option on some of
the customs and one-offs. I worked with my old buddy the
chemist at my lacquer vendor’s to develop a lacquer that
actually did the checking on its own. He blended some stuff
using old materials and some very brittle solids so that you
could actually shoot it on the guitar and it would check.
Sometimes you would have to enhance it with a little bit of
temperature change, but for the most part it would do it all by
itself. It was formulated in a way that you could shoot it on,
let it dry and hit it with a flow coat — a thin coat of lacquer
on top of it, which would change the surface tension of the
layer enough to make it crack. It was cool. It worked great. In
fact, I still have a bunch of it left that we never ended up
using. I was thinking about repackaging it and selling it on e-
Bay!
TQR: So we’ve covered the end of your Relic era. It was
time to move it in-house and then you got out of
guitars all together…
TONEQUEST REPORT V5. N5. March 2004
Yeah, I went back into the advertising industry.
TQR: Let’s talk about your new guitars.
I feel like the actor that comes onto the Tonight Show to plug
his new movie and they make him talk about his old career
and all he wants to talk about is the new movie. Sure I want
to talk about it (laughing). The Vinettos… Yeah, we are get-
ting that going.
TQR: How did you end up with the first design — The
Legato?
Well, I’d been working on that one in my
head for a while. I wanted to do a guitar,
but I didn’t just want to do a clone with a
different headstock. I wanted a design that
would be different enough that it would be
my own and be proprietary, but be familiar
enough that it wouldn’t be inaccessible
from that connection standpoint that we
talked about before. So, I kind of took my
favorite things from my favorite guitars
and put them together. Then I came up
with the swooping pickguard, which is
pretty much our trade dress, and it all kind
of fell together. Design is pretty much the
same no matter what you are looking at.
There is good design and bad design, and
I’m not saying mine is the best
ever, but I’m saying that I have
seen a lot of stuff that just
doesn’t make me want to pick
it up and play it. I have always
been a Fender fan, and so I guess
my guitar came out of an evolu-
tion of what I would like to see,
but presented in a way that
looks a little different. I didn’t
want to do another Telecaster
knock-off with a different
peg head or another
Stratocaster, because there
are plenty of them out there
and there are lots of good ones. I just went at it like anything
else, “What do I like the most? What do I like about the Tele?
What do I like about the Strat? What do I like about this fin-
gerboard radius? What am I looking for in this pickup? What
do I want the control layout to be? Do I want to make some-
thing that is so complicated that I can’t remember how to
play it at the gig? No. What do I do?” I try and make it close
to something that everybody is going to be able to work with.
It’s like you wouldn’t build a new car and put the steering
wheel in the back seat, because everyone is going to ask,
-continued-
11
 cover story
“How do you drive it?” So you have to follow some of the
established rules that have been laid down by the guys that
have come before you and then you try and work within that
and do something a little bit different. I’m not trying to take
over the world. I just want to get out some good guitars —
some great playing, great sounding guitars that a player can
pick up and say, “Yeah, man, this is what I want to play.” It’s
not really a lot different than, say, having a couple of favorite
restaurants or something… If a guy wants to have Chef John
Suhr’s take on a guitar, he picks up a Suhr. If you like the fla-
vor of a Tom Anderson or Don Grosh, then you can buy one
of theirs. I guess I finally decided that there might be enough
people out there who would enjoy what I do, so I started
Vinetto. If it’s not just about the colors or the features or this
or that or the other thing… if you are the kind of player that
understands there is a connection between the right guitar and
the right player, and if you like what I put into my guitars,
then maybe my guitar is right for you.
TQR: How are they being built?
I’m doing them myself. Of course, I don’t have a huge facto-
ry with tons of machinery, so like everybody else, there are
parts that I have to out-source. But everything I out-source,
with the exception of stock parts, is made from CAD draw-
ings I generate, all to my pretty exacting specifications. For
amazing accuracy and repeatability, the CNC is the only way
to go. Remember, a CNC router is a very precise instrument
that gives you very precise and repeatable results. A guitar is
also a very precise instrument, so why wouldn’t you use the
CNC? Anyway, it’s my design, my specifications, my paint,
assembly and set up.
TQR: Are you doing Alder? Ash?
Yes, and
mahogany. We
are doing all
kinds of classic
combinations.
Ash, alder,
mahogany,
maple and rose-
wood finger-
boards. We
have a couple
of model num-
bers and I basi-
cally just con-
figure the
Legato models by neck shape and wood combinations. A 552
is a 50’s style soft V to C shape with a maple board on an ash
body. A 660 is a 60’s C shape neck with a rosewood board on
an alder body.
12 TONEQUEST REPORT V5. N5. March 2004
TQR: Are you using bigger fret wire than what you
would find on a vintage Fender?
Yeah, it’s Dunlop 6150 — a little taller, but wider. It’s about
the same size as the medium size. It’s a nice versatile wire
and it feels great on the guitar. Of course, I’ll do other wires
if ordered. I went with a 25" scale for this guitar instead of
the usual 25.5". It makes a nice difference. Plus, the guitar
has a compound radius because I like it a little tighter up top,
but it tapers off from 7-1/4 to 9-1/2, which is kind of a nice
compromise. The necks are a little bit bigger. The 500 series
runs about nine-hundred and ten thousandths to a full inch.
It’s a fairly good-sized neck, but we can make any size if
someone wants. The C-shaped 600 series is more of a medi-
um sized C-shaped starting at .840. It’s a nice 60’s feel. They
both feel great. We’ll do any color anyone wants, too. In fact,
we are getting ready to put a new thing up on the web site.
People will actually be able to pick the guitar and the colors
and the neck/guitar combination — all that stuff— and see a
shot of a real guitar. We took all the guitars and lined them up
on top of each other and you will be able to scroll through
every color. We call it The Virtual Showroom.
TQR: That should help your customers, since you’re only
selling online, right?
Well, online and through a few selected regional, personal
reps. I really didn’t want to foray into the retail music store
realm, so, buyers get to deal directly with the builder. I like it
that way, and so do they.
TQR: Tell us about the pickups.
We’re using DiMarzios in the Legato. I tried a lot of different
ones, and the DiMarzio’s just did what I wanted. Plus, I’ve
had a good relationship with Steve Blucher at DiMarzio for a
long time. He’s a great guy and he will work with us in any
way we want. I’m using their ‘Virtual Hot T’ in the bridge
and their Minibuckers in the middle and the neck. They just
really work for what I want to hear in the guitar and they
really sound great. They are really articulate and hi-fi. Why
not single coils in the neck and middle? The answer is
because they do what I want the guitar to do. I chose what I
chose and put them where I did because they give the guitar
the voice I wanted it to have. I love a single coil in the bridge
-continued-
 cover story
position for the bite and snarl, and especially for how they
work in combination with other pickups. But the Minibuckers
just do things that a single coil can’t do in the neck and mid-
dle. They keep that clarity and articulation, but they just have
a nice, sweet added dimension that seems to work better to
bring out that sound you go to those pickups in those posi-
tions for in the first place.
TQR: How are the pickups selections and combinations
set up?
Well, like I said, I wanted to do something that was easy to
use and understand, yet fully versatile for tones. I mean, you
don’t what to be having to think through what switch does
what when you’re getting inspired on stage and you’re ready
to rip into a solo. So I kept the familiar layout — a 5-way
switch and three knobs. But instead of a second tone knob,
which I never use anyway, I put in a three-position rotary
switch. It selects the switching mode, and the 5-way selects
the pickups or the combinations of pickups in that mode. In
the “full up” or #1 position, the guitar switches just like a
Stratocaster, so you can just use the old familiar switching if
you want to. But then you turn the rotary switch down one
notch and you’re in what I call ‘Bucker T’ mode, and it
switches like a Telecaster. It just drops the middle pickup out
of it completely, so you get the neck or the bridge or the neck
and bridge combo in the middle. Then
the third position on the rotary is all
three pickups on at one
time. It’s a jangling
rhythm sound… James
Pennebaker calls it a
cross between a Gretsch
and a Ricky… and in that
position of the rotary, the
5-way doesn’t do a thing.
So you can pre-set it for
your next move and
then roll to it with the
rotary switch. A lot of
guys say, “Well, that
sounds weird,” but then
they play it and they
realize that it really works.
TQR: When are you going to be fully up to speed?
We’re rockin’ now and I’ve got a bunch of guitars in produc-
tion, and I’m always taking orders for more. Our web site is
up and running at www.vinettoguitars.com, and we take
orders that way. We are not doing a retail strategy. I just don’t
want to, for a lot of reasons. First, like I said, I like dealing
with my customers directly. Plus, I don’t have to build the
retail markup into my price, so I can keep the price to the
TONEQUEST REPORT V5. N5. March 2004
player lower while still making it worth my while to build it.
So, I’m doing it direct and I’m going to do it through a cou-
ple of select regional representatives that I trust and who
know what guitars are all about. I mean, I realize that select-
ing a guitar is a very personal thing, but my customer base is
pretty savvy. They can read the specs and know what the gui-
tar should feel like. The mission is not to build a million gui-
tars and be a rich guy. The mission is to build some guitars
that work for guys that play guitar and who know how to
play guitar. I sort of say this guitar is for the musically
mature player. This is for the guy who knows what he wants
and knows what he is playing. Price wise, they don’t have to
be outrageous — I mean, I’m keeping the price point reason-
able because this is a straightforward guitar and I don’t think
it is necessary to charge $3500. That’s not to say that there
aren’t’ plenty of boutique guitars out there that are worth that
kind of money — there are, but that’s not what I’m doing.
I’ve got a couple of tricks up my sleeve for the future with
some fancier stuff, but we are starting the guitar at $1895 and
with some of the particular wood combos and options, it goes
right up to two grand. I think that’s pretty reasonable for a
guitar that is built so carefully and with so much attention to
making it right. Especially when I see how much some peo-
ple are charging for less.
TQR: So, what’s next?
Well, more guitars, I hope. I’m happy to announce that my
old friend James Pennebaker, who’s an amazing multi-instru-
ment player, is now going to be one of our personal represen-
tatives in the Nashville area and the South, so that’s cool.
We’ve also had some good luck with artists. I just delivered
my second one to John Mayer, who’s a great player, and
we’re working with
some other visible
players, so I think
you’ll start seeing
more Vinettos pop-
ping up in the near
future. We are tak-
ing orders and
building guitars,
and we’ll see what
happens. I want to
build great guitars
for guys who love
guitars — visible
artists are nice —
but I also get as
John Mayer, courtesy Attila Hardy-Dreams Awake Music much enjoyment
out of putting a really nice guitar into the hands of a guy who
never gigs at all, as long as he appreciates good guitars. You
know, you don’t have to be Jimi Ray Clapton to do that!TQ
www.vinettoguitars.com
13
 guitars
Confession time… When your eyes pop open at 2:30 in the
morning and a voice tells you that to interview Vince Cunetto
and not get your hands on one of his early Relics would be
sacrilege… well, you go find one, and that’s exactly what we
did. It was relatively easy (blind luck) and you would think
that with 4,800 or so of these early Relics in circulation,
there would be a few for sale on various Internet sites on any
given day. Think again. We found just one among the 20,000-
and something guitars on GBase.com and a few thousand
more Fender guitars on eBay. We’d like to thank Jim
Heflybower, owner of JH Guitars in West Chester, PA
(www.jhguitars.com) for his very competent assistance in get-
ting our review Relic down to us in Atlanta on short notice.
Jim knows his stuff, and we recommend him very highly.
Our search on GBase.com produced a rare Shoreline Gold
‘57 Relic Stratocaster circa 1998 in about 10 seconds. It’s an
amazing piece of work. The amber tinted lacquer on the
flamed birdseye maple neck looks older than dirt, and the fin-
gerboard wear is as authentic as we’ve ever seen. The body is
all nicked up, of course, and the spot of arm wear on the top
looks completely legit, right down to the subtle discoloration
of the outer edges, as if 30 years of perspiration had worked
into the finish, exposing the primer coat. Rusty screws were
placed where they would have naturally rusted from contact
with the player’s body, and each pickup polepiece was also
lightly corroded. Even the single ply pickguard was aged in a
manner that allowed for some slight warping between the
pickguard screws… How the hell did they do that? If you can
appreciate such things, the relic job on this guitar is a work of
art.
By the look of the frets, our Relic hadn’t been played hard
for long. The guitar arrived with a considerable bow in the
neck, and since the truss rod was loose, it had probably never
been touched. A full turn and a half put everything right —
the neck is now dead straight on both the treble and bass
sides (a very good sign) with no twist. This is the point at
14 TONEQUEST REPORT V5. N5. March 2004
which acquiring guitars sight unseen on the Internet will give
you sweaty palms. We’re always amazed by the number of
guitars that have never had a truss rod adjustment, and until
you torque that truss rod, you’re never quite sure what the
neck is going to do. Sometimes the results can be ugly, but
the neck on the Shoreline Relic has turned out to be absolute-
ly solid.
We strung the guitar up with a set of .010-.048 Pyramids and
went about setting the intonation when the high E string
broke as we were moving the saddle. The location of the
break was a dead giveaway — the oblong slot on the bridge
plate that the string passes through on the way to the saddle
was sharp right where the string hit it. A Dremel tool will
solve that problem, but we didn’t have one, so we rummaged
around in our tool kit and cut a short length of vintage cloth-
covered wire, pulled the wire out and ran the cloth sleeve
down to the ball end of the string. Surgical tubing is the usual
choice for this fix, but the cloth insulation worked perfectly.
In case you’re interested, the Callaham bridge plate is
designed with longer oblong slots that eliminate any contact
between the string and the plate (www.callahamguitars.com.)
This 7 pound Strat turned out to be a righteous example of
Fender’s earliest Relics. It sounds fantastic, plays wonderful-
ly, and screams “play me now ” from across the room. We’ve
connected with it completely, and that’s about as much as you
can ask of any guitar. TQ
The more we play new and old guitars and share our impres-
sions of them with
other players, it
seems that guitars
often fill more
roles than we
imagine. Among
them, functioning
adequately as a
musical instrument
is the most obvi-
ous, but particular
guitars can also
serve as a source
of lifelong creative
inspiration. Many
guitars also qualify
as works of art,
whether they are
-continued-
 guitars
designed with feminine curves or
sharp, modernistic angles,
warm, natural wood hues
or bold colors, intricate
inlay, or none at all.
But let’s not overlook
one of the least forgiving
and most subjective
aspects of our relation-
ship with the guitar…
that of the fashion
statement, stage prop
and performance
accessory. Whatever
term you wish to
use, there is the
issue of whether you
want to be seen play-
ing a particular guitar, because whatever you choose to strap
on or cradle on your knee says something important about
you in a very personal way. Quoting Ken Parker from his
April 2001 ToneQuest interview, “When I was in New York, I
was working for guys with the wackiest haircuts, hardware on
their lips, stuff on their faces, all trying to be as different as
they possibly could, yet they wouldn’t play a guitar built after
1960. Hell, they were built after 1960, so what’s up with
that?” Indeed, some new guitar designs fail to become clas-
sic archetypes because in the designer’s attempt to be differ-
ent, our narrow standards of acceptable guitar fashion and
form are violated. If the axe is ugly (or too non-traditional),
tone don’t matter. Nice legs — shame about your face.
The Vinetto Legato design definitely works for us, and while
it is reminiscent of the classic models that originally inspired
him, it is a very unique, practical and thoughtful design that
Vince Cunetto can proudly claim as his alone.
Vince’s guitars are certainly not Relics. Far from it. More like
driving a hot rodded up ‘57 Chevy Bel Aire with a new paint
job. It’s a new guitar, but it feels like my favorite old pair of
boots. I love the pickup combo and wiring he has going, too.
It’s very versatile. A lot of the session guys have been using
the “3 pickup Tele” thing for a long time. Vince has taken
that and added a couple of twists to it. You can get all the
way from a Tele to a Les Paul and all points in between.
– James Pennebaker
The Legato we received for review featured a flawless see-
through blonde finish over a straight-grained, 7.5 pound, 2-
piece ash body. Options on the Legato include ash, alder and
mahogany in no less than 48 different colors, including 2 or
3-tone sunburst. You can also specify a full, soft ‘V’ neck
profile or a contoured ‘C’ with Dunlop medium jumbo 6150
fretwire standard and other sizes available by special order.
TONEQUEST REPORT V5. N5. March 2004
The rolled fingerboard edges and fretwork were exceptional,
and the 7.25" to 9.50" compound fingerboard radius on the
Legato is great for playing chords in the box while also
allowing easy string bending from the 5th fret up. The neck
pocket fit was tight and right, the 16:1 tuners were smooth
with no play, and the nut slots were cut at the right height for
each string (imagine that!) with no string ping from the
strings binding in the slots. The guitar was also very well set
up, with just enough lift in the string height to get under the
strings a bit. Kind of like a player had set it up…
The pickup wiring configuration on the Vinetto is pretty slick
without becoming stupid, and it goes like this:
Controls: Master volume, master tone, 5-way pickup selector
switch and three position rotary switch.
Switching Modes: The three-position rotary switch (in the
second tone control spot) determines how the 5-way lever
performs in each mode.
Mode 1: ‘Classic S’
In the ‘Classic S’ position of the rotary switch the 5-way
lever switch works in the standard way to select the five clas-
sic combinations of bridge, bridge+middle, middle,
neck+middle or neck pickup.
Mode 2: ‘Bucker T’
‘Bucker T’ is the two pickup mode (eliminating the middle
pickup) for the player’s choice of bridge, bridge+neck or
neck minibucker pickup. In this mode, positions 2,3 and 4 on
the 5-way switch default to the bridge+neck combination.
This means easier selection of the middle combination set-
ting, but also lets the player preset the Classic S in-between
sounds in the 2 or 4 spots for later selection with the rotary.
Mode 3: ‘The Trio’
The Trio gives an articulate and jangly sound. All three pick-
ups are on, and the 5-way lever switch is de-activated, allow-
ing for silent presets for any of the other pickup combinations
from the other two modes, reached with a turn of the rotary.
Our first pleasant surprise was the DiMarzio Virtual Vintage
-continued-
15
 amps
bridge pickup. It’s noiseless, looks like a Strat and sounds
like a Broadcaster with the treble gootched down a tick —
thick, focused, and plagued with none of the shortcomings
common to Stratocaster bridge pickups (thin, ice pick highs)
or many noiseless pickups (sterile and lacking the character
that comes with the noise). Moving through the 5-way switch
in the ‘Classic S’ position, we were also a little surprised to
hear the familiar out-of-phase hollowness of a Stratocaster
with the neck and middle or middle and bridge pickups com-
bined. With the neck or middle pickup selected alone, the
Legato moves into a smoother, darker Gibson-esqe tone, but
still with a hint of scooped mids that translates into a ‘woodi-
er’ vintage tone than a traditional humbucker. Very bluesy,
and very cool, like a Strat, but way more of it!
The ‘Bucker T’ second position on the rotary selector adds
the option of combining the neck and bridge, eliminating the
middle pickup altogether… another very cool, jangly-yet-
thick sound that seems unique to the Legato. Somebody’s
been thinking…
The ‘Trio’ mode produces maximum jingle/jangle/inside/out
tone and a discernable thwack when you hit a chord. Very
Fender-like, but over the top in a way — perfect for Motown
rhythm tracks and Robert Cray-inspired shuffles.
OK… let’s review our review. The Legato is built right, looks
new, and plays like an old friend. It feels good. Tone?
Everything from heavy to bright, bouncy and even threaten-
ing, but with its own vibe. The Vinetto really does have a
woody thang goin’ on. Some day soon we’d like to hear the
alder and mahogany models and a slab board version, too. All
in all, the Vinetto is a great new guitar that we can welcome
and embrace. Wait a minute… they already sound and play
‘old,’ so when will Vince Cunetto start banging them up
again? Everything in its time…
Here’s you chance to win a new Vinetto, but don’t delay!
Register for the ToneQuest Vinetto Legato Giveaway at
www.vinettoguitars.com. The deadline for entry is June 1,
2004. TQ
Thanks again to our good friend George Goumas for turning
us on to Lou Rosano in Bergenfield, NJ. Lou has not only
built custom amplifiers for players like Duke Robillard,
Hubert Sumlin, Danny Gatton, Arlen Roth and Keith
Richards, but he also repairs and restores vintage amplifiers.
We asked Lou to send us an example of his custom work, and
16 TONEQUEST REPORT V5. N5. March 2004
he sent us a ‘KR12’ — the same amplifier he built for Keith
Richards. Our review follows, but first, let’s learn a little
more about ‘Louie.’
TQR: How did you begin working on amps?
Well, back
in 1987-88
I was play-
ing guitar
and I had
really got-
ten interest-
ed in the
sound that
Jerry Garcia
was getting.
It was very
unique,
Twinmaster
because he
was plugging McIntosh amps into his Twins and I eventually
figured all of that out. There was a guy up here by the name
of Jeff Block, and I used to buy amps from him. One day he
called to tell me that he had an old ‘59 tweed Twin for sale. I
bought it, and when I got it home I just thought it was the
most magnificent sounding amplifier I had ever heard. At that
time, no one was really building them, and I was spending a
lot of time in New York hanging with players and they were
all complaining about wanting better sounding amps, and I
thought, “You know, I should build one of these.” It didn’t
look that complicated, frankly. I had worked on cars, you
know, and my uncle, Al Rosano, was a radio and TV repair-
man in the ‘60s and I had spent enough time around him
growing up to have been exposed to all of that. So looking at
the Twin, I wasn’t intimidated by it, and I felt like I could
build them. I got a good friend of mine and a terrific engi-
neer, Chris Merren, to help me with the transformers. We had
the original wrapping sheet from Triad, and we put an origi-
nal transformer together. Chris can reverse-engineer any
transformer, even without a data sheet, and he is the best
transformer guy on the planet. He taught me everything I
know. But I knew there was going to be a problem with the
speakers… There weren’t many old speakers around and it
wasn’t like you could go on the Internet and find them back
then. I built the amp with some Jensen speakers out of a sil-
verface Twin or something, and it sounded really good. But
then I began experimenting with Celestions Vintage 30’s, and
I found some 100W Fane AlNiCo speakers, and they were
very cool. In the meantime, I got to know Danny Gatton’s
guitar tech, Jay Monterose, and I met him one night at the
Bottom Line and gave him one of the tweed Twins I had built
so that Danny could check it out. Danny just flipped over it.
At that time, he was playing two ‘58 Twins with EV SRO
speakers in them, and after he played my amp he retired both
-continued-
 amps
of them. We’d
go down to
Tramps, and
what was really
cool about
Danny was that
we would just
keep tweaking
the tone. We
wound up using
a Vintage 30 and
a JBL D120 in his Twin, and he used that amp right up until
his passing.
TQR: What happened from there?
After Danny’s death we did a big benefit at Tramps, which is
where I met Warren Haynes and Jimmy Weider… I asked
Warren if he wanted to play through the Twin and he said,
“No, that’s OK, thanks. I’ve got my amp here,” etc. But the
next night he decided to take me up on my offer to try the
amp. When he saw it he said, “That’s it?” He was used to
playing big amps and cabs, you know? Anyway, he hit the
first note and said, “Leave it right there and turn it up to ‘8’!”
After he got off stage he literally backed me up against the
wall and asked me how he could get one of my amps. He told
me that he was doing a Government Mule record up at
Bearsville and he wanted to use the amp on a couple of
tracks, which he did. At that time, I believe he was playing
Soldano amps on the road. Ronnie Earl also played two of
the Twins at Danny’s benefit… A lot of connections came out
of that benefit, and then I did a NAMM show, but with
Danny gone, I eventually took a little break and experimented
more with different things.
TQR: How did you hook up with Keith?
That happened as a result of working with Les Paul. I black-
faced a silverface Twin for him, and he wasn’t happy
(laughs). I was friends with Lou Paolo, who is the rhythm
guitar player with Les…
TONEQUEST REPORT V5. N5. March 2004
TQR: The guy that always has the smokes in his shirt
pocket? He is a machine. I saw Les at the
Irridium Club in New York and I don’t know who
was more amazing, Les or Lou.
Danny Gatton said that Lou was the greatest rhythm player
he had ever seen. I met Lou at Danny’s benefit. Anyway, I did
the work for Les and Lou said to me, “No matter what you
do, he will never be happy — no matter what you do.” Well,
when I think about it, I’m the same way. I think that’s one
reason why I have never really gotten my amps out there in a
big way — I’m always tweaking stuff, never satisfied. Back
to Keith… I’m hanging out at the Irridium and I hear some-
body say, “Get a table ready — Keith Richards is coming.”
So I’m hanging out by the door and here he comes. He sits
down with his guys and I said to Rusty, Les’ son, “Rusty, I
gotta talk to Keith about the Twin,” and he says, “You need to
talk to Rob Fraboni, the guy who came in with him.” So I go
over and I start telling Rob about the amp and he says,
“That’s perfect, because we’re cutting this blues album for
Hubert Sumlin. I’ll talk to you after the show.” Well, after the
show there was a huge crowd gathered around Keith — his
father and mother were there, too — and I’m thinking, “Shit.
This could be a problem…” So I grab the amp off the stage
like I’m a roadie and yell, “Coming through!” and the crowd
parted and I walked right up to Keith and gave him the amp
to take home (laughing). I loaded the amp into the limo and
they told me they’d call me, and they did. They were very
cool. So I went up to Showplace Studios and we had the amp
there, Keith played it and it was great. Then I found out that
they were looking for some smaller amps, too.
TQR: And that’s where the KR12 came in?
Yeah, it’s based on the one I built for him, although the cabi-
net back and sides on the amp I sent you are made from 100
year-old pine. The story about the speaker is interesting. I got
some old blown frames from John Harrison at A Brown
Soun, and I hooked up with Jim McGourty, who had been
building speakers for Ken Fischer for awhile. Jim was build-
ing Greenbacks from the ground up before Celestion began
building the reissues, and after they were released, Ken told
Jim that his worst effort was better than the reissues. So I had
-continued-
17
 amps

all of these frames, but I didn’t want a Greenback for this TQR: Do you use the same
amp — I wanted something that could handle about 40 watts, speaker that is custom built
and that’s what is in your amp — the speaker that Jim built. on the Celestion frame?
Not that I don’t like Greenbacks… we’re using them in a
Marshall Plexi-style amp that we’re building. Yes, but we wind the
speaker coils differently for
TQR: The speaker in the KR12 is outstanding — incredi- a British or an American
bly warm and detailed. Tell me about the trans- sound. We also build our
formers and the gain circuit. own custom AlNiCo ‘bull-
dog’ speakers.

TQR: Tell me about the

DR12 amp…

We began working on that model for Duke Robillard. He’s

playing it now, but we haven’t actually locked into what he
will be playing permanently. We’ve been experimenting with
a combo with one 12 and a 10, and eventually we’ll be build-
ing a new amp for Duke, maybe with that speaker configura-
tion.

We custom wind the output transformers ourselves, and the TQR: The V4 looks very impressive…
power transformers are built by Shumacher. The amp has four
levels of gain, and you can use a single or double footswitch I always wanted Derek Trucks to try that one, but I didn’t
to get two or all four, or you can just plug a 1/4 inch jack into have it ready for him when I was working with him last year.
different inputs with the guitar plugged into the gain channel Derek did play a 2x10 Gattone, and a lot of people really flip
for different levels of gain. And we biased it so you could run over that amp. Originally, we built the V4 with Celestion
6L6’s or KT66’s with that 5U4 rectifier. Vintage 10’s, and they stopped making them. That’s when I
discovered another fantastic 10… it’s the 10” Eminence
TQR: In addition to the KR12, what other types of amps speaker that is sold in the Electro-Harmonix catalog. We
do you build? designed an output transformer around that speaker for
Duke’s amp, and I have never heard anything like it. I think
I build a ‘54 wide panel tweed Twin with dual rectifiers, and what
the ‘58 Twinmaster is the model Danny played. The reason I makes
call it a ‘58 is the cabinet dimensions are different from a our
‘59. The Hubert work
Sumlin model is unique
very similar to the is that
KR12 that we sent every
you, but the cabinet amp
is also a little small- we
er and the output build
transformer is dif- is real-
ferent. Hubert’s ly a
amp is voiced to custom
sound more like an one-off designed for each owner. We can tweak the output
American amp, transformers, the voice coils in the speakers…
Hubert Sumlin where Keith’s has
more of a British vibe. Hubert’s amp has an actual covering TQR: So if someone came to you and said, “I’m a Strat
on it too, although we build them either way. I try to steer player,” or they are a Tele player, or they play
people toward the uncovered wood cabinets because once P90’s…
you’ve heard one, you’ll appreciate the fact that the tolex or
tweed covering dampens the sound somewhat. If I know that you exclusively play a Strat, I’m going to voice
the amp around that. I will also choose components based on
-continued-

18 TONEQUEST REPORT V5. N5. March 2004

 amps
whether the amp will be used in the studio, on stage, or both.
I like to use carbon comp resistors, but if an amp is going to
be used for recording, I tend to use carbon film, because they
are much quieter. I have discovered a type of carbon film
resistor that is just as warm as carbon comp, but quieter. I
also use Teflon wire and a G10 epoxy circuit board, and I’ve
done a lot of experimenting in the past with high-end compo-
nents, like Solen caps, for example. In our cabinets, we can
use either 100 year-old pine, or something new.
TQR: What is your favorite style of amp to build?
Well, I’ve been building the tweed Twin amps for a long
time, and I’m very fond of them. That’s a very special sound
like nothing else in the world. But the amp I’m building for
Duke will have reverb, and I like that amp, too. I like them
all, really, and as I said, I have never stopped trying new
things. The sky’s the limit when it comes to tone.
REVIEW
Over the years, it has occurred to us that among certain ‘old
school’ guys who build amps for and have worked closely
with legit, superstar players, there seems to be a shared con-
cept of what
defines
great tone
in an amp.
Now, we’re
not saying
that they’ve
gotten
together in
a back
room some-
where on
Mulberry
St. above Canal and
conspired to promulgate a new world
order… but there are similarities among their amplifiers that
transcend chance or random selection… Like what, you ask?
Well, low-mids and full midrange presence, for example.
Remember what Joe Bonamassa said in his interview last
month? “Midrange is really where it’s at, but the problem
with the midrange frequencies is that they can expose a lot of
flaws in your playing, because now you’re hearing it. If you
get used to dialing in the mids, you become a cleaner play-
er.” The first time we played through Lou Rosano’s KR12,
we immediately noticed the warmth and smooth midrange
voice that Lou has designed into the amp. Another character-
istic common to exceptional amplifiers is something we have
often referred to as bloom. As you increase the volume, dis-
tortion and pick attack, the amp actually blooms and blos-
soms, while losing none of the musical character that is pres-
TONEQUEST REPORT V5. N5. March 2004
ent at
lower
vol-
ume,
and
grow-
ing
sweeter
as it’s
pushed.
The amp
sounds
happy,
cranked. The KR12 blooms,
and with the 4-position variable gain struc-
ture, you can dial in everything from clean Fender-like head-
room (with midrange!) to increasing levels of thick tube dis-
tortion at variable volume levels.
Our review model was constructed with 100 year-old finished
pine boards, which made us re-think the idea of covering cab-
inets with glue and fabric when we heard it for the first time.
The heart pine boards in the KR12 are much heavier than
typical pine, and combined with the custom-built speaker,
this amp possesses a remarkably solid, throaty and confident
tone somewhat reminiscent of a tweed Twin. Lou shipped the
amp with a pair of the ‘old’ Svetlana (now referred to as
‘Flying C’ from the original Svetlana plant in St. Petersburg,
Russia ) 6L6’s and a pair of Russian KT66’s. We liked the
KT’s for a slightly darker, more compressed tone — perfect
for slide. The harmonic overtones coming off the slide were
some of the juiciest we’ve ever heard. The 6L6’s opened the
tone up a bit more (picture a wider grin), and we were capti-
vated by the KR12’s ability to produce a clean, woody tone
and one of the sweetest overdriven sounds imaginable, just by
tweaking the volume pot on our guitars. The KR12 is the per-
fect foil for bright single coils, and with a little change in the
EQ settings, it really plays the honey dripper with a Gibson.
And the big 5U4 tube rectifier adds just the right amount of
sag (you could also call it ‘sweetener’). In all respects, the
KR12 is an incredibly versatile stage and studio friendly amp
at 35W, and it’s got some major mojo workin.’ The sad part
of this story is that after bouncing between the KR12 and our
favorite blackface Fender amps during our review sessions,
the KR12 has kicked all but our tweaked and coddled Deluxe
Reverb straight to the curb. Now that we’ve been so cruelly
spoiled, we can’t let the KR12 go. Is the quest for tone ever
over? Absolutely not, and Lou Rosano is writing a new chap-
ter with every amplifier he builds. Quest forth… TQ
www.louisamps.com, 201-384-6166
19

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pedals, Foxrox, Teese wahs, and the PedalPower2!
Mike Piera is one of the premier guitar effects
dealers and manufacturers serving professional
players worldwide. Analogman is unique, since it
manufactures, modifies, buys, sells, and repairs
vintage and new guitar effects. Specializing in
vintage and high-end effects, you won’t find
cheap Taiwanese “happy meal” style, toy effects
there. Analogman is dedicated to helping you
successfully pursue your quest for tone, and
every customer is treated as a prospective friend.
Analogman can meet all your effects needs,
including: Buying and selling vintage, new, and
custom built effects, and modifying pedals to
sound and function better. A full repair service,
including referrals to specialists. Creating the
best new effects with vintage values, schematics,
and original owner’s manual copies. FREE help
with effects problems by e-mail or in our Web
Forum, plus professional consultation and techni-
cal services. Analogman specializes in pedal
modifications for the Ibanez and Maxon Tube
Screamers and several Boss pedals (SD-1, DS-1,
BD-2, DD5, etc). They also modify Fuzzfaces to
vintage germanium specs. Analogman hand-built
pedals include the Clone chorus, Comprossors,
and Sun Face fuzz pedals. There are 3 versions
of the Comprossors available, based on the Ross
style and/or the Orange Squeezer style of com-
pression. Other hand-made pedals available from
Analog Man include the FOXROX Captain
Coconut and TZF flanger, Teese RMC wahs, Z
Vex, Black Cat, Tubester, Ultravibe, Pedaltrain
and George L cables. Jim Weider recently collab-
orated with Mike on the King Of Tone overdrive
pedal, which is being introduced in December
2003! Please check the web site for more infor-
mation, and e-mail if possible. If you must call,
please mention ToneQuest and they’ll make time
to help you.
Analog Man, Bethel, CT
www.analogman.com 203-778-6658
Callaham Vintage Guitars & Amps Bill Callaham
is a builder of exceptional electric guitars that
exceed the original quality, tone, and beauty of
the vintage models that inspire his work. “Better
than vintage” is an apt description for the
Callaham “S” and “T” model electric guitars that
feature premium lightweight ash and alder bod-
ies, custom hand-shaped rock maple necks, and
cryogenically treated Lindy Fralin pickups spe-
cially wound to Callaham’s specifications for
true vintage tone. Bill also offers cryogenically
treated, pre-wired vintage pick guards for Strat
style guitars, and his exclusive formula for cold-
rolled steel alloy tremolo blocks continue to
delight players around the world with improved
resonance and sustain. Callaham vintage saddles
also improve sustain while minimizing string
fatigue and breaks. Additional Strat parts include
stainless steel trem arms, string ferrules, bridge
plates and mounting screws, and string retainers.
Attention Tele Players! Callaham now offers a
complete line of custom Tele parts. Please visit
their web site for information on pre-wired con-
trol plates with premium pots, capacitors, and
cloth-covered wire, specially wound and cryo-
genically treated Fralin vintage Tele pickups,
compensated brass bridge saddles, bridge plates,
knobs, jacks, tuners and string trees! The only
thing better than Callaham parts is a Callaham
guitar. We said that, and you can take it to the
bank.
Callaham Guitars, Winchester, VA
www.callahamguitars.com 540-955-0294
Carr Amplifiers Check out the ALL NEW Carr
Mercury! As we said in our recent review, “the
Mercury is destined for greatness.” No surprise...
Since our review of the entire line of amplifiers
built by Steve Carr and his merry band of tonef-
reaks in Pittsboro, NC, Carr amplifiers have con-
tinued to receive high praise from reviewers and
players throughout the country. Plug into any
Carr amp and you’ll immediately understand
why we said, “Finally, somebody got it right.”
Right, as in the perfect marriage of classic
Fender balance, clarity, and headroom, with
innovative overdrive features that produce natural
and oh-so sweet tube distortion, but never at the
expense of the tone you’ve worked so hard to
capture in your instruments. Lots of small-batch
amp builders use premium components and
labor-intensive, point-to-point construction, and
Carr is no exception. The Solen filter caps used
in Carr amps alone cost more than the sum of the
parts in many boutique circuits! But in the end,
it’s the design that counts, combined with quality
parts and consistent craftsmanship. We’ve been
to Carr, we’ve played every amplifier they build,
and one year and dozens of reviews later, our
opinion hasn’t changed. Carr amps are profes-
sional tools and works of art that will inspire you
for a lifetime. Check out the many stellar reviews
and dealer locations for Carr amps at their web
site, and contact the boys at Carr for more infor-
mation about which Carr model is best for you.
Carr Amplifiers, Pittsboro,NC
www.carramps.com 919-545-0747
The Chicago Bluesbox by Butler Custom Sound
is a series of amplifiers built with the blues play-
er in mind, but is also compatible with virtually
any style of music — from traditional to progres-
sive blues rock. The Chicago Blues Box delivers
clear, clean, harmonic complexity with headroom
to spare, to thick, authentic, in-your-face crunch.
The flagship of the Chicago Blues Box series is
the Roadhouse model, an all-tube, point-to-point,
hand-wired, single-channel 50-watt tone machine
hand-built in the USA right in Chicago. The
straight-forward design makes this a favorite
among players seeking authentic, full-sounding
tone across the entire sound spectrum.
Over 60 hours of hand-built assembly goes into
every Chicago Blues Box. Butler Custom Sound
starts with a sheet of rubber impregnated fiber
board, drills and tapes over 150 solder eyelets.
The board is then assembled with electronic
components and soldered from the bottom side
for a reliable connection. The custom-wound,
paper bobbin transformers, pots and switches are
installed into the 16-gauge steel chassis which
provides road-worthy strength. BCS then installs
their proprietary Magic Wand ground bar system
and the final wiring process begins. Before any
tube is installed, each undergoes a stringent
hand-selection process. The boards are vibration-
tested for intermittent connections, lock-tight is
applied to hardware, and wires are twisted and
bundled.
Before any amp leaves the Butler Custom Sound
factory, each undergoes 60 hours of sound and
quality testing. “We're players, not only engi-
neers and technicians, so part of our job is to
plug in to each amp and test for output noise lev-
-continued-

els, vibration and most importantly, tone,” says
BCS president, Dan Butler. The Chicago Blues
Box has captured the elusive 3-dimensional, har-
monic rich tone that is missing from so many of
today's new amplifier designs. This amp is alive
and ready to help inspire any player's art form.
Chicago Bluesbox, Butler Custom Sound
chicagobluesbox.com.630-832-1983
CR Coils founder Jim Wagner has devoted years
of research in his relentless quest to capture the
classic tones of our guitar heroes. The recent
review of his Crossroads humbucking pickups in
The ToneQuest Report and enthusiastic testimoni-
als from WCR Guitar Pickups' players leave no
doubt that Jim has indeed cracked the code on
the elusive tone found in the best vintage PAF's
and Stratocaster pickups.What's his secret? Jim
personally hand-winds each coil, using his own
unique combination of wire type and gauge,
magnets, tensions, etc. Each set of WCR pickups
is custom wound by Jim and voiced to precisely
produce the tone guitarists have been chasing for
decades, such as:
The Fillmore Set
Humbuckers that capture exactly the smooth,
airy, open tone of Duane and Eric's live Fillmore
recordings, with musical highs, balanced mids
and with no muddiness or screeching treble bite!
The Goodwood Set
This pickup is a "hybrid" between the Fillmore
Set and the Crossroads Set. It has a thicker tone
than either one, with a good bottom-end bite,
smooth top-end roll-off, great harmonics, wood,
and sustain. More balls ! If a "Patent-Applied-
For" is not enough, and 70's style hard rock is
too much, this is the set of pickups you need.
The Crossroads Set
The new refined "Patent-Applied-For" version .
This set of pickups was built to replicate the tone
from the song "Crossroads" from Cream's
"Wheels of Fire" album. They have been tested
extensively in an SG, a Firebird, and a Les Paul.
They absolutely NAIL that sound!
The SR Set
Finally, the perfectly balanced, not too weak, not
too hot sounding Stratocaster single coil set,
available with classic cloth-covered wire or
shielded wire.
Please visit our web site to place your order or
listen to the sound bites available for all WCR
pickups. Have any questions? Jim is available by
phone or e-mail to answer your questions about
WCR pickups and re-winds.
www.crcoils.com, 209-588-0621
E-mail: jim@crcoils.com
Dave’s Guitar Shop offers Fender, Gibson, PRS,
McInturff, National, Taylor, Gretsch, Guild,
Rickenbacker, Martin, Santa Cruz, Lowden, and
many other fine new and used instruments, plus
new and used amplifiers such as Fender,
Marshall, Line 6, Carr, Matchless, Victoria, Bad
Cat, and Ampeg, plus hundreds of guitar effects,
aftermarket pickups from Joe Barden, Seymour
Duncan, and more. Due to their inventory of over
1,000 guitars, amps, and accessories, Dave’s is
an excellent resource for top of the line Custom
Shop and Historic reissues, to intermediate new
and used gear. Unlike some dealers’ out of date
stock lists on the web and in print, Dave’s inven-
tory is updated daily. The selection of new and
used instruments is truly exceptional, and you
can often select among several models of the
same new guitars to find that special instrument
that was meant for you. Dave’s staff is friendly
TONEQUEST REPORT V5. N5. March 2004
Resource Directory
and extremely knowledgeable about the instru-
ments and gear they sell, because they’re players,
too. Please check the web site for current inven-
tory, and you are welcome to call for more infor-
mation or an accurate, in-hand description.
Dave’s Guitar Shop, LaCrosse, WI
www.davesguitar.com 608-785-7704
Eminence Eminence is proud to present the
Patriot and Redcoat series of guitar speakers.
Incorporating both British and American cone
technology into speakers that we manufacture
in the USA gives us the ability to provide you
with virtually any tone you desire. Be it
British or American, clean or dirty, big bass
or screaming highs, we have a speaker that
will allow you to “Pick Your Sound”. Choose
from one of seventeen new models! Eminence
has been building speakers to custom specifica-
tions for nearly every major manufacturer of gui-
tar amplifier and sound reinforcement products
since 1967. Their new Legend Series of guitar
speakers captures the essence of the vintage
American and British speaker designs that are
held in such high regard today by so many dis-
cerning players. The Legend Series includes clas-
sic British and American designs for 6,” 8,” 10,”
12,” and 15” speakers utilizing ceramic and
AlNiCo magnets, British or American cones, and
Kapton polyamide voice coils for superior heat
dissipation and durability. Best of all, because
Eminence has been successfully competing for
years with other speaker manufacturers as an
OEM supplier, the Legend Series speakers are
priced far below those of many other popular
manufacturers of “reissue” and custom speakers.
The Eminence Legend Series delivers all of the
tone and durability you need, at a lower price,
with no compromises in quality. To locate gen-
uine Eminence dealers in your area, please visit
their web site or call Eminence Speakers.
Eminence Speaker LLC, Eminence, KY
www.eminence.com 502-845-5622
Contact: Chris Rose
Fishman TQR is honored to welcome Larry
Fishman to our advisory board! Since1980, the
Fishman name has been synonymous with
acoustic amplification, continually improving and
creating innovative products to meet musicians’
changing needs, Fishman’s commitment to inno-
vation has created a reputation of respect and
reliability throughout the industry. Fishman’s
product line began with the BP-100 Acoustic
Bass pickup, which was developed to meet Larry
Fishman’s own needs while performing Jazz.
Besides their broad assortment of pickups for
acoustic instruments, Fishman also manufactures
an extensive line of complimentary electronics,
including portable, battery operated preamps,
jack-style preamps, and onboard preamps with a
wide variety of features. The Fishman
Powerbridge is a piezo-equipped replacement
bridge for Strat and Tele-style guitars that is cur-
rently used on tour by Pete Townshend, among
others. These bridges enable a standard electric
guitar to produce acoustic-like tones, and the best
application of the Powerbridge can be heard on
Parker Guitars. Fishman’s impressive artist roster
includes Dave Mathews, Pete Townshend, Doc
Watson, Lisa Loeb, Barenaked Ladies, Arlo
Guthrie, Fuel, and Sheryl Crow, among many
others. Watch the Fishman website for exciting
new product announcements.
Fishman Transducers, Inc. Wilmington, MA
www.fishman.com 978-988-9199
George L’s Clean, clear sound is their business at
George L’s! George Lewis is a seasoned veteran
of America’s rich musical heritage and an origi-
nal co-owner of such respected companies as
GHS Strings and Sho-bud Steel Guitars. For the
past 30 years, George has been dedicated to pro-
ducing his legendary line of guitar cables, pick-
ups, strings, and steel guitar accessories.
Judged Best in Sound Clarity by Guitar Player in
1997, George L cables were also recently elected
to the Guitar Player Hall of Fame in December
of 2001. George L cables will enable you to
eliminate line loss with low-loss cables rated at
19 pf per foot capacitance. George L cables
require no stripping or soldering, and with a
choice of straight, right angle, or stretch jacks,
guitarists can customize their rigs with traditional
black or vintage red cable and sound great the
very same day! We can think of no tougher critic
than guitarist Eric Johnson, who said, “It’s my
favorite cable ever made for guitar.” George L
cable is available at fine music stores worldwide,
and we invite you to visit their website for the
complete story about their products. NEW! Gold
plugs, right angle plugs for George L’s .225
cable, RCA plugs for all cable sizes, and the
George L’s pocket cable checker!
George L Cables, Madison, TN
www.georgels.com 615-868-6976
GHS – The String Specialists
Who plays GHS strings? Artists as diverse as
Eric Johnson, Martin Barre, Charlie Sexton, Will
Ray, Warren Haynes, Tom Morello, Ritchie
Sambora, Steve Howe, Brent Mason, Junior
Brown, Zakk Wylde, Tommy Castro, Rene’
Martinez and TQR advisory board member and
AC30/Telecaster stud Mr. James Pennebaker, to
name just a few! GHS has been manufacturing
guitar strings since 1964, and whatever your
musical tastes, GHS has the right string for you.
You’re invited to try a set of GHS classic
Boomers, brilliant Nickel Rockers, Burnished
Nickel strings for a warm, vintage tone,
Compound Nickel strings for electric archtops,
and the recently introduced Infinity Bronze coat-
ed acoustic strings for extended tone and bril-
liance. All GHS strings are available in a wide
range of gauges to appeal to every player. Refer
to the GHS “Brightness Bar” found on select
packages of strings and at our web site. It’s your
guide to determining which strings will produce
the specific range of tone you’re seeking.
Please check out the all new GHS web site at
www.ghsstrings.com for expert information
about GHS strings, including technical documen-
tation on the entire GHS line of strings for fretted
instruments, tech tips, string tension calculations,
the “Brightness Bar,” and a comprehensive list of
the top artists who play GHS strings. All GHS
strings are manufactured to continually exceed
your expectations.
GHS String Corporation, Battle Creek, MI
www.ghsstrings.com 1-800-388-4447
Hands On Guitars Informed and inspired by a 20
year friendship with James L. D’Aquisto, Eric
Miller has been building, repairing, and cus-
tomizing instruments for over 18 years, and has
taught guitar repair and construction courses at
Boston’s Berklee College of Music and the
Evergreen State College. Eric is best known for
impeccable craftsmanship, extreme attention to
detail and client’s needs, and an almost clairvoy-
ant ability to bring out the best in an instrument.
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21

Meticulous fretwork is done using tension jigs
and asymmetrical planing techniques for ultimate
accuracy, and Eric has pioneered fingerboard
preparation and finishing methods that enhance
tone and playability as well as duplicating the
look and feel of the finest vintage patinas. He is a
dealer for Tom Anderson, Robin,
Gretsch, D’Aquisto, Breedlove, Stromberg,
Everett, Larrivee, Rainsong and Garrison instru-
ments, as well as crafting his own Eric Miller
Custom Guitars. Eric stocks and is extremely
knowledgeable about most brands of aftermarket
and original equipment pickups, both electric and
acoustic. Hands on Guitars also carries designer
pedals by Roger Mayer, Zachary Vex and
Frantone, and maintains a large inventory of gui-
tar “pro” products such as fossil ivory and wooly
mammoth nuts, saddles, and bridgepins; Tone
Pros locking bridges, tailpieces and studs; and
Virtuoso Guitar Cleaner and Polish.
Hands on Guitars, Chehalis,WA
handsonguitars@juno.com 360-740-9158
Contact: Eric Miller
Jensen Musicians everywhere are thrilled to hear
the unique sound of Jensen Vintage Series speak-
ers again. The Jensen re-issues of the famous
Jensen designs of the 50’s and 60’s are built to
the exact specifications of the originals to
achieve the same authentic sound in guitar ampli-
fiers today. Many current manufacturers are
using them as well, such as Fender, Mesa
Boogie, Victoria and many more. Jensen Vintage
Speakers are available in both true ALNICO
magnet models and ceramic magnet models. The
classic Jensen ‘P’ Series, features highly efficient
AlNiCo magnets and vintage style seamed cones,
when applicable, resulting in the pure vintage
tone loved by guitarists throughout the world.
The Jensen ‘C’ Series provides additional tone
choice and the advantages of lower cost ceramic
magnets. Originally developed in the 1960’s to
meet the demands of the emerging pop music
industry, the ‘C’ Series has remained a classic
ever since. CE Distribution is the exclusive US
importer and distributes the Jensen speakers to
distributors and dealers throughout the United
States. Write to info@jensenvintage.com to find
a distributor or dealer in your area, or contact CE
Distribution.
CE Distribution, Tempe, AZ
www.tubesandmore.com 480-755-4712
www.jensenvintage.com
Just Strings.com Now more than ever, guitarists
are reaping the benefits of technical innovations
in string making that have led to the widest
selection of guitar strings ever available.
JustStrings.com is dedicated to providing gui-
tarists with the largest selection of acoustic,
roundwound, and flatwound strings, compliment-
ed by exceptional personalized service and out-
standing value. Trying different types of strings
often results in amazing new discoveries that not
only improve the sound of your instrument, but
dramatically enhance your playing enjoyment.
From traditional hand-crafted strings to high-tech
exotics, JustStrings.com exists to help you get
the most out of your instrument. Try a new set
today, or order your favorite acoustic or electric
sets and SAVE! Juststrings.com offers the best
prices on all of the major and specialty brands,
promptly delivered to your door. Shop online at
JustStrings.com, or place your order by fax at
603-889-7026 or telephone at 603-889-2664.
JustStrings.com, Nashua, NH
22 TONEQUEST REPORT V5. N5. March 2004
Resource Directory
www.juststrings.com info@juststrings.com
Klon Since its inception in 1994, Klon has been a
one-product company, and given the overwhelming
success of that product, the Centaur Professional
Overdrive, it’s not hard to see why. Designer Bill
Finnegan, assisted by two circuit-design specialists,
set out in 1990 to create an interactive and ultra-
transparent overdrive, one that doesn’t put its own
stamp on your sound, but rather brings out in a very
organic way more of what your rig was already
giving you. Bill’s premise was that there were many
players who, like himself, had great guitars and amps,
and who, as he likes to put it, “were not looking to
reinvent the wheel,” and the fact that he has sold
some four thousand Centaur units (as of November
2002) attests to his intuition, as well as to the
perfectionism that led him to spend over four years
developing a single product. That perfectionism,
of course, is also evident in the production unit:
Bill builds every Centaur himself, by hand, using
only the finest components and assembling them
with meticulous care. Each unit undergoes a series
of rigorous tests before shipment, and each is
backed by a comprehensive ten-year warranty.
Given the ongoing demand for the Centaur and
Bill’s disinclination to let anyone but himself
build them, expect a wait of several months for
delivery, but also expect your Centaur, when you
receive it, to manifest a sonic superiority, a
construction quality, a physical beauty, and a
conceptual rightness beyond your expectations.
Klon, Boston, MA 617 666-1551
www.klon-siberia.com info@klon-siberia.com
Keeley Electronics - ToneQuest subscribers
receive 10% off on all pedal mods and the
Keeley comp, java boost and time machine
boost! Robert Keeley’s Time Machine Boost,
Keeley Compressor, and his custom, state-of-the-
art modifications for vintage pedals continue to
receive rave reviews from guitarists around the
world. Keeley pedals are used by Aerosmith,
Abbey Road Studios, Steve Vai, legendary pro-
ducer Bob Rock, George Lynch, Peter Frampton,
James Burton, and many, many more guitarists
and music pros around the world. The Time
Machine Boost is a supremely versatile 2 chan-
nel, 3 mode pre-amplifier designed to drive your
amplifiers into overdrive or saturation, as seen on
the cover of the March issue of VG. The two
channels are labeled “Vintage,” and “Modern,”
with the “Vintage” side inspired by rare germani-
um boosts like the Dallas Rangemaster. The
“Modern” channel is a new +23dB gain, dual
JFET transparent signal amplifier. The Keeley
Compressor is a superb audiophile and studio
grade compressor with true bypass switching and
premium metal film resistors and capacitors for
the cleanest Ross clone compressor ever avail-
able. Available with a standard Ibanez/Boss style
adapter jack and/or battery power, you can say
goodbye to that old red Dyna Comp!
Robert Keeley pedal mods include 2 versions for
TS9’s - the TS808 mod, and the “Baked TS9” for
searing hot Tube Screamer tone. Keeley uses the
original TI RC4558P chip that appeared in the
early TS808’s, while increasing the bass response
and overdrive range. The result is a perfectly
voiced 808 that’s cleaner when turned down and
produces twice the drive/gain when turned up,
with all of the stock 808 character in the middle.
The Keeley modded BD-2 is not a fuzz pedal but
has the best characteristics of a fuzz pedal, and
it’s much smoother and more realistic sounding.
This is the pedal if you’re looking for the
cranked Fender Super amplifier sound. It has
tremendous volume output, and it can be used as
a clean boost, driving your amp into natural
sounding overdrive. Other exclusive Keeley mod-
ifications include the Boss Blues Driver BD-2
Tube Mod, the PHAT Switch BD-2 Mod, Rat
Mods, Boss DS-1 Seeing Eye Mod, Boss SD-1,
and Boss Chorus CE-2. For detailed specs, user
comments, dealer information, sound clips, and
ordering information, please visit the Keeley
Electronics website.
Keeley Electronics, Edmond, OK
www.robertkeeley.com
K&M Analog Designs — Two Rock
K&M Analog Designs, LLC, was formed in
northern California in1998 by Bill Krinard and
Joe Mloganoski. The company brings a com-
bined 60 + years of experience in tube amplifica-
tion and guitar tone to the boutique amp market.
As talented designer/engineer and seasoned gui-
tarist (respectively), Bill and Joe have developed
a uniquely toneful, dynamic and affordable line
of hand built vacuum tube amplifiers that are
instruments designed to completely complement
your individual playing style. Each amp is
equipped with proprietary custom transformers
and coupling caps, the best available new and
NOS tubes, and each model has unique build
architecture and layout not found in other mod-
ern hand built designs. Each individual unit is
personally tweaked by both Joe and Bill through-
out the build process. Early K&M customers
such as Carlos Santana helped launch the compa-
ny to the forefront in its earliest days. Current
K&M and Two-Rock devotees include Steve
Kimock, Mitch Stein, Barney Doyle, Terry
Haggerty, Mark Karan, Michael Kang, and
Volker Strifler, among others.The company
launched its line of Two-Rock amps in the sum-
mer of 1999. Past models include the Amethyst
Special Indoor Storm Model, Emerald 50,
Sapphire 100, Emerald Pro and Topaz. Current
models include the Custom, Custom Reverb,
Onyx, Opal, and Ruby. A number of customized
versions of the aforementioned have also been
built for players seeking the ultimate personal-
ized tone machine. K&M also recently intro-
duced its specialty guitar cables to rave reviews
both here and abroad. Currently K&M is also
producing a cathode biased limited production
amp for Ultrasound Studios in New York City.
K&M Analog Designs,LLC. Cotati, CA
www.Two-Rock.com 707-664-0267
In Japan: www.Two-Rock-jp.com
Lollar Custom Guitars & Pickups
Jason Lollar builds handcrafted solid body and
arch top guitars and custom pickups in Vashon,
Washington. Custom, hand wound Lollar pickups
are available in all of the most popular styles
(Strat, Tele, P90, Humbucker), plus custom steel
pickups, Charlie Christian-style pickups, Lollar
Stringmaster and Chicago Steel pickups for tradi-
tional 6-string applications, and many more.
TQR recommends Lollar pickups without excep-
tion! Lollar guitars are built with a deep respect
for timeless tradition, using western curly Maple,
Honduran Mahogany, Cherry, and Alder. Models
include the Standard – an Alder solid body, tradi-
tional bolt-on design that will appeal to Tele-
style players. The Tonemaster is an Alder off-set
waist, contoured, string-through solidbody guitar
with a Lollar Stringmaster style steel guitar pick-
up in the bridge and a Lollar Chicago Steel pick-
up in the neck position. Jason also builds a solid
body ‘V’ style guitar from Honduran Mahogany
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with a Koa top. His ‘SG’ style guitar utilizes a
super light Alder body with a mahogany neck
and P90 pickups. All of Jason’s solid body gui-
tars are exceptionally resonant, balanced, and
feature his custom, handwound pickups. Lollar
arch tops include the 16" Concert and Performer
models. The Performer is built with P90’s, rose-
wood board, dot inlays, Grovers, single ply bind-
ing, and a standard tobacco burst nitro finish .
The Concert features an ebony board, gold MOP
block inlays, aged binding, Grover Imperials, and
Lollar P90’s. Options for both models include
Venetian or Florentine cutaways, standard body
depth or thinline (with an alder center block on
request). Lollar arch tops are excellent instru-
ments for blues, funk, and rockabilly, as well as
jazz!
Jason Lollar, Vashon, WA
www.lollarguitars.com 206-463-9838
Midtown Music, Atlanta, GA is one of our very
favorite sources for guitars, amplifiers, effects,
and accessories. Midtown offers great deals on
new amplifiers by Dr. Z, Victoria, Savage, Two
Rock, and Roccaforte, all in stock! They also
carry the complete line of Blackbox effects, Wha
Whas by Geoffrey Teese, and new Jensen and
Celestion speakers. Current inventory includes:
Aiken Invader...New, 18 Watt w/ Attenuator,
Ultimate Bedroom Amp...CALL
Bacino 18 Watt...New, 18 Watt Marshall Clone,
Custom Colors...CALL
Balls M18...New & Used, 18 Watt Marshall
Clones, In Stock!...CALL
Dr. Z Maz 18...New, 18 Watt w/ Reverb, Custom
Colors...CALL
Fender Stratocaster Relic...Aged Fiesta Red,
Maple Fretboard, Mint, OHSC...$1795
Fender Super Reverb...1967, Original Speakers &
Transformers, Excellent...$1595
Fender Tremolux…1964, Head Only, Original
Transformers, Very Good…$450
Gibson Les Paul Custom '61 Reissue...Historic
Pelham Blue, Near Mint, OHSC...$2495
Marshall JMP 50 Watt...1974, Four Inputs, No
Master Volume, Excellent...$895
Marshall JMP 100 Watt Super Lead...1973, Four
Inputs, No Master Volume, Excellent...$895
Matchless Clubman 35...1994, Mark Sampson
Era, Excellent...$1995
Two Rock Custom Reverb...New, 50 Watt w/
Reverb, In Stock!...CALL
Vox AC-30...Reissue w/ Celestion Blue Bulldogs,
Original Cover, Near Mint...$1495
Victoria 35310 "Bandmaster"…1998, Tweed,
Near Mint…$1395
Roccaforte, Savage, O'Brien...New hand wired
amps…CALL
The staff at Midtown is experienced and helpful
(they’re all great players), and Midtown has been
the choice of working guitarists in the southeast-
ern U.S. for years. Highly recommended, and
definitely ToneQuest approved!
www.midtownmusic.com
404-325-0515
Mojo Musical Supply is the all-inclusive amplifi-
er parts supply house. ToneQuest readers
receive an exclusive 10% discount on all Mojo
products! Just reference the “MojoQuest304”
discount code when placing your order. Mojo
specializes in pre-1980 amplifier parts, including
a wide range of custom and vintage reproduction
cabinets, a line of exact reproduction transform-
ers, and hard-to-find electrical components. Mojo
continues to supply a full range of speakers for
TONEQUEST REPORT V5. N5. March 2004
Resource Directory
the guitar market, including Jensen, Celestion,
and of course, their own custom Mojotone speak-
ers. The in-house cabinet shop at Mojo special-
izes in making authentic Fender and Marshall
reproduction amplifier cabinets, custom cabinets
from your own design, as well as cabinet repair
and re-covering. Mojo stocks over fifty different
amp coverings and grill cloths to insure that vin-
tage enthusiasts and custom amp creators have a
large palette to choose from. Within the last two
years, Mojo has become one of the largest vacu-
um tube importers in the world, stocking over
20,000 tubes. Because they buy tubes in large
volumes, their prices remain very competitive.
For completed electronics, Mojo is the east coast
distributor for Belov amplification and also the
home of Mojotone Custom electronics. Mojo
manufactures and markets the Tone Machine
amplifier, a powerful and eclectic tube guitar
combo. They are also able to offer turnkey and
partial component electronics and cabinets for
OEM’s and builders of all sizes. The future of
Mojo lies in their ability to work directly with
manufacturers, or bring the manufacturing in
house. Our plans for the coming months and
years are focused on making quality vintage parts
available at even better prices, while assuring that
all of their products are of the highest quality.
Mojo Musical Supply
Winston-Salem, NC
www.mojotone.com 1-800-927-MOJO
Stewart MacDonald Stewart-MacDonald offers a
complete line of hard-to-find tools, parts, acces-
sories, instructional videos and books for build-
ing, repairing, setting up, and optimizing the
playability and tone of stringed instruments.
Whether you are just getting started or you're a
seasoned luthier, you'll find everything you need
in the Stew-Mac catalog, including: fret wire, fin-
ishing supplies, glues and adhesives, wood, bod-
ies, necks, binding, tuners, nuts and saddles,
inlay, bridges, tailpieces, electronics, pickups,
and free information sheets and professional
advice! Their friendly customer service and tech-
nical support staff are trained to help you make
the best product choices, and they also offer an
Unconditional Return Guarantee. If you're not
satisfied with an item for any reason, simply
return it.
Stew-Mac is the leading supplier of innovative
products for guitarists and repair pros, and every
thing they make is guaranteed to work well,
because every product is tested by the profes-
sional luthiers at Stewart MacDonald first! The
master builders and repairmen on staff include
Dan Erlewine - well-known author of guitar
repair books and magazine articles, member of
the ToneQuest Report advisory board, and a reg-
ular contributor to TQR. Dan and all of the expe-
rienced luthiers at Stew-Mac personally develop
and test every product the company offers, and
they are also dedicated to education. The Stewart
MacDonald catalog is packed with helpful tips,
and the company produces an extensive series of
training videos at their facility in Athens, Ohio.
For more information on the entire range of
products available, please visit the Stewart
MacDonald web site. In addition to their free
online help service, your telephone call is also
always welcome.
Stewart MacDonald
www.stewmac.com,
1-800-848-2273
Toneman Veteran working guitarist Don Butler is
an experienced tech who specializes in servicing
and restoring JMI-era Vox tube/valve amps as
well as many other vintage British amps includ-
ing Marshall, Selmer, Hiwatt, Sound City and
Orange amps. Don also services and restores vin-
tage tweed, blonde, brown and blackface era
Fender amplifiers. Don’s modifications and
upgrades to vintage reissue Vox, Marshall, and
Fender amps have earned him a solid reputation
among players throughout the country for achiev-
ing dramatically improved, authentic vintage tone
from reissue amplifiers. Don uses hand-made
Mercury Magnetics Axiom Tone Clone trans-
formers, along with the correct, premium signal
path components to bring reissues to vintage
specs. He also modifies reissue Vox wahs to vin-
tage specs, and he offers upgrades to Vox Valve
Tone pedals and reissue Ibanez TS9’s. For the
past 6 years, Don has been building the famous
Rangemaster Treble Booster, which is an exact
replica of the original Dallas Rangemaster unit
from the early 60’s. In addition to the original
treble model, Don builds a full range model and
a switchable model combining the features of
both Rangemaster units. Don was also the very
first dealer for Pyramid strings, and you can
count on him to maintain a full inventory of
Pyramids at all times.
Don Butler, Newhall, CA
www.tone-man.com
661-259-4544 10-6 PST, Tuesday-Saturday only
TonePros Sound Labs
All TQR subscribers will receive an exclusive
10% discount when ordering TonePros compo-
nents — just mention the “TQWD” discount
code when ordering by phone or online.
TonePros Sound Labs International System II
Guitar Components distributed by WD Music
Products “Making the world a better place for
guitar guitarists!” Ever since our first published
review article, The ToneQuest Report has enthu-
siastically recommended the patented TonePros
system of guitar components. You deserve to dis-
cover why TonePros works!
TonePros tailpieces feature a patented locking
design. For years, guitars with stop tailpieces and
wrap-around bridges have been cursed by “lean”
or tilt on their stud mounts. Since string tension
was all that held tailpieces on, the only contact
area was just a bit of the edge of the bottom
flange, just a bit of the lip of the stud top, and
often just as little contact with the intonation
screws. TonePros® Locking Studs provide 100%
of the contact area of the bottom flange, 100% of
the contact area of the stud top, no lean, and dra-
matically improved sustain, resonance and tone.
TonePros bridge and saddle components feature
the “patented pinch” — the lateral pressure that
is applied from the strategically placed “tone
screws” that greatly reduce the play or wiggle of
the bridge posts in their inserts. The posts are
frozen in place, resulting in a solid connection
between the strings, bridge, and guitar top, trans-
ferring more string vibration and resonance to the
guitar body, resulting in an audibly stronger,
sweeter, woodier type of resonance and sustain.
And once your guitar is set up, it’s locked.
Bridge height and intonation settings remain
intact and exact, even after re-stringing.
TonePros® System II Components are found on
the worlds best guitars, played by the world's
best artists.
23
 Back Issue Index

TonePros Sound Labs International, www.tonepros.com In a hurry? Back issues are also available as low-resolution PDF files,
www.wdmusicproducts.com, 239-337-7575 delivered via e-mail. Don't delay! Please place your order today while
supplies of original issues are still available. Call 1-877-MAX-TONE toll-
Vinetto Guitars Be sure to enter the ToneQuest Vinetto Legato Giveaway free or order online at www.tonequest.com now. This index is also avail-
by registering at www.vinettoguitars.com today! Deadline for entry is June able for viewing at www.tonequest.com. See 'back issue index.’
1, 2004. No purchase necessary to enter
November 1999 Vol. 1 Number 1 *
If you ask ten different guitar players for their idea of the “ultimate” gui- Dave Boze —Under 40W of Whoop-Ass—Vintage Fender ‘club’ amps
tar, you'll get that many different answers. But there comes a point, when Interview — René Martinez, Stevie Ray’s guitar tech
you've played and heard enough guitars, that you finally realize that find- Interview — Joe Barden, Joe Barden Pickups
ing the best instrument for you has nothing to do with the almost endless NOS Tubes — Mike Kropotkin
array of features and gimmicks out there today. It's about the connection-- Interview — James Pennebaker
the subtle, timeless connection that happens when the right player picks
up the right guitar. December 1999 Vol. 1 Number 2 *
Interview — René Martinez Part 2
For over two decades, Vince Cunetto has been making guitars that feel, The Reissue Vox AC 30 with James Pennebaker
play and sound the way a lot of very respected players wanted them to, Interview — Joe Barden Part 2
and most of these players were not too concerned with the bells and whis-
tles that come and go in trendy, modern guitar design. When Vince set out January 2000 Vol. 1 Number 3 *
to design his own model, he wanted to build a guitar that would be com- $400 of Blues Power — The Japanese Vintage Reissue Strats
fortable to anybody that picked one up – like an old friend – but different Review & Interview — Victoria Amplifier Founder Mark Baier
enough to still inspire new ideas in their playing. This was the inspiration Rhyne Guitars and Jay Riness
for The Legato, and remember – “legato” means smooth and connected. Introducing Todd Sharp
It's about flow and continuity. Q &A with Sheryl Crow Guitarist Peter Stroud
Rockindaddy Randy Volin on vintage gear
The goal for Vinetto Guitars is pretty simple… to put extremely well-
made, great sounding instruments into the hands of good players, so they February 2000 Vol. 1 Number 4
can find new ways to bring out their best playing. Review — The Epiphone Spirit — Old School Kalamazoo Cool
Review & Interview — Victoria Amps Part 2
Any Vinetto Guitar can be special ordered to the player's specifications Review — Vintage National Resonators
from a selection of standard neck profile, fingerboard, pickguard and The Dumble — Todd Sharp
body color options. We're also happy to discuss any special requests you Q & A with Mark Baier
might have for your new Vinetto. For more information, please visit the Dave Boze on New (Old) Amp Purchases
Vinetto Guitars web site.
www.vinettoguitars.com, 314-542-0808 March 2000 Vol. 1 Number 5
Interview — Double Trouble Bassist Tommy Shannon Part 1
Visual Sound Review — Vintage Resonators Part 2
Visual Sound Founded by guitarist, Bob Weil in 1994, Visual Sound has Review — ’64 Fender Vibroverb
become known for creating innovative effect pedals with impeccable tone Interview — Ben Cole — GHS Strings
at a reasonable price. The familiar “home plate” design of the Jekyll & Power Tubes — Mike Kropotkin
Hyde Ultimate Overdrive, Route 66 American Overdrive, and H2O Liquid Q & A with Dave Boze
Chorus & Echo makes them stand out on any stage. Each pedal is actually
two pedals in one, having two completely separate channels that can be April 2000 Vol. 1 Number 6
used individually or in combination with each other, just like two pedals. Interview — Bluesbreaker Guitarist Buddy Whittington Part 1
However, they are priced substantially less than one comparable “bou- Interview — Tommy Shannon Part 2
tique quality pedals, and even less than some mass-market pedals. Visual Review — The G&L ASAT
Sound pedals have been used on stage and in the studio with artists like Review — The Peavey Delta Blues
Eric Johnson, U2, Gary Moore, Phil Keaggy, Johnny Hiland, Jars of Clay,
Review — The Gibson ES 135
and many others. The latest addition from Visual Sound is the 1 SPOT
The Quest for Tone — Todd Sharp
space-saving adapter – the first 9VDC adapter to require only one spot on
Review — Ibanez Tube Screamers
a wall outlet or power strip. The 1 SPOT works with almost every pedal
Q &A with Dave Boze
in existence and can easily power an entire pedal board by itself with the
addition of optional daisy chain cables. It’s a fraction of the cost of brick-
sized pedal board power supplies and it takes up no space on the board. May 2000 Vol. 1 Number 7
As if that wasn’t enough, it even converts voltage automatically anywhere Interview — Albert Lee Part 1
in the world! For more information about Visual Sound, mp3 downloads, Buddy Whittington Part 2
and product information, please visit the Visual Sound web site, or con- Heavy Metal Dobro Mojo
tact Bob Weil personally. Pickups with Peter Stroud
Visual Sound Q & A with Ted Weber and Joe Barden
www.visualsound.net 615-595-8232
June 2000 Vol. 1 Number 8
Interview — Albert Lee Part 2

Back Issue Index November 1999 – January 2004 Interview — Sonny Landreth Part 1
Tube Rectifiers with Mike Kropotkin
Review — The Klon Centaur
Order the issues you have missed now by calling 1-877-MAX-TONE toll-
Todd Sharp on the Ampeg VT 40
free in the USA, or order online through our secure server at
www.tonequest.com. AMEX, VISA, Mastercard and Discover cards Pedalboard Setup with Peter Stroud
accepted! All back issues are $10 each. Issues noted with an * are no
longer in print. High-quality color copies will be provided for all out-of- July 2000 Vol. 1 Number 9
print issues. Please allow 10-15 days for delivery. Interview — Doctor Z Amps Part 1
Interview — Sonny Landreth Part 2
Review — The Fab, Groovy Danelectros with James Pennebaker
SPECIAL OFFER WHILE SUPPLIES LAST! Jazzmaster and Jag Setups with John Sprung
Order 10 or more back issues and save 10% off the $10/per copy price.
Order all back issues and save 20%! Orders of 10 issues or more will be The Leslie with Dave Boze
mailed via Priority Mail. International delivery charges vary based on the A Les Paul for Less
number of issues ordered and your location. Q &A with Todd Sharp

-continued-

24 TONEQUEST REPORT V4. N8. June 2003

 Back Issue Index
August 2000 Vol. 1 Number 10
Interview — The Amp Doctor Gives It Up! The César Diaz
Interview
Interview — Doctor Z Part 2 Plus Amp Reviews
Review — The Little Whirlwind Leslie
Review — The Martin D18 and Gibson J45
Q & A with Dave Boze
September 2000 Vol. 1 Number 11
Interview — Chris Larsen/Girl Brand Guitars
Interview — Andy Marshall/THD Electronics
Review — Mesa Boogie Blue Angel
Interview — Lord Valve on Tubes
Review — A Les Paul for Less...
October 2000 Vol. 1 Number 12
Interview — Sean Costello
Interview — Tim Shaw, Fender Custom Shop Nashville
Interview — Tom Holmes on PAF Pickups
Interview — Ted Weber/Weber VST on Speakers Part 1
November 2000 Vol. 2 Number 1
Interview — Danny Flowers and James Pennebaker
Interview — Jeff Bakos on Classic Blues Recording
Interview — Ted Weber/Weber VST Speakers Part 2
Review — Analog Delay Pedals
December 2000 Vol. 2 Number 2 *
Review — The Gibson Firebird
Review — The Fender VibroKing Amp
Interview — Atlanta's Instrument Repair Shop
Todd Sharp — The Redface "Blackface" Conversion
January 2001 Vol. 2 Number 3
Interview — Telecaster Master Johnny Hiland Part 1
Interview — Gregg Hopkins, Vintage Amp Restoration
Interviews — Gear Tips with West Coast Tone Kings Don Butler
and Mark Karan Part 1
February 2001 Vol. 2 Number 4
Interview — Steve Carr, Carr Amplifiers
Review — TQR Picks for Vintage Cheapo Guitars and Amps
Interview — Don Butler and Mark Karan Part 2
Class A Q&A with Dr. Z
March 2001 Vol. 2 Number 5
Interview — Ken Parker of Parker Guitars on Guitar Construction
Part 1 — “A must-read!”
Review — Carr Amplifiers
Lord Valve on the No B.S. Approach to Tube Tone
Interview — Bonnie Raitt’s Reso Builder, Larry Pogreba
Review — The Vintage Reissue Japanese Telecaster
April 2001 Vol. 2 Number 6 *
Review — HIWATT Amps
Interview — Ken Parker Part 2
Tube Substitutions by Mike Kropotkin
Todd Sharp on Impedance Matching
Review — The New Dr. Z Z28 4x10 Amp
May 2001 Vol. 2 Number 7
Interview — Dick Boak, CF Martin & Co.
Interview — Larry Wexer on vintage Martins
Review — The HIWATT DR 505 Amp with Bakos and Sharp
EL 34 Tube Recommendations
Review — The Ibanez TS7 Tube Screamer
June 2001 Vol. 2 Number 8
Interview — Ritchie Fliegler, Fender Musical Instruments
1973 Super Reverb Super Beater Makeover
Interview — Scott Peterson, Harmonic Design Pickups
SRV and Santana guitar tech René Martinez on Tuning
TONEQUEST REPORT V4. N8. June 2003
July 2001 Vol. 2 Number 9
Interview — Bob Gault, Founder of Eminence Speaker Corporation
Interview — Ritchie Fliegler Part 2
Interview — Beckola! Jennifer Batten on the Jeff Beck Tour
Review — The Reissue '65 Super reverb
The Hall of Fame Triple Gold Les Paul and VP 90 Pickups
Little Big Pedals from SRV Amp Guru César Diaz
August 2001 Vol. 2 Number 10
The Rock & Roll Hall of Fame — Page’s Supro, Joe Walsh & More
Interview — Greg Martin & The Kentucky Headhunters
nterview — Chris Kinman of Kinman AVn Guitar Electrix
Review — The Marshall PA 20
Review — $600 of Blues Power — MIJ Strat Makeover with
Harmonic Design Pickups and the Super Tough Fret Job!
September 2001 Vol. 2 Number 11
The Eric Clapton Issue — Clapton's Gear from the Yardbirds to
Reptile — EC's Guitars Shot on Stage from the 2001 Tour
Interview — Famed Producer Tom Dowd on Layla and Disraeli
Gears Sessions
Interview — TQR Exclusive with EC's Guitar Tech Lee Dickson
October 2001 Vol. 2 Number 12
Interview — Terry C. McInturff, McInturff Guitars
Interview — Nashville Cats Todd Sharp and Kenny Greenberg
Interview — Chris Kinman Part 2
Review — More Picks for Undiscovered Small Amps
November 2001 Vol. 3 Number 1
Interview — Kal David — It's Time You Met the Real Deal!
Interview — Mesa Boogie Founder Randy Smith
Interview — Super Happenin' Effects with Analog Man
Feature — Who's Playing What? Sonny Landreth, Kenny Wayne,
and Peter Stroud
December 2001 Vol. 3 Number 2
Interview — The Mystic Travelers — When Vintage was $200 w/John
Sprung
Interview — TQR Exclusive with Larry Fishman
Review — The Terry C. McInturff Taurus Standard
Review — Bill Callaham's Cryo'd Pickups and Wiring Harness
Interview — James Pennebaker on Building Amps at Home
January 2002 Vol. 3 Number 3 *
Interview — John Harrison of A Brown Soun — The Wizard of
Hemp Speakers Speaks!
Interview — An American Treasure — Bob Benedetto
Interview — Mercury Magnetics Founder Sergio Hamernik on
Transformers
February 2002 Vol. 3 Number 4
Interview — Mr. Ronnie Earl
Interview — A Conversation with the Founders of Two Rock Amps
Review — Introducing Mr. Nasty — $300 of Bloody Good Whoop
Ass (The Sound City 50R Amp)
Review — The Cooderizer (Gibson GA20)
Q&A — From the Temple of Tone with Eric Miller/Hands On Guitars
March 2002 Vol. 3 Number 5 *
Interview — Meet Steve Kimock — The High Priest of Magical
Guitar Tone
Interview — Jimmy Page and Joe Perry Guitar Tech Jim Survis
Review — The Mesa Boogie Maverick Review
NAMM 2002 Hot Picks!
Review — K&M Two Rock Amps
TQR Quarterly Resource Directory
April 2002 Vol. 3 Number 6
Interview — Geoffrey Teese and RMC Wahs — The Search for the
Holy Grail
Interview — Introducing Terry Dobbs (That's Mr. Valco to You...)
-continued-
25
 Back Issue Index
Article — Johnny Hiland Shares Practice Tips & His Pedal Board Rig
Review — The Fender Super Deluxe Reverb — Upgrade Your
Deluxe Now!
May 2002 Vol. 3 Number 7
Interview — Michael Guthrie's Outrageous Vox Amps, Plus
Undiscovered British Bargains!
Review — The Return of Todd Sharp — The Good Smell of a
Vintage Vox AC30
Interview — Meet Zachary Vex of Z. Vex Pedals
Review — Damn Right I Play a Cyber Twin — Buddy Guy's Tech
Mark Messner & the Cyber Fender Twin
June 2002 Vol. 3 Number 8
Interview — Victoria Amplifier's Mark Baier on the new 4/EL84
Victorilux with Reverb & Tremolo
Review — The New Jensen Mod Speakers with Orin Portnoy,
Antique Electronic Supply
Interview — Good Wood from Puyallup — Ken Warmoth on
Warmoth Guitar Products
Review — Pedalmania! Don't Get Bored with Your Peda Board!
César Diaz Remembered
July 2002 Vol. 3 Number 9 — The Blues Issue *
Interview — Muddy Waters Guitarist Bob Margolin
Interview — French Quarter Legend Mr. Bryan Lee
Interview — Jimi and Stevie's Favorite Guitarist — Hubert Sumlin
Review — TQR's Mighty Fine Tools for Tone Kings — Lollar P90's,
the Siegmund Midnight Special, and Roccaforte Custom 18 head.
August 2002 Vol. 3 Number 10
A Trio of Tonefreaks...
Interview — Meet Chris Siegmund — Elevating Amplifiers and
Guitars to Timeless Works of Art.
Jason Lollar — A Player's Take on Guitar Designs and Handwound
Pickups That Will Change Your Life
Doug Roccaforte — Custom Amp Builder and Tech Busts Myths
About Building, Repairing, and Modding Amps
September 2002 Vol. 3 Number 11 *
Jim Marshall! Our exclusive, in-depth interview with Jim Marshall is
a rare treat for all fans of Marshall amplifiers. This is one of the
most extensive interviews ever published with the man who creat-
ed the sound of rock & roll.
Interview — Doug Roccaforte reviews the great Marshall amps of
the past. You'll learn the subtle differences between models built
from the mid sixties to the early eighties.
Review — Our 1970 Park 50W, optimized by Doug Roccaforte
Review — The current production Marshall JTM45
Review — Acquiring maximum vintage Les Paul tone on a budget
Review — The Fishman Powerbridge with Peter Stroud
Review — The Carr 1x15 Slant 6 with Danny Flowers
October 2002 Vol. 3 Number 12 *
This is the issue everyone was waiting for... A 6,000 word, detailed
visit and gear exposé with the Reverend Billy F. Gibbons! Mr.
Gibbons finally delivered the goods on how he gets his righteous
tone, from Pearly Gates, to the Marshalls, his studio toys, live
stage rig, and all points in between...
Review — The Les Paul Historic Double Cut Special
Interview — The Radiators' Dave Malone... More very cool gear
tips from the pros!
Review — The Electro-Harmonix Holy Grail Reverb
November 2002 Vol. 4 Number 1
Introducing a guitar player's guitar player... Stephen Bruton!
Stephen's interview is one of the most thoughtful and informative
we've ever published. If you don't learn something from this guy,
it's time to hang it up!
Review — PRS Custom 22, and the MCCarty model
Review & Interview — Black Box Effects with founder Loren
Stafford
Review — The Maven Peal Zeeta Amplifier
26 TONEQUEST REPORT V4. N8. June 2003
December 2002 Vol. 4 Number 2 *
The King of Tone! If you aren't familiar with Jim Weider's work with
The Band and his solo recordings featuring his vintage Telecasters,
amps, and effects, it's time you became acquainted with one of the
most accomplished Tele players of our time. We explore Jim's
entire stage and studio setups, and this interview is loaded with
practical tips on acquiring inspiring guitar tone.
Review — AnalogMan's Sun Face Germanium Fuzz
Review — Relic Tele Reviews! The Nocaster and '63 Tele
Review — Chris Kinman's Superb Noiseless Tele Pickups from
Down Under!
Interview and Review — Savage Audio with Jeff Krumm
January 2003 Vol. 4 Number 3
Glaser Instruments — When Nashville's top players need their gui-
tars re-fretted, setup, or restored, they go to Joe Glaser. Our in-
depth interview covers Joe Glaser's career operating one of the top
guitar repair shops in the world, and we reveal his amazing PLEK
machine from Germany, which dresses frets with a precision that
will change the way you view a "great" fret job. This is one of the
most requested issues we've ever published!
Review — The Incredible PLEK machine!
Review — Our TQR picks for Way Cool Guitars
Review & Interview — Visual Sound Effects with Bob Weil
Review — The Under 20W Chapter of Club Whoop Ass (revisited)
Our picks for new, little BIG amps!
February 2003 Vol. 4 Number 4 *
Coco Montoya — "Take this blues and make it your own." Coco
Montoya began his career as a drummer with blues legend Albert
Collins, but during years of touring with The Iceman, Coco learned
to play blues guitar from the undisputed "Master of the Telecaster."
We delve deep into Coco's career with Collins and his role as gui-
tarist with John Mayall and the Bluesbreakers, and as always,
there are plenty of tips from Coco on getting that tone and the
intention of the blues into your playing.
Review — Brown is back... Our discovery of the Diaz modified
blackface "brown" Princeton amp — and undiscovered bargain!
Review & Interview — Power Tools! The Blackstone Overdrive
with builder Jon Blackstone
March 2003 Vol. 4 Number 5
Denis Cornell — Discover England's brilliant custom builder who
recently created Eric Clapton's newest amp! Cornell is a veteran
amp tech and builder who worked with Vox founder Dick Denny
and developed the early Sound City amps in England. His Plexi
20W and 50W amps are some of the best Marshall-style amps we
have ever heard!
Review — The Cornell Plexi Amps
Review — A peek inside JJ Electronics Tube manufacturing.
Review & Interview — Gene Baker Guitars
Review — The new Fender '64 Vibroverb Custom — Better than
vintage!
April 2003 Vol. 4 Number 6
The Gibson Custom Art & Historic Division — This special 24-page
edition of TQR is devoted to the Gibson Historic guitars and the
Custom Shop. You'll literally tour the Custom Shop and see how
the Historic Reissues are built, with detailed interviews with Historic
Division manager Edwin Wilson, TQR advisory board member and
Pro Shop manager Ernie King, and a must-read interview with Tom
Murphy, plus reviews of historic reissue models.
Interview — Edwin Wilson on the genesis of the Custom Shop
Interview — Ernie King on the historic reissues
Interview — Tom Murphy on the historic Les Pauls and his aged
"Murphy" Les Pauls.
Interview — The Kentucky HeadHunters' Greg Martin on his vin-
tage '58 Les Paul, his historic reissues, tone tips for stage and stu-
dio, and more!
May 2003 Vol. 4 Number 7
When are expensive custom-built guitars and amps really worth
their heavy pricetags? Can you capture the signature tone you
-continued-
 Back Issue Index
crave on the cheap? Uh, huh... Meet Joe Naylor, founder of
Reverend instruments and amplifiers. He's figured out how to build
affordable gear that sounds and plays like gear costing way more
than you think!
Interview — Joe Naylor
Review — The Reverend Hellhound, Slingshot and Drivetrain II
Interview — Bernie Hefner & the B. Hefner Co.
Review — The new AC30 Point-to-Point reissue - Better than vintage!
Review — Euro Tone — The Lehle Switching Boxes and Carl
Martin Pedals\
Review — Callaham Custom Guitar Parts and Makeover
June 2003 Vol. 4 Number 7
After a lifetime of playin' the blues, Anson Funderburgh earned the
cover of TQR by a long shot. Check out Anson & Sam Myers, the
Bus, and Anson's main squeeze — his '57 Stratocaster.
Interview — Anson Funderburgh
Interview — George Goumas (Anson's brilliant guitar tech and tone
guru)
Review — The Dr. Z MAZ38 Senior — Anson's new amp
Review & Interview — Tone Pros Outstanding bridges and saddles
Review — Our makeover of the stock Gibson SG Special
July 2003 Vol. 4 Number 8
Pete Anderson tells all... You know Pete — the guitarist and pro-
ducer who shaped the authentic Bakersfield sound of Dwight
Yoakam. In our 2-part interview, Pete chronicles his dues-paying
period out of Detroit, struggles with various guitars until finding The
One, modding his blackface Deluxes, and more! If you don't learn
some valuable lessons from Pete's own words, it's time to put the
guitar down, brother!
Interview — Pete Anderson... Guitars Cadillacs & Amp Farm...
Review — The Tom Anderson Hollow Classic — A Big Step Up
from 1954
Review — Midrange Deluxe — The "Raw Mod" for your Deluxe
Reverb
Review — Building the Perfect Plexi with Peter Stroud, Don Butler,
and Mercury Magnetics!
August 2003 Vol. 4 Number 9
Meet master tonefreak Robert Poss! Mr. Poss defies description,
but prepare for plenty of "Why didn't I think of that?" insights from
one of the most articulate, thoughtful and wildly talented guitarists
we've ever met.
Poss — Distortion Is Truth
Review — The rare and undiscovered G&L SC-1 — one of the last
Leo Fender designs.
Interview — Pete Anderson Part 2
Interview — Tom Anderson GuitarWorks
Review — The Anderson Hollow T
September 2003 Vol. 4 Number 10
Legendary guitar repair and restoration expert Dan Erlewine
shares stories never told before in print, including eye-opening tips
on guitar repair, Dan's favorite instruments, his work building cus-
tom guitars for artists such as Albert King, and more!
Erelwine — The untold story Part 1.
Tubes Count — A Vacuum tube update with Mike Kropotkin
The Ventilator — Another forgotten classic amp revealed — the
Ampeg V2
Mojotone — A profile of Mojo Musical Supply and custom speaker
cabinets
October 2003 Vol. 4 Number 11
Meet Michael Burks! If you smell smoke, it's the Dimble burning!
Our exclusive interview with W.C. Handy award winner and master
bluesman Michael Burks delves deep into his gear, which includes
an obscure and very rare Matchless 120W head, a Dumble
Overdrive Special, and a collection of customized guitars that will
definitely surprise you.
TONEQUEST REPORT V4. N8. June 2003
Michael Burks — The Interview
Dan Erlewine Part 2 — Repair and restoration tips
Review and Interview — Introducing the Balls 18 Amplifier
Review — 10 inch speaker swaps — what's hot, what's not!
November 2003 Vol. 4 Number 12
This is our fourth anniversary issue and double feature on award-
winning Londoner Adrian Legg and Nashville songwriter and ses-
sion player Gordon Kennedy. Adrian discusses his incredible tone
and unique stage rig in detail never before documented in print. In
fact, Adrian called our interview the best article ever written about
him in 20 years! Gordon Kennedy co-wrote Eric Clapton's most
successful single of his career — "Change the World," and has
worked extensively as top Nashville session player, most recently
with Peter Frampton. Both of our featured artists are hopeless
tonefreaks, and you'll learn a lot from their insights on guitars, gear
and recording.
Interview — Adrian Legg and Gordon Kennedy
Review — The Epiphone Elites... 'Affordable' just keeps getting
better! Our review of the Epi Elite 335 and Les Paul
Review — Introducing The Enhancer! Big tone for combo amps.
December 2003 Vol. 5 Number 1
Meet the Mighty Tone Kings! Eric Johnson and Sonny Landreth on
nailing it the first time, Gear, Tone, Technique and more! Two of the
most admired, unique and identifiable players in the world reveal
their tone secrets in this stellar issue, from Dumbles to Vibroverbs,
vintage Marshalls and a lot more! Don't miss this one...
Interview — Eric Johnson, Sonny Landreth
Reviews — Vintage Fuzz Faces and modern alternatives
Review — Wee heavy and bold as love... Our 1968 vintage
Marshall 4x12 cab meets the 4x12 TV reissue!
Review — Introducing the Victoria Sovereign
Review — Introducing the Roccaforte 30W
Review & Interview — The CR Coils Crossroads humbucker
January 2004 Vol. 5 Number 2
The Leslie West Interview! The original king of big tone and wicked
vibrato let's it rip... This one will definitely go down as an all-time
favorite, but you'll need to buy the CD release of the 1970
Mountain Climbing album before you wade into this issue. Trust
us... we have forgotten what big tone is all about. This issue is one
of our favorites!
Interview — Leslie West
Review — Mountain gear (and you'll be surprised, believe us)!
Review — The Gibson '54 Historic Goldtop — Still under the radar
and a must-have!
Interview — Meet the Detroit Boogie King, Michael Katon from
Hell, Michigan!
Review — James Pennebaker road tests the Gibson GA30RV
amplifier
QUANTITIES ARE LIMITED!
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LAST. ORDER TOLL-FREE AT 1-877-MAX-TONE (629-8663)
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OUR WEB SITE. SAVE 10% ON ORDERS OF 10 OR MORE
ISSUES, AND 20% OFF ON ALL BACK ISSUES. ORDER
TODAY!
27
 www.tonequest.com

coming in the
Future Issues ToneQuest
Report TM

Editor/Publisher David Wilson

Associate Publisher Liz Medley
INTERVIEWS: Robert Keeley Graphic Design Rick Johnson
Peter Frampton EDITORIAL BOARD
Jerry Jones Analogman John Harrison
A Brown Soun
James Pennebaker
Delbert McClinton
Don Warren Guitars Tom Anderson
Tom Anderson GuitarWorks Johnny Hiland Scott Petersen
Bill Nash, Nash Guitars Mark Baier
Victoria Amplifiers
Gregg Hopkins
Vintage Amp Restoration
Harmonic Design Pickups

Doug Roccaforte
Roccaforte Amplifiers
Jeff Bakos Phil Jones
Bakos AmpWorks Gruhn Guitars Paul Rivera
FEATURES: The Force Pedal Joe Barden
Joe Barden Pickups
K&M Analog Designs
Rivera Amplifiers

Roger Sadowsky
TV Jones Dick Boak
CF Martin & Co.
Mark Karan
Bob Weir & Ratdog
Sadowsky Guitars Ltd.

Tommy Shannon
More Tone From Jason Lollar Joe Bonamassa
Ernest King
Gibson Custom Shop
Double Trouble

Todd Sharp
Hemp Update with A Brown! Don Butler
The Toneman
Chris Kinman
Kinman AVn Pickups
Nashville Amp Service

Tim Shaw
Steve Carr Mike Kropotkin Fender Musical Instruments Corp.
Carr Amplifiers KCA NOS Tubes

AMPLIFIERS: Savage Macht 6! Mitch Colby

KORG/Marshall/VOX USA
Winn Krozak
Paul Reed Smith Guitars
Chris Siegmund
Siegmund Guitars and Amplifiers

Chicago Blues Box Ben Cole

GHS Strings
Sonny Landreth
John Sprung
American Guitar Center

Our Pro Bassman Dan Erlewine

Stewart-MacDonald
Albert Lee
Adrian Legg
Peter Stroud
The Sheryl Crow Band

PICKUPS: DiMarzio Bluesbuckers & Mini Larry Fishman

Fishman Transducers
Dave Malone
The Radiators
Randy Volin
Rockindaddy’s Guitars

Humbuckers Buzz Feiten Domenick Mandrafina

Donnie Wade
Jackson Guitars
European Musical Imports
Bill Finnegan Laurence Wexer
Klon Centaur René Martinez Laurence Wexer Limited

GUITARS: RI Firebird V Makeover Ritchie Fliegler

Fender Musical Instruments Corp.
The Guitar Whiz

Greg Martin
Fine Fretted Instruments

Buddy Whittington
USA Custom Guitars - Build a Lindy Fralin
The Kentucky Headhunters

Richard McDonald
John Mayall & The Bluesbreakers

Don Young
Billy F. Gibbons
ToneQuest Strat! ZZ Top
VP Mktg, Fender Musical Instruments

Terry McInturff
National Reso-phonic Guitars

Zachary Vex
Joe Glaser Terry McInturff Guitars Z Vex Effects
Glaser Instruments

The ToneQuest Report TM (ISSN 1525-3392) is published monthly by Mountainview Publishing LLC, 235 Mountainview Street, Suite 23, Decatur, GA. 30030-
2027, 1-877-MAX-TONE, email: tonequest1@aol.com. Periodicals Postage Paid at Decatur, GA and At Additional Mailing Offices. Postmaster: Send address
changes to:The ToneQuest Report, PO Box 717, Decatur, GA. 30031-0717.The annual subscription fee for The ToneQuest Report TM is $69 per year for 12
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The ToneQuest Report TM is published solely for the benefit of its subscribers. Copyright © 2004 by Mountainview Publishing LLC. All rights reserved. No
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holder. Please forward all subscription requests, comments, questions and other inquiries to the above address or contact the publisher at
tonequest1@aol.com. Opinions expressed in The ToneQuest Report are not necessarily those of this publication. Mention of specific products, services or
technical advice does not constitute an endorsement. Readers are advised to exercise extreme caution in handling electronic devices and musical instruments.

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TONEQUEST REPORT V5. N5. March 2004

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