Joe Satriani 2016 G4 Experience Signature Guitars + Vintage Gear
Daryl Stuermer Fender The Edge Strat + Deluxe May ď Ź June 2016
US $5.95 Canada $6.95
WHICH
pedaltrain ARE YOU ? +
SHOW US ON TWITTER INSTAGRAM
#mypedaltrain pedaltrain USER PHOTO CREDITS : left to right / top to bottom
速
@ PEDALTRAIN
| PEDALTRAIN.COM
@caseymoore_ @Spivakovski @filipedelbel @matthewhoopes @je_sj77 @iamgabrielvalenz @mccartney007 @reallybenwalker @joshhunt_
JOSHUA RAY GOOCH / SHANIA TWAIN
yamaha.com/revstar
MOBILE MARKETPLACE
Powered By
We’ve partnered with our friends at Sweetwater to make it easy to find out more about the gear you see in each issue of Collectible Guitar. Simply input the short URL for the gear below into your mobile device for product details!
Eventide H9 CGmag.info/H9
Fender Custom Shop ‘63 Time Machine Relic Strat CGmag.info/RelicStrat
Fender Custom Shop ‘52 Time Machine Heavy Relic Tele CGmag.info/RelicTele
Fender The Edge Strat CGmag.info/EdgeStrat
Fender Edge Deluxe CGmag.info/EdgeDeluxe
Gibson 1935 Advanced Jumbo Reissue CGmag.info/GibsonJumbo
Godin Montreal Premiere HG CGmag.info/GodinMontreal
Ibanez JS2410 CGmag.info/JS2410
Marshall 1960A 4x12” Cabinet CGmag.info/1960A
Marshall JVM410JS CGmag.info/JVM410JS
Martin D-45 Standard Series CGmag.info/D45
Mesa Boogie Mark V CGmag.info/MarkV
Pedaltrain Pedalboards CGmag.info/Pedaltrain
Peterson StroboClip CGmag.info/StoboClip
Planet Waves Circuit Breaker Cable CGmag.info/CircuitBreaker
Planet Waves Joe Satriani Guitar Strap CGmag.info/SatrianiStrap 4
PRS Custom 24 10 Top CGmag.info/Custom24 May June 2016
Takamine TT Series Acoustic Guitar CGmag.info/TTSeries CollectibleGuitar.com
Planet Waves Pedalboard Cable Kit CGmag.info/CableKit
Yamaha Revstar CGmag.info/Revstar
TECHNOLOGY IS BEAUTIFUL. Guitarists appreciate the sound of a great played-in vintage acoustic. Takamine got together with some scientists who developed a process of heat-treating the spruce top of a guitar. The result is a brand new instrument that sounds like it’s been played for decades! The feel is dynamic, punchy, and full of soul. We call them the Thermal Top, or TT Series. These guitars are remarkable and beautiful, much like the EF450C TT shown here. Try the new TT Series at your Takamine dealer today.
THE LEGACY CONTINUES
www.esptakamine.com ESP Guitar Company 10913 Vanowen St. North Hollywood, CA 91605 800 423 8838
www.knaggsguitars.com
www.mo-ka.net (House of Blues Las Vegas, photo Wayne Posner)
CONTENTS
ON THE COVER
20 | JOE SATRIANI
Satch dishes on the G4 Experience camps, signature guitars, and vintage gear
INTERVIEW 32 | DARYL STUERMER Another Side of Genesis
FEATURES 4 | CG MOBILE MARKETPLACE powered by Sweetwater 12 | WHAT’S NEW: Layar + Short URLs 13 | GEAR GIVEAWAY 40 | DOS AND DON’TS of the International Dallas Guitar Show 2016 48 | THE TOP 20 (+3) BOOKS FOR AMPLIFIER ENTHUSIASTS 50 | A BEGINNERS GUIDE TO SHOPPING FOR A LES PAUL
BUILDER PROFILES 16 | BROWNBOX 34 | TODD SHARP AMPLIFIERS
8
May June 2016
CollectibleGuitar.com
FROM ONE COLLECTOR TO ANOTHER... PIVOTAL… You’ve most likely noticed a different look on the cover of this issue of Collectible Guitar
COLUMNS
magazine. Yes, we have a new logo and yes, we have a new layout, but the changes we’ve made go far beyond the look and feel of the magazine. We’ve introduced a range of interactive elements that transform the printed pages into a digitally enhanced environment that is designed to come alive for our readers. Layar is a free app for iOS and Android, and functions like face recognition software for print pages. Once you’ve downloaded the app
18 | ASK SKIP
(see Page 12 for details), simply scan pages
27 | KEEP IT SIMPLE: FENDER CHAMP AMPS
where you see the Layar icon to reveal the
38 | PEDAL SNAPSHOT
eye. From product demos, to gear reviews, to
42 | QUIRKY VINTAGE
experience into a rich media extravaganza–
layers of content that are hidden to the naked guitar lessons, Layar turns the traditional print thanks to the mobile devices our readers tend
52 | FRETBOARD LESS TRAVELED
to have nearby as they read our magazines.
54 | PAWNSHOP PRIZE
We’re also excited to announce the Sweetwater Mobile Marketplace, which provides an appfree digital alternative to connect with the
GEAR REVIEWS
second largest MI retailer in America. This page features photos and short URLs to the respective product pages for all the gear that Sweetwater carries in each issue of Collectible Guitar. What won’t be changing is the enthusiasm and commitment of our staff and writers to share our passion for the gear and music we get to make with it!
10 | AMALFITANO PAF PICKUPS
Lord Bless Ya!
14 | FENDER THE EDGE GUITAR + AMP
Bruce & Judy
The Cast Publisher + Editor: Bruce Adolph Vice President: Judy Adolph Layout + Production: Matt Kees CTO + Art Director: Doug Doppler Customer Experience: Brian Felix Director of Advertising: Steve Sattler Advertising Sales: Drew Adolph
The Details
©2016 Collectible Guitar published by Adolph Agency, Inc.
May June 2016
CollectibleGuitar.com
CollectibleGuitar.com AdolphAgency.com Subscriptions@CollectibleGuitar.com BruceAdolph@Mac.com Brian@CollectibleGuitar.com Steve@CreativeSalesResource.com Drew@CollectibleGuitar.com 9
REVIEW AMALFITANO PAF PICKUPS: NEW NAME, PAFS DONE RIGHT Bob Cianci
Today, the field is crowded with contenders
would certainly like the tight bottom end and
Enameled 42 Gauge Magnetic Wire
trying to duplicate the mojo of old Gibson PAFs.
rich harmonics. With the tone cranked down,
Hardwood Maple Spacer Blocks
But what is the definitive PAF sound they’re
one can achieve a very convincing vintage
Alnico 2 Magnets
searching for? The sound of a great old PAF
Clapton “Woman Tone.”
Nickel/Steel Base Plates
was one of harmonic complexity and balance;
The bridge pickup was pure sonic joy; crisp,
Single Conductor Shielded Lead Wires
strong, bright, chiming highs, solid, beefy mids,
clean and smooth, with plenty of top end
and well defined lows. It’s an evenly balanced
sparkle and with pleasing harmonic complexity.
Pickup maker Jerry Amalfitano doesn’t believe
sound that’s pure, and lacks the muddiness of
While it certainly didn’t approach Telecaster
much of the hype and marketing voodoo that
certain lesser quality humbuckers.
territory, the Amalfitano PAF was perhaps the
Key Features
surrounds the products of some of today’s pickup makers.
liveliest, brightest PAF style humbucker this In the way of technical information, Amalfitano
writer has ever experienced.
PAFs are comprised of vintage enameled 42 “There’s no magic to making great guitar
gauge magnetic wire, hardwood maple spacer
Kicking on my J. Rockett Archer OD, the bridge
pickups,” he said from his home in Keller, Texas.
blocks, Alnico 2 magnets, nickel/steel base
pickup had sweet, singing sustain, and the neck
“A pickup is just wire, magnets, wood spacers,
plates, and single conductor shielded lead
pickup had the same qualities, but of course,
bobbins and a base plate. The magic is in the
wires. If those ingredients sound familiar, they
with less brightness. Adding compression
way they are wound. I think most people know
should; they’re what Seth Lover used on his
lengthened sustain on both pickups. With my
that. I scatter wind pickups, which is the way
original Gibson PAFs.
Earthquaker Hoof Fuzz, the guitar snarled like
they were made in the old days. That’s the secret.”
a beast and pinch harmonics were effortless. I installed the Amalfitano’s in my recent issue Gibson Les Paul Sunburst Standard, and for
The only downside was a bit of squealing
Amalfitano began experimenting with pickup
this test, used an American-made Fender
feedback produced when sitting close to the
making several years ago. A jet engine
Hot Rod Deluxe, along with my pedalboard,
amp. Both pickups are unpotted, like original
mechanic and tester by profession and a
in order to test the pickups with combinations
PAFs. Fortunately, when I moved away from the
native of Brooklyn, New York, Jerry had a
of compression and a variety of overdrives.
amp, the squealing stopped, and left me with
’79 SG with a dead neck pickup. Utilizing his
Played clean, the Amalfitano’s were everything
nothing but classic PAF goodness.
technical knowledge, Jerry took on the task
I expected and then some. The neck pickup
of finding the problem and fixing it, and was
was muscular, yet clear and full, with bottom
No doubt, there are many variations of the
happy with the results. Through word of mouth
end that never grew muddy or less than well
legendary Gibson PAF on the market by
and his website, the buzz about Amafitano
defined. While it’s somewhat doubtful that a jazz
manufacturers large and small. Guitarists would
pickups has spread, and now Jerry keeps busy
player would find the Amalfitano neck pickup
be well advised to look into Jerry Amalfitano’s
in his off hours, winding pickups for boutique
ideal for his or her purposes, a rock guitarist
take on this immortal design.
guitar builders and individual customers alike, including Aerosmith’s Joe Perry. It was a YouTube video demonstration of his PAF style pickups that attracted this writer’s attention.
Amalfitano PAF
10
May June 2016
CollectibleGuitar.com
Sweetwater Is Your Premier One-stop Shop for Guitars, Effects, Amps, and More.
Visit our exclusive
GUITAR GALLERY
(800) 222-4700 Sweetwater.com
for detailed hi-res images of guitars and basses to buy at Sweetwater.com/guitargallery.
FREE 2-YEAR WARRANTY* Total Confidence Coverage™ Warranty
FAST, FREE SHIPPING
On most orders, with no minimum purchase
SPECIAL FINANCING
We offer many flexible payment options
*Please note: Apple products are excluded from this warranty, and other restrictions may apply. Please visit Sweetwater.com/warranty for complete details.
WHAT’S NEW Layar + Short URLs
We’ve Gone PRIGITAL! Layar is a free app for iOS and Android that reveals layers of digital content on the pages in this magazine. Once you’ve downloaded the app, view our bonus content by simply scanning pages where you see the AR icon. • • • •
Artist Videos Lesson Content Gear Demos Enter Our Gear Giveaways
Featured Artists
INTERACTIVE PRINT
Check Out New Gear
Download the free Layar App
Learn Songs + Techniques
Scan this page
Free Download CGmag.info/iOSLayar 12
May June 2016
CGmag.info/AndroidLayar CollectibleGuitar.com
Discover interactive content
GEAR GIVEAWAY In Partnership With
DREAMCATCHER EVENTS
+
Win a Pass to G4 EXPERIENCE 2016 at Glen Cove Mansion in Glen Cove, NY August 8-12
SCAN WATCH ENTER
1. SCAN THIS PAGE WITH THE LAYAR APP 2. WATCH THE VIDEO FOR DIRECTIONS 3. ENTER FOR YOUR CHANCE TO WIN
What’s Included:
TO WIN! May June 2016
• Accommodations • 3 amazing meals a day • FULLY LOADED JAM ROOMS!! • All workshops, activities + entertainment for 4 days and nights • Incredible welcome kit from D’Addario! • Parking • Wi-Fi Airfare + Transportation to Glen Cove is NOT included. People currently registered are not eligible to win. CollectibleGuitar.com
13
REVIEW FENDER THE EDGE GUITAR Doug Doppler
Key Features Quartersawn “C”-shaped Maple/Maple Neck ‘70s-style Headstock Locking Tuners Two-point Trem with Pop-in Bar Hardshell Case included $1,799.99
When done right, signature gear bears more
amplified… this is a sensational guitar. The
than just the artist’s name, it carries the years
mojo of the ‘70s style headstock, C-shaped
of experience that the artist amassed touring
quartersawn maple/maple neck and contoured
the globe instrument in hand. While The Edge
heel make playing this instrument a dream. This
has used a number of instruments over the
is one of those instruments that begs for you to
years, none remains as iconic as the black Strat
keep playing it.
immortalized on songs like Sunday Bloody Sunday in the U2 Live at Red Rocks: Under a
The five-way pickup selector toggles between
Blood Red Sky film.
two Fender Custom Shop Fat ‘50s single coil pickups in the neck and middle position, and
14
Fender’s The Edge Strat embodies everything
a DiMarzio FS-1 in the bridge. The second
we’d hoped it would. From the great feel,
tone control works when using just the bridge
natural
pickup which is one of our favorite “mods”.
acoustics
May June 2016
and
big
sound
when
CollectibleGuitar.com
REVIEW FENDER THE EDGE DELUXE AMP
Key Features Four Inputs 12 watts 1x12” 15-watt Celestion Blue Speaker 2x 12AX7 Preamp Tubes 2x 6V6 Power Tubes $2,399.99
The Edge Deluxe amp is equally engaging. This 12-watter has all the silkiness you’d expect from 6V6s, with all the Tweed growl you want when turning it up. While each of the four inputs provide a massive sonic range to choose from, we preferred using Mic Input 1 and jumping the channels from Mic Input 2 to Instrument Input 1. Blending the single tone and dual Volume controls made it easy to craft a massive range of classic tones to taste. The Standby switch and tightened bass response are huge improvements over a number of the vintage counterparts we’ve played. While this amp sounds great with a Nash Tele, Les Paul Junior and various Gretsch guitars, it really delivers when paired with the Edge Strat. From rock to funk to R&B, this setup delivers the goods. At higher volume backing off on the volume control cleans things up just right and the natural amp compression make this a rig that would rock a full range of gigs.
May June 2016
CollectibleGuitar.com
15
PROFILE BROWNBOX Bruce Adolph
I was interviewing the legendary guitarist Phil
me with some great guitar players for us to
regional line wall voltage, in bypass mode. All
Keaggy about his new electric guitar /vocal
interview in the future). I was curious about
other selections are reduction levels that you
album (burning guitar solos) and he told me
his background so I asked him, “I’ve been
determine which sound best for your amp.
that the BrownBox literally gave his old 1960’s
an avid player /amp builder for many years.
Vox amp new life. In fact, he uses it on all of his
And having an electronics/electro-mechanical
Remember tube purist out there… no pedal or
amps now. I said, “What is a Brown Box?” You
background with U.S. Navy aircraft missiles,
attenuator can replicate that response of dry,
may be asking the same question. Let’s find out
it wasn’t to difficult for me to take up amp
purely saturated tubes. Pedals and attenuators
together right from the horse’s mouth.
building as a hobby”. That led to the obvious
have their place of course, but keep in mind
follow up question of how did that lead you
that they color your tone… they do not
Pat Geraghty is the inventor and says, “The
to the BrownBox? “That took a while actually,
create it.
BrownBox was created to provide a safe range
because I (like many others) got caught up
The BrownBox sports an easy to read, back
of voltage reduction levels for vintage tube
in the MOD obsession before coming to the
lit L.C.D. display enabling real-time voltage and
amplifier designs. The same, era-correct voltage
realization… and the underlying fact, that all of
amperage monitoring which is also useful for
levels that the amps were designed around.
these amp circuits were designed to operate
diagnostics. The big benefit here is that earlier
The dynamics of a vintage amp supplied with
and were voiced by the engineers with specific
tube saturation equals earlier break-up at lower
the proper line voltage are optimized and will
voltages. So, if you don’t regulate your line
usable volume levels.
sound and respond as originally intended,
voltage coming in, the MODs are pretty much
revealing the circuits true harmonic content.
an act of futility. Because you’re voicing mods
Other players, you may be fans of, using the
This is the starting point, the basis of the signal
will change with the variable voltage levels. I
BrownBox (in one or more of it’s configurations)
chain, and where serious musicians begin
found through research that so many of todays
are Brad Whitford (Aerosmith), Joe Walsh, Brad
creating a signature tone”.
(and yesterdays) guitar heroes were all using a
Paisley, Kenny Vaughn and Buddy Miller.
test bench device called a Variac. I also used The gist of it seems to be that most vintage
those throughout my career and knew right then
Pat offers several models – Brown Box,
tube amps respond more harmonically and
that there needed to be a safe and professional
Brownie and Backline. BrownBox is completely
touch sensitive with optimized voltage. Placing
grade alternative that anyone could use.
proprietary in design and function and comes
these circuits back into balance reveals the
with a lifetime warranty with normal use.
authentic tone fundamental of the amp… tone
The BrownBox is not a Variac. Unlike a
that can truly blossom.
Variac, BrownBox cannot accidentally harm
Prices range from $219 to $2,100.
or destroy your amplifier. The maximum input
www.BrownBox1.com
䘀爀漀洀 猀琀甀搀椀漀 琀漀 猀琀愀最攀Ⰰ 眀攀 栀愀瘀攀 琀栀攀 ⌀ 瀀漀眀攀爀 猀漀氀甀琀椀漀渀 昀漀爀 礀漀甀⸀ I found Pat to be super friendly (even connecting
䈀爀漀眀渀䈀漀砀 16
voltage available using BrownBox is your
䈀爀漀眀渀椀攀
䔀砀瀀漀爀琀 ⠀䨀愀瀀愀渀⤀
May June 2016
CollectibleGuitar.com
WIPE IT OFF. STRINGS. BODY. FRET BOARD. Kyser® guitar care products are now available as convenient wipes. At just 5” tall and 2” thick, you can throw the canister in your guitar case and go.
KEEP IT CLEAN. www.kysermusical.com
KYSER® MUSICAL PRODUCTS
MADE IN USA
ASK SKIP VINTAGE TUBE GEAR Skip Simmons
Hello Skip,
owns a bunch of vintage guitars and amps.
It is a common problem since wall voltage can
He told me to buy a voltage regulator, and not
and will fluctuate. For instance, when the club’s
I have two vintage amps, a ‘74 Marshall 50
a cheap one either. I bought FURMAN M8x-AR
ice machine kicks on, the wall voltage that your
watt and a ‘65 Deluxe Reverb, and from time
and have been using it faithfully, and I must say,
amp is using may drop to 110. Another instance
to time, something just wasn’t right at certain
I notice a difference in the consistency of my
is the backyard party where the PA, the bass
venues. Sometimes the amp would sound
amp’s performance and I don’t have to worry
amp, and the guitar amp are all plugged in to
great at the beginning of the night, then get thin
about voltage spikes destroying my prized
the same 100-foot extension cord. Probably
and wimpy. Come back from a break, it would
possessions. Is it in my head or in my ears?
the worst are situations where a generator is
sound great, then wimp out again. I’d spend
What’s your take on this subject?
the power source. Count yourself very lucky if
most of the gig turning knobs and just couldn’t
your rig sounds great in this situation.
figure it out. Then I read an article in which
Thanks,
Neil Young could guess the voltage of the
Billy J.
A couple of other factors should be mentioned
venue by the way his vintage Fender tweed
that actually are in your head! First, it is well
amp sounded. His tech would sit there with a
Billy, it is not in your head. One interesting thing
known that our ears “adjust” a bit when
voltmeter in the receptacle and Neil would say,
about old tube gear is that it will work (although
exposed to loud music for a long period of
“that’s about 114,” and he was usually within
not as well) even when the wall voltage dips far
time. After a couple of hours of loud playing,
a couple of volts, according to his tech. So I
below normal. The amp will sound as if it has
your ears just don’t hear things the same way
consulted a guitar picker friend of mine who
lost some power, but will basically still function.
they did when you started. High frequencies
18
May June 2016
CollectibleGuitar.com
are the first thing to go, and your ability to hear
SKIP’S TIP: Well, all you nice people out there
a brighter and thinner tone. Let’s turn that thing
them will be noticeably reduced as a long, loud
know that I don’t mess with newer amps
permanently “off” instead!
night rolls on. Finally, the all-important human
too much, but I have always said that the
factor; we all tend to turn up when we can’t
Fender Blues Junior offers amazing sound
Have your tech open the amp up and look at
hear ourselves, and it is very easy for a band
for the money. Recently a harmonica-playing
the circuitboard. Right next to the input jacks
to creep up in volume over time. To our ears,
customer brought a Blues Junior, along with a
you will see a small disc capacitor clearly
both of these factors can sound just like your
vintage amp, and asked me if I had any easy
labeled “C-3.” Snip one lead at either end of the
amp is losing power or tone. That low-wattage
suggestions for harp mods. At first I said lower-
cap and check out the tone. MUCH better for
amp that was rocking two hours ago can
gain preamp tubes, or perhaps a different
harp and, in my opinion, a lot of guitar players
start sounding pretty distorted when everyone
speaker would be the only things I would
would agree. The only potential problem in my
decides to crank up.
suggest. In my world, those fragile printed
mind would be that the extra fatness could be
circuitboard amps are no fun to modify!
considered too “muddy” by players who use lot
I don’t think that the average player needs
of distortion and, yes, it can be a royal pain to
to run out and get a voltage regulator, and I
I got to thinking about it a little and took a look
re-solder the cap if you don’t like it because the
certainly wouldn’t suggest that a certain wall
at the schematic. I noticed that the Blues Junior
leads are very short.
voltage is essential to get “your tone.” Also, it
has a “bright switch” (as used on most vintage
is very unlikely that a voltage spike would harm
Fenders) that is turned permanently “on.” If
I’m sure that others have figured this out before
a sturdy Fender or Marshall as long as you are
you have ever played through an older Fender
me, but I just want to make sure that people
using a proper fuse in the amp, and I would
with a bright switch, you know that it makes
are aware of this mod. If you play harp or blues/
say it’s a non-issue for most players. On the
the amp sound a LOT brighter, especially at
Americana guitar through a Blues Junior, give
other hand, a consistent source of AC will make
low volume. How does it work? Basically, the
it a try.
for a more consistent tone, and a regulator
switch connects a small capacitor across the
may make good sense for gigging musicians,
volume potentiometer, which allows the high
Email your questions to
especially if you play in wide variety of venues.
frequencies to by-pass the pot. The effect is
SkipSimmonsAmps@gmail.com
20
Joe Satriani Iconic is perhaps the best word to describe Joe Satriani. His recordings have sold over ten million copies, he’s toured with Mick Jagger and Deep Purple, and taught the likes of Steve Vai and Metallica’s Kirk Hammet. We caught up
2016 G4 Experience Signature Guitars + Vintage Gear interview by Doug Doppler
Joe just after the conclusion of his “From Surfing to Shockwave World Tour”… COLLECTIBLE GUITAR Tell us a bit about the
G3 concert series. You want the people who
fun at the fact that sometimes specialists in any
G4 Experience and why you started it?
show up to really experience something unique
field are ridiculed for being so obsessed about
that they wouldn’t get somewhere else, and I
the details of what it is they do, and guitar
JOE SATRIANI Clinics can fall a little bit short
wanted to have the camaraderie with other
players of course get ridiculed the same way.
of their intended purpose. The artist comes in,
guitar players and musicians that you get on
People think that when we want to get technical
they play a truncated performance, they’re put
the G3 concert tours. So we figured out a way
we’re getting too technical, but in fact we deal
on the spot to do things out of their comfort
to put it together, changing the environment
with technicalities all the time. That’s our world,
zone, they take some questions, then they go.
to something extremely comfortable, casual
what kind of strings do you use, how do you
I had an opportunity to kind of fix that and sort
enough so that the artists and the students
hold the pick, what’s that cable made of, how
of remold, reconfigure the concept of a clinic.
could really hang out together. The environment
often do you warm up, how long do you warm
Calling it the experience was probably just a
had to be a kind of safe zone, it’s kind of a funny
up before a show, what kind of music do you
nod to Jimi Hendrix. Bringing in the G letter
thing to say, it’s not like there’s danger out there
listen to when you’re not working? All these that
was just a nod to the love and success of the
at clinics, but we’re using that in a way to poke
the average listener or fan is like, “Oh, I don’t
May June 2016
CollectibleGuitar.com
21
they were created and used originally, they weren’t referred to by those names, so those names were made up at some point. When you say Ionian to a guitar player, nine times out of ten they’re like, “What?” If you’re saying, “Major scale” they go, “Oh yeah, I know that”. So it’s just a question of convenience to use the term you know is going to be a direct hit. CG Not of This Earth is kind of a quintessential statement about pitch axis and interpretation of the chords harmonically. Was that a pivotal composition for care, just play that song I really like”. Which is
person who’s doing it and the students who
way cool, but for us musicians, and especially
want to figure out how to do it like me - or in
us guitar players, these details determine so
this case Guthrie Govan, Alex Skolnick, Eric
much in our life… and they determine how we
Johnson or Steve Vai. But these questions
deliver the goods to our fans. So why wouldn’t
don’t get answered by the press anymore, and
we be obsessed with them and want to talk
that exchange for me I miss–I miss that a lot.
about them? And why wouldn’t we need a safe
It’s slightly cathartic in a good way to finally
place to exchange all the information about it,
get back into an environment where people
where we leave no stone unturned, and no one
are asking me the heavy, important questions
can ever feel embarrassed to ask any technical
about melodic structure, harmonic movement
question? Nor would any G4 star feel put out to
and how it is applied on the instrument and
be asked or to reveal such a thing cause that’s
what kind of gear I use to get it done… without
exactly what we’re there for? We’re there to
framing it in a commercial way. Which is kind
reveal everything and the students are there to
of like the way the press often does things
ask everything as well. These are the things that
now, because the celebrity has become the
make the G4 Experience so uniquely different.
important thing, not actually the essence of the
In a way, explaining it gives you the reason I did
music.
and teaching for so many years, and being able to apply it in a way that was tangible musically? JS Absolutely, it starts off bam-bam-bam, it says it right there in the first three chords. The main shocking message from the chord progression hits you right at the top with nobody else in there. The arrangement is also very stark because I felt that there is so much music that is very often weak and cloaked in ridiculous amounts of arrangement. Something happens when you strip away the idea that you’re seeking commercial acceptance, and you say to yourself, “What would I do, if I was somebody else who wasn’t looking for that hit song, how would I go about writing something?”
it. Once you say it out loud, you go of course, why wouldn’t we all want a place like that?
you in terms of being able to express the theory that you’d been studying
CG Why do you prefer to call the I and vi-
This thought process was important after I
Modes Major and CG Does the G4 Experience fulfill a need in you
Minor
to teach?
and Aeolian?
JS If you go back twenty five years, thirty years,
JS I was taught
being interviewed by a guitar magazine meant
in
fielding very serious questions about music and
those names were
non gear-related technique. Today, you never
postulated
get that question about the unusual harmonic
Swiss
movement in a chord progression - never.
hundreds
This leaves a bit of a disconnect between the
years ago. When
22
vs.
Ionian
school
that by
a
theorist
May June 2016
of
started writing the body of music that became
I made sure that I never applied some of those weaknesses I accrued during periods of being a well-behaved professional musician, which is to get in line with everybody else and do what is expected. CollectibleGuitar.com
that album. I made sure that I never applied some of those weaknesses I accrued during periods of being a well-behaved professional
musician,
which is to get in line with everybody else and do what is expected.
Demeter amplification
Demeter Amplification is celebrating over a quarter century of Tremulation! First designed by James Demeter at the request of Ry Cooder, this pedal has been used by almost all the great guitar players including Eric Clapton, Stephen Stills, Pop Staples, Duane Eddie, Ben Harper, Sonny Landreth and thousands of others.
Now available in four different styles! The Stock Tremulator, the Stereo Tremulator, the Tremulator PS and a NEW limited edition reissue made identical to the very first Tremulators using the same rare IC’s found in the originals. Each unit will be signed and numbered by James Demeter and housed in a hand-labeled and hand-built chassis identical to the original.
www.demeteramps.com 6990 Kingsbury Road, Templeton, CA 93465 : 805-461-4100
It was rather intoxicating to just say, “No, this
JS I would say both is the answer to that, and
you’re working on a particular song about a
chord structure is unusual, and it sounds great
maybe there’s a third reason, which is just
particular subject, or person, or something and
in my mind and I know it’s never been done
gear neurosis. You walk into a vintage store,
all of sudden it comes over you what you really
before. I’m not going to use any convention
or you’re looking at eBay or Reverb and you
need to make your performance work. It may
of substitute chords or anything. That came
see something that for some weird reason
not be the thing you use on stage. It might be
straight from the heart and then my brain
resonates with you. You say, “I always wanted
something that is just for this particular part.
came in with this great “I can do whatever I
one of those, I never had it, I heard that so-
Whatever it might be, if you’ve got fifteen,
want!” attitude because I decided not to seek
and-so used this with great success on a
twenty vintage amps out there, there’s a good
commercial acceptance. As you said, that song
particular record”. You dive
expresses an introduction into those attitudes
in and pick one up. I think
in a pretty stark and striking way. It’s really fresh
that Fender Champs are like
in my mind now because we played it every
that, we hear all these stories
single night on stage on this last tour.
“the whole record was done with a Fender Champ”. But
chance that one of them is
I think that Fender Champs are like that, we hear all these stories “the whole record was done with a Fender Champ”.
going to do the trick. It’s like what you and I were doing that day when we were just plugging into all of them and listening to the differences.
CG Your long-time co-producer / engineer
ultimately it’s got to resonate
John Cuniberti was kind enough to provide
with you. A good reason for
us with some photos of the vintage amps
collecting, if you can afford
you brought in for the Shockwave Supernova
it, is to recognize that we
sessions at 25th Street Recording. Do you tend
change from time to time, even day to day
bridge or something and you go, “I know what
to buy these amps based an immediate need,
when you walk in the studio. One day you do
this needs, it needs amp number seven I was
or do you have them in your arsenal for when
feel like a Champ, the other day you feel like
just goofing around with the other day”. Maybe
and if a need arises?
a Marshall stack. I have found that very often
because it uses 6L6s and the plate voltage
that’s the case with me, you get in a state when
is high, you’ve got more headroom and this
24
May June 2016
It’s great to know what they do because you might be sitting in the control room, your hearing a part for a
CollectibleGuitar.com
particular part needs headroom. You might say, “I want it to sound small” so maybe you reroute the amp to go into a smaller cabinet. Who knows, it might be the opposite? You kind of never know until the track is built. But let’s say you’re not even making a record, let’s just talk about inspiration. I think very often switching into an entirely different amp that you don’t use, is like taking your buddies car for a spin. It’s gonna give you a different experience and change your attitude a little bit, or improve your vision about the world of amplification rather than just sticking with what you know. That’s really important. Most of the time my vintage stuff stands
were used. In my case, Mike Manning (Joe’s
pedals in front of it, or what mics were used.
idle with the covers on. I try every six months to
tech) and I write everything down that we use
It’s kind of mind blowing when you think about
turn them all on and play them a little bit. It’s an
in the studio, so I’ve got these books that go
what we achieved with such a huge variety
important thing to stay in touch with them so
back to the first record, even before Mike was
of amps. You’d think sometimes that it was
you don’t forget why you fell in love with them in
working for me. I’ve got notes about what amp
just small handful, but in fact it’s quite a large
the first place and you remind yourself how they
I used for what part, how it was used, if we put
continued on page 44
26
May June 2016
CollectibleGuitar.com
COLUMN KEEP IT SIMPLE: FENDER CHAMP AMPS Dave Belzer
In 1970, at the ripe old age of eleven, my dad
an issue, and new amps were as expensive as
they came to an agreement and shook hands.
took me to the local music store to purchase
a guitar, the storeowner made a suggestion.
Somehow my dad had convinced the owner to
my first electric guitar and amp. That day still
He had a very good condition used black face
not only lower the price of the guitar a bit, but
remains a vivid memory in my over 40 plus
Fender Champ for $50. Ah, yes! Those were
he also got him to throw in a case, a strap, a
years of what I like to refer to as GAS (Guitar
the days!
guitar stand, mic stand, and a discount on the
Acquisition Syndrome). I had been taking
mic itself. Needless to say, I was one beaming
lessons at the store with an inexpensive nylon
Now, this is where things got interesting. I only
eleven-year-old with guitar, amp, and mic in
string classical guitar and now, after saving up
had so much money and I was pretty sure, or at
hand. It was many years later that I put two
some money and a lot of pleading, the day had
least had a feeling, that my dad might help me
and two together and realized the lessons of
finally come.
out some. How much? I had no idea.
negotiation my father instilled in me that day.
I knew exactly what guitar I wanted. I had
My dad was not a musician. As far as I know
recently watched a PBS documentary on my
he never played a note on anything in his life.
black and white TV of the final Cream concert
He did have a great love and appreciation of all
Of course, the Kent ES 335 didn’t last long.
held at the Royal Albert Hall. For most of the
forms of music and passed that on to me from
It was too big for me to begin with, and then
concert Eric Clapton played his famous painted
an early age. I did learn that day what my dad
there was having to carry it around in, what
SG Les Paul, which, even through my TV,
was good at: the art of negotiation. While I was
seemed to me, the biggest case of all time. So
sounded awesome. At some point, he switch
sitting in the store, enthralled with my guitar, my
off it went. The first of my trade ups (or downs,
to a single pickup Gibson Firebird 1 that really
dad was talking to the owner. The next thing I
depending on the trade). The one thing that did
didn’t sound very good or very much like Eric
know the owner brings out a guitar case, then
stay with me for sometime was that mid 60’s
Clapton. Then, in a flash (or some abrupt film
a guitar stand, and then a white plastic case
black face Fender Champ. I used that amp
edit), he appeared with his famous 1964 cherry
containing a Shure Unisphere mic with a cable,
in my very first jams and earliest bands. That
red ES 335 to finish off the concert. Wow! Not
mic clip, and a mic stand to go with it.
is, until it became obvious it was not going to
Those lessons have served me well over
only did that guitar look good, but it sounded
the years.
cut through over the drums or rest of the band,
incredibly good too. It seemed like he and the
Wow! What was going on and who was going
even if I did have my blue/orange Univox Super
guitar were almost one as the documentary
to pay for all this?
Fuzz cranked!
away on his red 335. That final scene stuck
My focus went from the guitar I was playing to
I can’t remember how many larger amps I went
with me.
my Dad and the owner, who were going back
through in those early teen years, but I always
and forth talking numbers. All of a sudden
seemed to hang on to that Champ. I’m not
ends with Clapton staring up to heaven, wailing
Now, I had saved a little money, but nothing near what it would take to buy a ES335, or any real Gibson for that matter. The little music store I went to really didn’t carry expensive guitars like Gibson and Fender, but they did carry a lot of affordable Japanese copies of those guitars which were quite popular and plentiful at the time. There, hanging on the wall, was my guitar, a red “Kent” (yes, I said Kent) ES 335 copy, made in Japan. It didn’t matter to me that the guitar was totally inappropriate for an elevenyear-old, but we live and learn. What hadn’t occurred to me was an amp. I never really thought much about that. Since money was
May June 2016
CollectibleGuitar.com
27
SUN 1 8 15 22 29
MON 2 9 16 23 30
MAY 2016
TUE 3 10 17 24 31
WED 4 11 18 25
THU 5 12 19 26
FRI 6 13 20 27
SAT 7 14 21 28
MON 6 13 20 27
SUN 5 12 19 26
JUNE 2016 7 14 21 28
TUE
WED 1 8 15 22 29
THU 2 9 16 23 30
FRI 3 10 17 24
1959 Gibson Les Paul Jr. 1959 Fender Champ
SAT 4 11 18 25
sure if it was because it was my first amp, or
radar are the 1963-64 models that still maintain
because it always worked and sounded great.
the 50’s chassis with the controls on the top,
Then, one day, someone made me an offer I
but were covered in the new black tolex. They
The Champs pictured are my personal ones. All
couldn’t refuse. $100. Wow! That amp cost me
have a unique look and they sound great.
narrow panels that range from 1958 to 1964
50 bucks five years ago, and now someone
tube amp.
except, of course, the Super Champ. This
was offering me $100. I was playing a 100-watt
I do have to mention one later model that I have
particular Super Champ came from a friend of
Marshall at the time, so it seemed a no-brainer
become very fond of over the years: the “Super
Paul Rivera and I was told was a prototype. It
to sell the Champ. It was at that moment that
Champ”. In the early 80’s, Paul Rivera designed
has a metal mesh grill and an unusual rubber
something clicked in my small teenage brain:
a number of new model amps for Fender. One
covered on/off switch, as well as the standard
“Maybe there’s something to buying and selling
model that really shined was the Super Champ;
Fender 1/4 inch speaker jack input in the back,
musical gear!” I never seemed to really lose on
a small, very potent tube amp with reverb and
as opposed to the hard wired speaker used in
anything I bought or traded for, and if I hung on
channel switching. These Super Champs came
the production ones.
to it long enough, I could actually make money.
in a few configurations. It could be ordered
Wow! What a concept!
with a 10” EV or the standard Fender specially
And just for fun, I had to throw in the Selmer
designed speaker, as we’ll as a limited version
“Little Giant” in the lower left corner. Not only
that had a wood cabinet and the EV.
do they look awesome, but they sound like
So, for a number of reasons, the memory of that Fender Champ has stuck with me.
a killer tweed Champ, only with that added
So much so that a while back, after letting a
Over the years I probably had a half dozen of
compressed sweetness that comes with
number of my larger amps go, I began focusing
these, although I have never come across one
British amps.
on smaller combos, especially late 50’s, early
with the wood cabinet, so I can’t comment
60’s tweed Champs. I love all the various
on how those sound. I can tell you from my
Writing this article has given me a chance
Champ configurations and you can find lots of
experience, the ones with the Fender specially
to reconnect with my past, as well as an
info on all of them. My favorite ones (or what
designed speaker sound the best to me
opportunity to dust off my Champs and take
I consider to be the best sounding ones) are
and have the most authentic Fender sound.
them for a test drive. Each one has its own
the late 50’s thru the early 60’s tweed models
Although the EV will give you more power
unique tone and vibe. There really is something
with the controls on the top. Collectors refer to
and headroom, it will also add a lot of weight
to having just having one knob to turn. I really
these as “narrow panel” models.
and take up every inch of the inside of the
like the combo of a Les Paul Jr. and a Champ.
cab. Dollar for dollar, I’m not sure I have ever
Only 3 knobs to worry about. Just turn it all the
come across a more compact or versatile small
way up and work the volume control on the
Some of the models that have gone under the
guitar. Need I say more? In my eyes and ears no other amp embodies the term “keep it simple” quite like the tweed Fender Champ does. This article is dedicated to Mr. Al Licausi, the man my father negotiated with almost fifty years ago. It recently came to my attention that Mr. Licausi passed away in 2014. Mr. Licausi started Farmingdale Music Center in 1945 in the original house his parents moved to in 1923. It is Long Island’s oldest music store and has been run by Al’s son Frank since 1982 when his dad retired. The store is still in its original location, and children who once took lessons there now bring their children and grandchildren for lessons. Rest in peace, Al. 30
May June 2016
CollectibleGuitar.com
COLLECTIBLES
ROCKN STOMPN POWER MANAGEMENT Start with Standard Mode. You can
GUITAR HUMIDOR IN-HOME CASES
BEARD A-ODYSSEY™ ROUNDNECK RESONATOR
independently adjust on and off delay sequence
Handcrafted in walnut, Cherry or
“Odyssey™ A-Model guitars have a sound,
from 1-15 seconds for potentially 45 seconds
Maple. Our beautiful cases offer lights
which is my opinion, is unique among all resonator guitars. They have a smoother and
total delay... or choose one of three new power
and humidity gauge, and keep your
sequencer modes of operation. Instant On Mode,
guitar humidified visible and within
Receptacle One Always On Mode, Timer Mode.”
reach.
tremendous amount of versatility to the guitars.“
Street $299 770-476-2387 www.RocknStompn.com
www.GuitarHumidor.com
Beard Guitars, LLC www.BeardGuitars.com
POWER BOX LITHIUM THE BEATITUDES & OTHER GREAT T-SHIRTS Musicians Threads is the home of the Original “LOVE ONE WOMAN... MANY GUITARS” T-Shirt.Wear it Well
The NEW Power Box Lithium is a small footprint rechargeable, 9v Lithium Battery Power Supply capable of powering multiple pedals, pedal boards and high current draw effects. The innovative smart battery technology displays battery charge percentage, how much battery time is left under current pedal load, and how many mA are being drawn. SEE US AT NAMM BOOTH #1346
Shirts start at $16 www.MusiciansThreads.com
203-338-9668 BigJoeStompBoxCompany.com
more sophisticated type sound which adds ~ George Gruhn
TRISKELION 2.0 HARMONIC ENERGIZER The Triskelion’s specially designed filter can create glassy clean tones, boost midrange for throaty solos, or tune your rig to any room for a wall of singing, resonant feedback. Massive amp sounds, explosive lead-breaks, infinite sustain, and downright nasty, energy-intense tones are just a few of the uses for the Triskelion – the possibilities are limitless!
$229 (limited quantities) www.Godlyke.com advertisements
DA RY L S T U E R M E R Another Side of Genesis Making his Tacoma Guitar Festival
CG: Which pedals do you always
debut, Genesis/Phil Collins guitarist
travel with?
Daryl Stuermer will perform with his keyboardist, Kostia, and what he
DARYL: I have specific pedals that
good-naturedly calls “my Macbook
are on all my pedalboards. I use
Pro band” — bass tracks that he
the Radial Tonebone Hot British
recorded and drum tracks that
Distortion as my main distortion
he
accompany
pedal. That’s part of my sound
their set. The duo will showcase
and the one I’m comfortable with.
original music, Genesis songs, and
It has a tube in it, and I really like
some of the cover songs that will
that. I have a Fulltone OCD. I like
appear on his upcoming album,
the DigiTech Whammy, that specific
Breaking Cover, which features his
sound, for certain melodies. Delays
instrumental renditions of classics
and choruses I can change up very
from The Police, Jeff Beck, Eric
easily. So those are the three pedals
Clapton, Steely Dan, and others.
that I have to have that will make
programmed
to
me happy. I’ve done shows without COLLECTIBLE GUITAR: Guitar
them, of course, but I prefer to have
festivals are dangerous territory for
them if I can.
gearheads. Are you leaving your credit card at home?
CG: You have quite a few guitars in your online gear list. Do you consider
DARYL STUERMER: I’m bringing
yourself a collector?
one guitar, but I’ll probably end up bringing two home. It’s so tempting!
DARYL: The stuff on my website is gear that I use, and I’ll be updating
CG: Which one are you bringing, and
the pedalboards soon. Stuff I don’t
which pedalboard?
list is stuff I’m not using unless I’m in the studio. I might bring an old Nady
DARYL: I’m bringing a scaled-down
distortion I’ve had since 1975, or a
pedalboard because I’m flying, and
TC Electronics chorus. I have a home
I’m bringing my Godin LGXT, but
studio with a shelf full of old gear.
I modified it myself. I took out the
Every once in a while you’re doing a
synth and the transducer pickups that are
pickups. Also, Godin made me a guitar. They’re
record and you think, “That one pedal will sound
usually for acoustic. I changed the tuners and
calling it the DS-1, and it’s based on this guitar
great.” I have stuff I haven’t used since the ’70s.
knobs and I put on a Strat tremolo. It’s a cross
that I modified. It’s a simpler version of an LGXT.
It looks cool and retro, but I don’t use it much.
between a Les Paul and a Strat, and that’s
No synth, no acoustics, but the same body, the
It’s not gear you want to take on the road. A
what I like about it as my main guitar.
same pickups, and the addition of the HDR —
lot of old gear has buzzes and things you can’t
the High-Definition Revoicer. It enhances the
control in a live situation. The new gear is built
sound a little bit. It opens it up more and boosts
better for the road, and the grounding is better,
your tone and your level. They are going to do
but there’s a unique sound to the old stuff.
DARYL: I have one LGXT that has everything.
a limited edition of it, probably next year. I have
What’s in the pictures is what I use live. I have
This one has the original body, neck, and
mine now and it’s the first one.
a really nice Gibson 335. In 1999 or 2000, Phil
CG: What’s left of the original model?
32
May June 2016
CollectibleGuitar.com
Collins did a couple of little
Les Pauls, and this Godin is
tours called The Phil Collins
in the middle. The amps I use
Big Band. It was like a jazz
all the time are two Mesa/
band. We backed up Tony
Boogie Mark 1’s. I use them
Bennett. Quincy Jones was
for a straight sound. I don’t
the conductor, and we did
use the distortion channel;
it in Europe with only a few
any distortion or effects are
dates in the United States
done with my pedals. I like
because it’s not the kind of
a warm, clean sound, and
thing that sells well here. It
that’s what I get out of the
was Phil Collins and Genesis
Mesa/Boogie Mark 1.
music done in a big band style with legitimate big band
CG: Your working relationship
arrangements. I used my 335
with Genesis has outlasted
for that because it’s more
most personal relationships.
of a jazz guitar. Otherwise,
What makes it work?
I would not use that guitar. I have some old acoustic
DARYL: I’ve done the job
guitars, not super old, but
they want me to do and I
older Takamines. There’s a
have not let them down. I
lot of stuff back there that I
think they know that. I’ve
should probably sell because
been a consistent player,
it accumulates and I’d rather
playing
have someone use it. There’s
especially, and then playing
always the main gear you’ve
in Phil Collins’ band since
used for the last ten or twenty
1981. He trusts me and he
years that you hang on to.
knows I’ll be there for him. Of
live
with
them
course you have to be there CG: Is there one that got
musically, but you also have
away?
to be there personally. I like being on time and I come
DARYL: Yes. I was about
prepared. I’ve been married
16 and I had 1960 or 1962
since 1978 and have two
Fender Strat. This was in 1969 and I was in a
time. I can imagine how these things would
girls, all the guys have two or three kids, our
band. I have pictures of me playing it. I sold it
sound and feel today.
families know each other, and we are respectful
for $125. Now I wish I had that guitar! It was the
of each other’s lives. We don’t see each other
one with the three-way pickup selector, not the
CG: Could you get by with one guitar and one
often, but when we do it feels like we’ve been
five-way that we have now. It sounded great
amp, and if so, which ones?
only apart for a few months. I think we’re all
and it played great. At the time you think, I want
on the same page and we have the same
to get a new guitar, so I’m going to sell this,
DARYL: Right now I’m using the Godin guitar
goal. When I was 16, I had a band, played out,
and $125 meant a lot. Today it would probably
and I can do it all with that one. But if someone
had a good time playing with my friends, and
go for quite a lot more huh? That’s one that
said, “From now on, the only guitar you’re
I’m still doing the same thing. I’ve never had
got away. There are probably other ones, but I
ever going to play …” I think a Strat would be
another job. I found something I love doing and
don’t think about it because I don’t like having
the one. It’s easy to play, it’s a good feel, but
it became my career. I think everybody in the
regrets. That one comes to mind because
I would have to have a Strat with single coil
band is the same way. This is all they’ve ever
I have pictures and a recording of that band.
and humbuckers. That’s what I like about the
done, it’s what they love doing, and it’s what
I was playing it through a Super Reverb with
Godin: the humbucker pickups. They’re thicker-
holds everybody together.
10-inch speakers. That sounded nice and it got
sounding. But you can also switch to single coil.
away too. I sold all that stuff around the same
So I would have to have that. I love Strats, I love May June 2016
CollectibleGuitar.com
~ Alison Richter 33
PROFILE TODD SHARP AMPLIFIERS - A NEW DIRECTION IN TONE? Eric Dahl
“After a 40+ year playing career, and 20 of those
through a five-position selector, while the Bite
years with my nose pretty deep into just about
switch provides first stage hi-mid frequency
Input 1 for Single Coil & Input 2 for Humbuckers
every guitar amp there is, it’s just the natural
edge. Low cut has 6 positions to choose from,
progression. It’s also another form of creative
and a high cut with a 6-position output stage.
Attitude Adjustment for Gain
expression for me.” Discussing why his amps
The Reverb unit has three controls: Drive, Tone,
Bite Switch for Hi-Mid
are different Todd says, “I think my experience
and Level, while the Tremolo has two controls:
as a guitarist and as a confirmed amp nut
Speed and Depth.
Key Features JOAT - Jack-of-All-Tones
Low Cut & High Cut Reverb & Tremolo
combine to bring a unique perspective and ability. Also, my approach to the circuit design
When I asked him why he altered the amp
Todd Sharp became interested in electronics
is definitely outside of the norm. My pursuit as
controls on the JOAT, Sharp said, “Why not?
when he was a young child, but it wasn’t
a designer/builder is about what allows me to
The tone stack is a loss circuit, so you are
music gear, it was Ham Radios. He got his first
get this sound that I get with minimal struggle.”
trading touch sensitivity under your fingertips
radio operators license at age 7 and built his
for a bass and treble pot that you never touch.
first transmitter with the help of his father, jazz
His first flagship amp is named the “JOAT”
I think my EQ is more guitar friendly. Guitar
guitarist Fred Sharp. By age 11 he “lost interest
which stands for Jack-of-All-Tones. The current
players don’t want to fight their amp, they want
in electronics” and was then bit by the guitar
amplifier line will offer three amp wattages:
to play guitar!”
bug. Sharp has forty plus years under his belt
20RT (currently available), 30RT (available June
as an award winning guitarist for Rod Stewart,
1) and 45RT (due at the end of this year). The
The current configuration comes as a head
Fleetwood Mac, Bob Welch, Carlene Carter,
JOAT 20RT (20 watts with reverb & tremolo)
with a 2x12” cabinet and you have two choices
and Delbert McClinton.
deviates from typical amplifiers in numerous
of dialed-in speakers. The Todd Sharp JOAT
ways, but especially in its approach to controls
20RT amp head sells for $3,849, and matching
He launched Nashville Amplifier Service in
and lack of a tone stack, meaning the usual
2x12” cab goes for $1,449. Production levels
1994, as he had already started repairing amps
bass, mid, and treble controls that you have on
are currently at one amplifier per week, and
for players around town a few years before
a conventional amp. Input one is for single coil
Todd maintains one full time employee and
that. When asked why he started Todd Sharp
guitars, and input two is for humbuckers. The
a part staff member to help. Since he has
Amplifiers in February of this year, he stated,
attitude adjustment handles gain and response
combined companies into one central location, Nashville Amplifier Service and Todd Sharp Amps, he has stopped touring for the moment, but he does still gig locally. Major artists currently playing Todd Sharp amps include Vince Gill, Steve Wariner, John Oates, and Mick Fleetwood. If you’re tired of the traditional amplifier offerings on the market and want to try something that
makes
you
rethink
your
approach to guitar tone, this could be the rig for you.
Todd Sharp Amplifiers are available direct at ToddSharpAmps.com.
34
May June 2016
CollectibleGuitar.com
䨀漀攀 䠀漀琀琀椀渀最攀爀 䘀爀漀洀 猀琀甀搀椀漀 琀漀 猀琀愀最攀Ⰰ 眀攀 栀愀瘀攀 琀栀攀 ⌀ 瀀漀眀攀爀 猀漀氀甀琀椀漀渀 昀漀爀 礀漀甀⸀
䈀爀漀眀渀䈀漀砀
䈀爀漀眀渀椀攀
䔀砀瀀漀爀琀 ⠀䨀愀瀀愀渀⤀
䈀愀挀欀氀椀渀攀 刀愀挀欀洀漀甀渀琀 匀攀爀椀攀猀
倀䠀伀吀伀㨀 刀伀䈀 䘀䔀一一
匀唀䴀䴀䔀刀 一䄀䴀䴀 䈀伀伀吀䠀 ⌀ 㘀㐀㜀 䠀䄀䰀䰀 䐀 眀眀眀⸀戀爀漀眀渀戀漀砀⸀挀漀洀 ㌀ ⸀㐀㘀⸀㈀㔀
Visit us at NAMM Booth #1301
Come visit our booth at Summer NAMM 2016
www.republicguitars.com
facebook.com/republicguitars
COLUMN PEDAL SNAPSHOT Phil Traina
Chase Tone Secret Preamp Street $178.00
Key Features
I was recently turned on to Chase Tone by a
Sometimes simple is just better. I plugged my
few of my tone hound friends. I am glad they
Iconic Custom Guitars Strat style guitar into the
did. I reached out to Kyle (Owner/Builder)
Secret Preamp, and then into a Morgan CM50
and he said I had to check out the Vintage
(blackface tones). Right out of the gate you
Secret Preamp. What is the secret preamp
will notice how the Secret Preamp sweetens
you ask? In a nutshell it is possibly the most
your tone, adding complex harmonics and
faithful reproduction of the Echoplex preamp
touch sensitivity. Turn the knob clockwise and
circuit available in a pedal. Some of the
it gooses your signal nicely. It’s not over the top,
features of the secret preamp are NOS (New
but adds the perfect amount. My favorite way
Old Stock) components. All of the capacitors
to run it is how it was probably intended, at
and resistors are the same components as
the end of my effects chain. It took my already
the original Echoplexes. The Secret Preamp
good base tone and made it better. With the
jumps the voltage internally from 9v to 22v,
S-style guitar I preferred the darker setting, but
just as the vintage units did, which adds to the
with humbuckers the switch made it an easy
response and attack. My favorite feature is the
transition. Chase Tone nailed this effect, and I
Reproduction of the Echoplex preamp
switch on the side of the box that can go from
am looking forward to trying more in the future.
brighter, earlier, EP tones to darker, later, EP
ChaseTone.com
New Old Stock Components
tones. The one knob adds to the ease of use.
Tone Switch
Gurus Optivalve Tube Optical Compressor Price $384.50
Key Features Simple Controls: Input, Output, Tone + Ratio Use as a Compressor or a Limiter
If you have been reading my column over the
squishy effected tones. Optical compressors
past couple of issues you will know that I am
even out your tone and help give you the
a huge Gurus fan. Chicco is building some of
polished studio sound. With simple controls:
the coolest pedals out there. They are a bit
input, output, tone, and ratio, you are able
larger than most of their contemporaries, but
to dial in the perfect amount of compression
well worth the extra space. I met with Chicco at
quickly. The tube adds nice warmth as well.
the Gurus booth at NAMM, and we went over
Placing the Optivalve before my drive pedals
the whole line of offerings. The newest pedal to
gave me a flavor that most might be familiar
the line is the Optivalve compressor. Being the
with, typically that’s where most players stick
compressor junkie that I am, I was drawn to this
the compressor. The Optivalve also excelled
box. The tones I was getting out of the Optivalve
when placing it after my drives, and even at the
are very familiar. It hits on many of my favorite
end of my chain. I felt like my tone was super
famous outboard compressors, such as the
tight and, like I said before, polished. This was
Teletronix LA2A. These styles of compressors
definitely a NAMM highlight for me.
are not supposed to give you the super overly
www.GurusAmps.com
Use the “See thru Magic EYE” to view the Compression reduction level 38
May June 2016
CollectibleGuitar.com
GoodMark M E RC H A N TS
BOUTIQUE AMPS GoodMark “Classic” GoodMark “Rat Rod”
O F
TO N E
BOUTIQUE GUITARS
B&G “Little Sister” B&G “Big Sister”
GoodMarkGuitars.com Lonnie Good 509.422.1400 | Mark Coulter 360.661.6823 | goodmarkguitars@gmail.com
DOs & Don’tS THE DOs AND DON’Ts OF THE INTERNATIONAL DALLAS GUITAR SHOW 2016 Bruce Adolph
DO...
DO...
DO...
Describe
Price your guitars appropriately...
Look for unusually cool items from the 1950’s
your clean
to buy…
1956 Fender Telecaster as “Minty”
DON’T... Well, the sign says it all. Ha! We love you Neal! DON’T... Engrave your name on the top of your very old Gold Top Les Paul. Bill, really?
DON’T... Cut a very large and clean hole in your 1957 Fender Strat. The “What Were They Thinking” Award goes to…
SUBSCRIBE TODAY only $19.95 per year
CollectibleGuitar.com 40
May June 2016
CollectibleGuitar.com
the Straight Truth About Pickups by Jason Lollar The “magic” found in some (but not all) classic vintage pickups was created by accident. Don’t let anyone tell you different. And over time, some pretty stellar accidents happened. The only way to recreate that magic is to study more than a few exceptional examples of all the classic pickup types, while acquiring a thorough understanding of exactly what materials were used and precisely how each pickup was constructed and wound. Only then is the “magic” repeatable, if you are willing to spend the time and money required to chase the dragon. I am. I personally design and wind over 30 different pickup models, including all the vintage classics, many obscure works of art known only to lap and pedal steel players like Robert Randolph, and even a few of my own designs that never existed in the past. I invite you to visit our website for sound clips, videos and current product information, or feel free to give us a call. Lollar Pickups,Tacoma, WA. (206) 463-9838 www.lollarguitars.com
®
Bigsby Vibrato Tailpiece Unique “B-Bender” Acoustic/Electric Designed & hand-assembled in Gunnison Colorado See a demo video at
CastleCreekGuitars.com
buy direct!
Create your own unique voice!
CastleCreekGuitars@gmail.com · 970/641-2747
COLUMN QUIRKY VINTAGE: AMERICAN SHOWSTER NAMM PROTOTYPE #1 Bob Cianci
This month’s installment of Quirky Vintage
this example.
holds the strings in place over the nut, and
spotlights a really rare bird, the NAMM
a bolt-on neck with six screws. The scale is
prototype of what is apparently the first reissue
Rick Excellente was friends with Bill Meeker
25.5”with a 12” radius. The body is made of
of the American Showster AS-57. As any
and David Haines of the Kramer company (their
alder and features active electronics, chrome
vintage car buff will see, the body design is
twisted history is a story unto itself), and it was
strips, and a simulated tail light used on the
based upon a ’57 Chevy tailfin, making it, in
Kramer who reportedly painted the bodies
original guitar, which is non-operational, unlike
this author’s opinion, one of the coolest pointy
and entered into a distribution agreement
the original AS-57s, which featured a working
guitars ever produced. Before we go into the
with Excellente. The guitars were shown at
red tail light.
actual features, let’s look at the convoluted
the NAMM show around 1984, but not long
history of the American Showster Company
afterwards, the business deal between Kramer
A Fender-style bridge with vibrato is utilized,
that took place right here in my home state of
and Excellente went sour, and the rights to the
with three proprietary Strat-type pickups, and a
New Jersey.
design wound up solely in the possession of
five position switch, along with one volume and
Kramer in 1986.
one tone control. The input jack is located at
Guitarist and entrepreneur Rick Excellente
the bottom of the tail light assembly.
designed and formulated the AS-57 sometime
The AS-57 apparently sat dormant for a few
in the early 1980’s and was granted a license
years until making an appearance at the 2008
So, how did it play? Quite well, actually, but it
by General Motors to produce a guitar based
NAMM show in Anaheim, California. And that’s
needed a setup and neck adjustment to play
upon Chevy’s tailfin design in 1983. The details
where this guitar was displayed. Written on the
at its best, an easy fix for any qualified guitar
as to who actually built the initial guitars are a
back of the guitar was the following: American
tech. Outside of one minor scratch on the
bit murky, but most likely they were assembled
Showster, Chris Hoffschneider & Billy Meeker,
top, this axe was in near pristine condition. It’s
by David Schwab, a northern Jersey luthier.
Prototype #1, 10-1-07. My guess is, this
obvious that the AS-57 really excels as a visual
Supposedly, a woodcrafter in southern New
particular guitar was built from leftover Kramer
statement. As you can see from the photo, it
Jersey carved the first bodies, but his name is
stock, given Meeker’s involvement with that
looks absolutely stunning from a horizontal
lost in the mists of time.
company.
viewpoint. Any guitarist brave enough to strap
American Showster was originally based in
The guitar itself retains the classic ’57 Chevy
attract attention playing this instrument on a live
Maplewood, NJ, but moved to Palisades Park
tailfin appearance, and is painted in a flip/flop
gig. I can almost guarantee you’re not going to
shortly thereafter. The first examples utilized
purple and green finish that changes color,
see anyone on your local bar circuit playing
one EMG-81 pickup, but later models, such as
depending upon your eyes or movement of
one.
the one you see here, employed a Strat style
the guitar itself. It has a C-shaped maple neck
pickup layout. Excellente was enamored of the
and rosewood fretboard, twenty-two medium
Why didn’t the AS-57 catch on? Most likely,
use of metal in his guitars, a trend continued on
jumbo frets, Hipshot tuners, a retainer bar that
it was never marketed correctly and fell victim
one on would make a distinct impression and
to inept business dealings, the demise of the Kramer Company, and also by the fact that a large majority of guitarists are inherently conservative by nature and want instruments that look, feel, and sound like they were produced during the 1950’s and ‘60’s. So, there you have it; the American Showster AS-57: a sharp looking guitar styled after an iconic American automobile that never took off and has now been relegated to the world of six string oddities.
42
May June 2016
CollectibleGuitar.com
EASTMAN
#iplay
#handcrafted
www.eastmanguitars.com
continued from page 26
like brand new guitars. You go into any music
and it never got good. But the stuff that was
collection.
store, find a popular brand, they’ve got three
good, just got better. That gray Echoplex was
CG Do you still own your Echoplex EP-2?
of them hanging on the wall and you play all
one of the winners. Even though that’s a highly
three and go, “This is the good one”. Vintage
manufactured product; it’s not something you’d
JS That thing is held together by love at this
gear is the same way, I don’t know what the hit
consider hand crafted. But that thing always
point - and some mojo. I remember being in the
or miss number is, but let’s say it’s one in ten
has a tone.
studio with John and we wanted to get some
items is the thing when it comes to something
really crazy tape echo magic. We sent the
where human hands did most of the fashioning
CG A friend of mine picked up a bunch of
already-recorded guitar part back out into this
of it - that’s electric and acoustic guitars. That
vintage gear you’ve sold through Bananas At
Echoplex so I could manually work it. We had
means that most of the old stuff is simply old
Large in Marin County. How do you decide it’s time to let something go?
this old tape that was wonderfully saturated with thousands of hours of guitar playing. It was the coolest sound of effects you could ever imagine, it just sounded so beautiful. There isn’t a plug-in or digital effect that would ever be as complex or wonderful. It always puts a smile on my face when I hear that part of the song. Sometimes the vintage stuff is just old, and other times it has the secret sauce flowing in it. With old vintage stuff, it’s very much
44
When you’re selling gear, you have to remember you just can’t keep everything. If you’re not using it – if it’s not a tool that resonates with you then you should just move it on cause someone else could really enjoy it.
May June 2016
JS Their clientele is very intelligent, they understand that these tools formerly used by professionals show up from time to time and they’ve got scars - they’ve been through some Rock ‘n Roll battles. For me, it’s like a tool I don’t want to use any more. But for somebody else, it’s exactly what they’ve been waiting for. When I pick up a used guitar or something like that, I always think, “Why is someone selling it”? You
CollectibleGuitar.com
just know there’s gotta be something wrong
hits and misses? That is something that you
in the mid-60s, what would be prevalent even
because somebody decided to get rid of it. It
grapple with every time you sit down and try
to this day. The way that a modern guitar player
goes against logic as to why you’re interested
to design a guitar to minimize that and focus
would use an amplifier on stage, would totally
in buying it. The attitude of how you want to
more on the hits part of it. But that’s what I think
blow their minds. If you told Leo Fender, “This is
use a tool is just about everything. When you’re
modern designers keep trying to do, which is
how people are going to use your guitar. You’re
selling gear, you have to remember you just
so cool, and thank God we have people who
gonna have Keith Urban, Prince, John 5, and
can’t keep everything. If you’re not using it –
really want to pioneer that.
Bruce Springsteen, they’re all gonna be playing
if it’s not a tool that resonates with you then
your Telecaster by the way”.
you should just move it on cause someone else
We love the designs from the late 40s through
could really enjoy it.
the 50s. Those designs were absolutely
The things you learn are the obvious ones. You
amazing. They had no idea what was coming
learn about wood, the different tones you get
CG My friend also owns a Blackface Vibrolux Reverb you sold. After trying a couple of vintage Strats, the guitar that sounded best through it was a JS1200. How much have the various
刀䔀䄀䐀夀 吀伀 唀倀䜀刀䄀䐀䔀㼀
vintage instruments you’ve played and owned influenced the JS line? JS A lot. I remember owning several 50’s Strats and always coming face to face with the fact that they have serious road blocks in them for performing songs in my catalog, that stop me from using them on stage. But they have these other qualities - all guitars should be this simple and have such a big, ambient sound to them. That’s always been the cool thing about Strat’s and Teles - they pass on this ambience that translates into excitement for the audience. We know the pickups are weak and they’re almost always single coil so there’s noise involved, there’s issues right? At the same time there’s an intrinsic excitement, the voodoo part of the simple design of those guitars. They can be screwed together and unscrewed in less than
伀瘀攀爀 㘀㔀 礀攀愀爀猀 漀昀 匀吀刀伀䈀䔀 琀甀渀椀渀最 琀攀挀栀渀漀氀漀最礀 倀䄀䌀䬀䔀䐀 䤀一吀伀 䄀 䌀䰀䤀倀ⴀ伀一
twenty minutes and sound perfect every time
吀唀一䔀刀 倀䰀䄀䌀䔀匀 吀䠀䔀 匀吀爀漀戀漀䌀氀椀瀀 䤀一 䤀吀匀 伀圀一 䌀䰀䄀匀匀⸀
you put them back together. That’s a hallmark of brilliant design; you just can’t get around it.
眀䔀 䤀一嘀䤀吀䔀 夀伀唀 吀伀 䘀䤀一䐀 伀唀吀 圀䠀夀⸀
Thinking about it that way and then looking at the JS guitars and you go, “Well OK, the scale length is the same and yes it is a bolt-on neck”
∠ ⼀ 琀栀 漀昀 愀 䘀爀攀琀 䄀挀挀甀爀愀琀攀 吀甀渀椀渀最 ∠ ㈀㠀 匀圀䔀䔀吀䔀一䔀䐀 吀唀一䤀一䜀∡ 倀刀䔀匀䔀吀匀 ∠ 䌀愀爀戀漀渀 䘀椀戀攀爀 䌀氀椀瀀 搀攀猀椀最渀 ∠ 匀琀愀椀渀氀攀猀猀 猀琀攀攀氀 䠀漀甀猀椀渀最 ∠ 猀甀猀琀愀椀渀 洀漀搀攀 漀瀀攀爀愀琀椀漀渀 ∠ 䈀甀稀稀 昀攀椀琀攀渀 猀甀瀀瀀漀爀琀
so there are things about the guitars that are pretty similar. I’ve learned about the things that can happen with a classic design. If you’ve
⼀瀀攀琀攀爀猀漀渀琀甀渀攀爀猀
owned a hundred Strats, you’ve owned a hundred Strats that sound totally different from each other and you’ve scratched your head
吀栀攀 匀漀甀渀搀 漀昀 倀爀攀挀椀猀椀漀渀
like, “How’s that even possible?” If that first statement I said, where this design is so classic
꤀㈀ 㔀 倀攀琀攀爀猀漀渀 吀甀渀攀爀猀⸀ 吀栀攀 琀攀爀洀猀 匀眀攀攀琀攀渀攀搀 吀甀渀椀渀最 愀渀搀 匀琀爀漀戀漀䌀氀椀瀀 愀爀攀 琀爀愀搀攀洀愀爀欀猀 漀昀 倀攀琀攀爀猀漀渀 䔀氀攀挀琀爀漀ⴀ䴀甀猀椀挀愀氀 倀爀漀搀甀挀琀猀Ⰰ 䤀渀挀⸀ 䈀甀稀稀 䘀攀椀琀攀渀 吀甀渀椀渀最 匀礀猀琀攀洀 椀猀 愀 爀攀最椀猀琀攀爀攀搀 琀爀愀搀攀洀愀爀欀 漀昀 䈀甀稀稀 䘀攀椀琀攀渀 䐀攀猀椀最渀 䌀漀⸀Ⰰ 䤀渀挀⸀
is true, why does it provide such a variety of May June 2016
CollectibleGuitar.com
45
out of it, and all the different combinations. You
wood. If you’re making guitars for the
sometimes I want people to be confused as to
can try to narrow it down and say, “I always like
marketplace and you’re aiming for vintage or
what instrument it is that’s making that sound.
ash over alder”, but once you really get into it
blues purists, it would be silly not to understand
Other times I want them to be bathed in some
you realize it’s just something that grows out of
wood and pickup strength because you’d be
beautiful vintage quality of the guitar. How do I
the ground and there’s no way of telling which
missing your core audience. If you’re looking to
get that and how do we pass that along?
plank of ash is going to sound exactly the way
sell guitars to people who are into Metalcore,
you want. There’s such a varying degree in
why would you even bother with all that vintage
When John Cuniberti and I started making
tonal response in every plank of wood that gets
stuff? They have other things that they need in
records, we’d had some experience in the
fashioned into a body, it’ll keep you guessing
that style of music. Those guitar players place
studio when we were recording The Squares,
for the rest of your life. But the whole idea
demands on the instrument that make sense
my band in the early 80s. As we learned about
about tone woods is a good generalization to
to address before you think of making an
recording, amps and studios together, we
an extent of how you want the instrument to be
instrument for them. One of them though, is not
arrived at a point where we wanted to plug the
used. I learned how much of what I do is based
the thing about the wood because you’re never
guitar directly into a DI, that would go directly
on the sound of the pickup and the interaction
gonna hear it. Their style of the music does not
into a vintage mic pre, and then right to tape.
of the electronics - minimal as they are coming
take those elements of the instrument and put
We were so interested in what the guitar
out of the guitar, and how they interface with the
them in the forefront of the recording. Those
actually sounded like without any amplifier and
amps. If you’re playing without distortion, you’re
things are important to know if you’re thinking
with the shortest cable. For most of the clean
going to pass on more of the elements of the
about designing guitars. I’ve always liked both -
guitar sounds you hear on those early records, that’s exactly how they were recorded. It was fascinating to take a guitar you always plugged into your Marshall turned to eight, and hear it into a mic pre with nothing on it. With no guitar amps scripts all over it, and we’d go, “Wow that’s what the guitar sounds like”. We could mold it any way we wanted it. Years later, John Cuniberti invented the Reamp so we could take those DI-recorded performances and put them back into a variety of amps in the studio. That was a very interesting step in capturing the true essence of the guitar and seeing really what is was and how it was ultimately morphed into something entirely different simply by putting it into the front end of an amplifier. People tend to forget that when they’re playing, because they’re getting so much visceral feedback as they play the guitar. It’s a very narrowly focused experience you’re having with your gear. But take a piece of music that you recorded with a DI and keep running that out into different amplifiers, you remove yourself viscerally from the equation. It’s almost like you hearing the guitar speak for itself. Then you start manipulating the amplifier in a way you wouldn’t if you were actually standing in front of it playing. This also shines a lot of light on the intrinsic qualities of the instrument coming from its design - the wood, the kind of frets you’re using, the strings, what kind of
46
May June 2016
CollectibleGuitar.com
bridge you’ve got, what are the value of your pots, how much wiring is in the guitar, is the wood really old, what’s the finish on the guitar? All those things become much more noticeable because your not playing, when your not trying to dominate the instrument in real time with your musicianship. This kind of goes off on a tangent, but this really goes back to the idea of what you learn from owning and playing vintage guitars and how you put that into designing new gear. All the stuff I mentioned is part of the experience. If I had to wrap it up into one thing I’d say you gain experience. If you have a good memory you keep that in mind every time somebody says, “Well, we can just cut this big piece of wood out”, you might go, “Well you know, if you take three inches of wood out you might lose something. You put three more inches of wood on there and you gain something”. It can be that simple. I love playing my vintage gear, then picking a brand new JS guitar and seeing where there are similarities, where there are differences… how we solved issues with older designs that don’t interface well with modern music.
May June 2016
CollectibleGuitar.com
47
FEATURE THE TOP 20 (+3) BOOKS FOR AMPLIFIER ENTHUSIASTS Robert Gearhart ď Ź
I have the moniker of AMPGUY, which describes
speaker choices, and information on the
pictures of many great Dumbles, and includes
my
collecting
amplifier manufacturers. Printed only in B&W.
interviews with Howard Dumble. Mine is a
amplifiers and everything related to amplifiers.
One can only guess how many times that I read
slipcovered hardbound example, #969 of
This includes mint examples of amplifiers,
it cover to cover. Only 64 pages.
1000. (332 pages).
amplifier logos and pins, and amplifier catalogs,
The Soul of Tone: Celebrating 60 Years of Fender
Ampeg: The Story Behind the Sound (Hopkins and
etc. I view an amplifier as an engineering marvel,
Amps (Tom Wheeler). This is the new bible for
Moore). For those that appreciate the beauty
as well as a work of art. To me, it is amazing
Fender Amp collectors, and is an amazing read
and great sound of Ampeg Amplifiers, this is
that a radio repairman in California (Leo Fender)
with beautiful pictures. It simply is a must have,
a great book tracing the history and model
would go on to create legendary guitar and
and includes two CDs that have recordings of
features through the years. For those that
bass amplifiers in almost every iteration in size,
many of the amps with both single coil and
remember, Ken Fischer worked here before
wattage, and speaker complement, influencing
humbucker equipped guitars.
Unfortunately,
he started Trainwreck Amplifiers. My copy is a
all later designs. I personally am most partial
it was published in 2007 and sorely needs
slipcovered special edition #969 of 2000. The
to the big three Fender, Marshall, and Mesa-
an update for the newer Fender Amplifiers
slipcover is covered with Ampeg blue check
Boogie, but love them all.
that have been created. Mine is a slipcovered
amplifier covering and has an actual Ampeg
What this article will describe, in my humble
hardbound limited edition, #1000 out of 1000.
metal logo. (297 pages).
opinion, are the greatest amplifier books ever
(592 pages).
OCD
tendencies
towards
miniature 9v editions, retail amplifier signs,
Blue Book of Guitar Amplifiers (Zachery R.
written, all of which reside in my collection. There are others, but these books stand out.
Fender Amps: The First Fifty Years (Teagle and
Fjestad) This book is essentially a price guide
Since no one can own an example of every
Sprung). This was one of the first bibles for
for amplifiers in various levels of condition.
great amplifier, you can own a copy of all the
Fender Amplifier collectors and still remains
It features brief histories of most amplifier
great amplifier books that describe them and
viable. It is well written and has a lot of
companies
help you understand how they work. Although I
information not found in the book above. Mine
wattage, tube complement, and speaker size
have collected some of the special editions that
is a limited edition that was published as a
for all models listed. A great reference, and
were published, standard and more affordable
hardbound, slipcovered book that sports a
perhaps the only bound reference for many
editions are readily available. As a plea to the
tweed cloth cover and is #901 of 1000. Highly
smaller amp companies. Mostly B&W, it has a
future, someone needs to write a history of
recommended. (256 pages).
16-page color section with many nice pictures.
Mesa-Boogie!
and
depicts
details
including
Another must have! My 3rd edition has 608 A Dumble Book (Schwartz). For the most of
pages.
The Amp Book (Donald Brosnac). This book
us that will never own or even play through a
deserves special mention, as it was my first
Dumble Amplifier, touted as the greatest and
The Fender Amp Book (John Morrish). Almost a
book on amplifiers. I bought this in 1989 and
certainly the most expensive amplifier ever
pocket guide, this book has a lot of detail and
that is when I got hooked. The obsession was
made (+$90K), this book may be as close
is a good reference to carry to guitar shows.
created. It discusses how amplifiers work,
as you can get. It describes the history, with
Excellent historical content. (96 pages)
48
May ď Ź June 2016
CollectibleGuitar.com
The Tube Amp Book (Aspen Pittman). Although
worthy of my collection, but the line had to be
collector this book has B&W pictures and
published in several versions, the best is
drawn somewhere. A great book and highly
specifications. There is a nice color section
the later oversized hardback spiral bound
recommended. (208 pages)
of beautiful mint examples. It also includes a CD-ROM containing the entire 1960s Master
edition. A great write-up on major brands is
Service Book in PDF. (192 pages)
complemented by high quality circuit diagrams.
The Guitar Amp Handbook: Understanding Tube
A CD included features 800 circuit diagrams.
Amplifiers and Getting Great Sounds (Dave
(187 pages)
Hunter). This is a very interesting book that
Music Man 1978-1982 (and Then Some): The
I have re-read countless times. He has
Other Side of the Story (Frank W/M Green). An
The History of Marshall: The First 50 Years (Doyle
described some of his favorite amplifiers and
interesting read, but perhaps not as detailed
and Bowcott). This is another beautiful book
their circuits. Interestingly, he has included
with specs as many would expect. But other
with super pictures of the greatest Marshall
extensive interviews with some of the greatest
than original catalogs, the only reference out
Amplifiers, showing the interior circuits of many.
amplifier designers. (295 pages)
there. (111pages)
The Book of Orange and Building the Brand (Cliff
Amps! (Richie Fliegler). This is a cool book about
Cooper). This is two books in one and is an
a lot of famous brands with a great color picture
The VOX Story: A Complete History of the Legend
oversized hardcover describing the history of
section to drool over. One of the first early
(David Petersen and Dick Denney). The history
Orange Amplifiers. It is printed in a novel style
picture books on amps, which is well worth
is covered in detail in this early 90’s B&W tome.
called Flipbook, where half way through you flip
owning. (120 pages)
This is an interesting read, but does not have
the book over to read the second book. There
the unbelievable detail, by model, of the next
are great pictures of the amplifiers and the
The Art of The Amplifier (Michael Doyle). A picture
book on the list. (168 pages)
bands that used Orange Amps. (202 pages)
book for the most part, with just amazing shots
VOX Amplifiers (Jim Elyea). This is a massive
A Desktop Reference of Hip Vintage Guitar Amps.
(2.5” thick, 9.8 lb.) oversized hardbound book
Tube Amp Talk for the Guitarist and Tech. Tube
The Peavey Revolution, Hartley Peavey, The Gear,
describing all things VOX, and depicts many
Guitar Amplifier Essentials. All About Vacuum Tube
The Company, and the All-American Success Story
of the amps in Jim’s collection, perhaps the
Guitar Amplifiers (Gerald Weber). I combined
(Ken Achard). Although not specifically an
largest collection in the world. His attention
these four books by Gerald because they
amplifier book, as it also reviews guitars and PA
to detail is phenomenal. He has even tracked
are similar in layout either written in a chapter
Systems, it does a pretty good job concerning
down the manufacturers of screws for these
style or a Q&A format. The first book has a
the amplifiers. Most of us have owned a Peavey
amps. This is another must-have for the owner
large collection of schematics that have been
in our lifetime because of their affordability,
of a VOX Amp, or one that just yearns for one.
cleaned up for easy reading. All are easy to read
good sound, and dependability. (184 Pages)
(682 pages).
and written in a style that is easy to understand.
A book to drool on, to say the least. Definitely recommended. (392 pages)
of beautiful amplifiers. (80 pages)
A lot of Gerald’s vast experience working with
Robert Gearhart
Amped: The Illustrated History of the World’s
and repairing amplifiers is in there in print. All of
After earning an MBA from Northern Iowa,
Greatest Amps (Dave Hunter). This is really a
his books are highly recommended. (507, 529,
I worked as a Manufacturers Rep for an
beautiful book describing and picturing each
537, and 513 pages, respectively).
engineered products company for 32 years and retired at 57 to pursue my passions, including
of Hunter’s favorite amps. You see amplifiers that most have never heard of. In my opinion,
Gibson Amplifiers 1933-2008: 75 Years of the Gold
he overlooked a few that I thought was
Tone (Wallace Marx Jr.) For the Gibson Amp
May June 2016
guitar and amplifier collecting.
CollectibleGuitar.com
49
FEATURE A BEGINNERS GUIDE TO SHOPPING FOR A LES PAUL Rich Murdocco
For
Gibson’s
ESP, the product variants of the Les Paul was
adorned with an ebony fretboard, mother-of-
encyclopedic product history and today’s
the
uninitiated,
navigating
byzantine in comparison. I was surprised to
pearl accents, and built to artist specifications.
modern variants of the Les Paul can be a
learn there were so many variants of the model
Typically, most shoppers opt for the Studio
herculean task. While the variety presented
– the Less Plus, Studio, Classic, Traditional,
models in the $1000 range, while the traditional
ensures that there is a Les Paul to meet every
Custom, all of which have differing weights,
Les Pauls with neck binding, mother of pearl
player’s needs, it can be intimidating for those
electronics, pickups, and neck profiles.
inlays, and the classic looking burst finishes sell
entering the labyrinth for the first time.
for $2,000 on up. What follows is a casual shoppers guide to
Being a first time Gibson shopper, I discovered
buying a Les Paul, written for those without
The used market for the Les Paul is robust,
this fact first hand. As a longtime player of
the time (or patience!) to dive into the different
thanks to the widespread popularity of the
Jackson and Ibanez guitars, I decided to
models available today. By providing a casual
instrument. Pricing is relatively stable, since this
broaden my horizons by going outside the
guide that will introduce what to look for, you,
popularity that makes them so plentiful on the
Super Strat realm. The newest target for
the buyer, find the right guitar for the right price.
secondary market also happens to keep them
acquisition was to be a Gibson Les Paul – a
desirable. When shopping for a used Les Paul,
bonafide American-made classic that conjures
Choosing the Model
be sure to note the instrument’s build quality,
up images of Jimmy Page cutting blues-
By choosing a Gibson Les Paul, you’re already
which has seen its ups and downs throughout
driven riffs through an overdriven Marshall.
committing to spend anywhere from $799 for a
the decades. In recent years, quality control
Accustomed to the relatively straightforward
relatively sparse faded series Les Paul Studio to
has been standardized, with 2016 being one
offerings from the likes of Jackson, Ibanez, and
upwards of $6,000 for custom shop Les Paul
of the strongest years for the brand, while the
50
May June 2016
CollectibleGuitar.com
1980’s have produced models with a less than
hotter cousin the ‘57 Classic Plus, or the 490T
guitar is not weight-relieved, and it comes with
stellar reputation.
and R models, which allow for split coil tonal
the ‘57 Classic and ‘57 Classic Plus pickups
variety via a push/pull knob.
that pair well with the Marshall JCM 2000 DSL
Weight Relief
head it was to be played through. In contrast to
By design, a Gibson Les Paul is a heavy guitar
While pickups can always be swapped out at
the super thin Ibanez necks I was accustomed
– mostly thanks to their solid Mahogany bodies
a later date – most on the used market would
to, the 50’s neck profile of the Les Paul that I
and necks. Gibson’s luthiers offer a variety of
never swap out vintage Gibson pickups on a
bought is a welcome addition to my collection.
weight relieved models that cut down on the
Les Paul. Ace Frehley, who through much of
I’ve always read that when designing the
heft, with seemingly nominal impact to the
KISS’ early career favored DiMarzio Super
Soloist, Jackson Guitars sought to blend a
instrument’s much-sought after tone.
Distortions, made it a point of saying that he
Fender body with a Gibson neck, and I was
wouldn’t touch the electronics on a classic
surprised to see that the similarities between
Today, the brand offers different degrees of
Les Paul. An unaltered vintage Les Paul is
the two are striking (at least at the lower frets).
weight relief: traditional relief, modern relief,
extremely valuable, and the prices climb into
chambered relief, as well as variants of the
the stratosphere with each rarer model.
guitar with no weight relief whatsoever that
As with any large purchase, doing your research will help guide you in the right direction – but
weigh over 10 pounds. Gibson describes the
Choosing Which Model Works For You
playing the instrument (or something similar) is
middle of the road “modern” weight relief as
In the end, Gibson’s offerings have evolved
key. Assess your playing needs, budget, and
somewhere between full on chambering of the
to the point where they pretty much offer
proceed from there. Don’t need all the aesthetic
body, which players claimed was too resonant,
something for everyone. Depending on the
frills, but still want the Les Paul sound? Opt for
and traditional weight relief, which consists of
flexibility of your budget, if you want a Les Paul,
a Studio model, which was created for just that
a series of small circular holes bored into the
Gibson has a model for you.
purpose. Want an ebony fretboard? Expect
body to remove mass. Les Paul Ultra models
to pay, but there is a custom waiting for you.
are slimmer. When shopping for your first Les
In my own hunt for a Les Paul, I opted for a
Either way, Gibson has created a Les Paul that
Paul – take note of which variant you like the
simple Les Paul Traditional. At 10 pounds, the
seems tailor-made to meet your needs.
feel and sound of.
Neck Profile Once you’ve decided on the weight of your Les Paul, next is choosing from a variety of Gibson’s neck profiles. From the chunky profile of the 1950’s models to the slimmer, more modern necks, which are more aligned with variants from the 1960’s. Each player has their own preference, so always try a similar profile before buying. The Les Paul Studio, Classic, and Standard models offer a slimmer neck, while the Traditional models have the chunkier vintage profile.
Pickups While the heart of the Les Paul’s sound is found in the Mahogany, the character lies within the pickups. Les Paul’s offer anything from classic P90 soap bars, PAFs modeled off of some of Gibson’s most famous vintage guitars, to the hotter Burstbucker Pros with some extra sizzle as needed. Other options offered include the ‘57 Classic, which models the famous “patent applied for” humbuckers of yesterday, to its May June 2016
CollectibleGuitar.com
51
FRETBOARD LESS TRAVELED COMPING MINOR BLUES Rich Severson
Blues in a minor key is a music forum that both blues/rock and jazz players enjoy. In this article
C‹
I’m going to show the difference in how those two groups approach this song form. For our example we are using blues in C Minor. Let’s make some comparisons between the two versions. Right off the bat the rock version has half as many chords as the jazz, and uses full voicings for strumming the groove with the other players. The jazz version uses 4 note chords, is more
with a pick. Let’s talk about the chords in the jazz version, which are all initially based on the rock version.
F‹
minor. This is reaffirming the tonal center of C minor, setting up Measure 3. Measure 4, the
b &b b ? ? ? ?
as G7b9, as the bass would probably play a G here. Measure 8, the Am7b5 is a common
b &b b ? ? ? ? 9
9, the Ab7 appears in both versions; the Ab13 is used as a direct substitution. Measure 10, G7#5#9 another direct substitution; this one
8 G7
C‹ 8fr
8fr
? ? ? ?
? ? ? ?
10
8fr
11
12
? ? ? ? ..
C Minor Blues, Jazz Version Dm7b5
Cm9
G&7 5fr
b & b b .. ? ? ? ?
2
b &b b ? ? ? ? 5
A¨13
4fr
b &b b ? ? ? ? 9
? ? ? ? Am7b5 5fr
? ? ? ? 7 C‹7
G&7(#9)
? ? ? ?
Copyright © 2016 by Guitar College, Inc.
this is called a turnaround. The l,Vl, ll V chord progression is the most common turnaround. I hope this whets your appetite for more jazz sounds. I have many video lessons on this subject. Till next time. www.GuitarCollege.com
May June 2016
4fr
? ? ? ? 11
CollectibleGuitar.com
? ? ? ? 8 Dm7b5
A‹7(b5) 8fr
3fr
10
C7(#9)
4
4fr
? ? ? ? 6
? ? ? ? C‹11
Ddim7 4fr
6fr
Gm7b5
3 Dm7b5
F‹9
Cm9 3fr
? ? ? ?
1
for the G7. Measures 11 & 12, in jazz terms
52
? ? ? ?
7 G7
9fr
diatonic substitution for the Cmin. Just like an Amin might be used for a Cmaj chord. Measure
4
? ? ? ?
6
A¨7
Measure 5, the tonality of Fm9. Measure 6, again up in Measure 7. The Ddim is the same chord
C‹
3
? ? ? ?
5
Gm7b5 to C7#9 is ll V of F minor, setting up points our ears to the C minor tonality coming
2
8fr
Cmin chord. This is called a direct substitution, Measure 2, we have ll-V of the home key of C
3fr
b 4 & b b 4 .. ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
Measure 1, a minor 9th is substituted for the adding richer chord tones to the basic chord.
C‹
3fr
for the harmonic content than the rhythmic feel, and might be played with the fingers instead of
C Minor Blues, Rock Version
12
G&7 5fr
3fr
? ? ? ? ..
COLUMN PAWNSHOP PRIZE Roger Zimish
1968 SUPRO S700: The Country and Western Flat Top
tones that makes it ideal for rhythm work.” Now, this Supro guitar is far from being pristine,
Inc. (the same year that their fiberglass models
This time around in the pawnshop we found a
it has been played quite a lot over its many years
debuted). Kay purchased Valco in 1967, so
rare Supro acoustic guitar. Supro is probably
and has some scars to prove it, but boy does
there are some Kay-built guitars under the
more widely known for their cool vintage amps,
she have a sound all her own and a bag full of
Supro brand name. Kay went bankrupt in 1968,
lap steel guitars, and those funky fiberglass
that mojo to go with it! The S700 Flat Top has
and both the Supro and National trademarks
guitars from the 60’s. There are not too many
a solid spruce top 15 1/2” wide dreadnought
were acquired by Chicago´s Strum N’ Drum
acoustic guitars out there with the Supro name
shape, mahogany back and sides with wide
Company. The National name was used on
on them. In the 1968 Supro catalog the S700
top and back binding, the “deluxe western”
a number of Japanese built imports, but not
was called, “An exciting new country and
large bridge with 3 points at each end that
the Supro name. Archer´s Music of Fresno,
western model flat top guitar with a special
accentuates the stunning look of the 4 point 4
California bought the rights to the Supro name
shape that accentuates the round, full bass
ply celluloid tortoise shell guard, and is just cool
in the early 1980s. They marketed a number of
to look at. It also has an adjustable
Supro guitars constructed from new old stock
mahogany 3- bolt-on neck with a
(N.O.S.) parts for a limited period of time.”
bound rosewood fingerboard with
(source: Vintage Guitar Magazine).
models began in 1962. Valco Manufacturing Company name was changed to Valco Guitars,
pearloid block inlays and nickel-silver frets, asymmetrical peghead (longer
The Supro S700 is National/Valco made. The
on bass side), and it has the original
Supro peghead shape was used from ’62 –
Kluson Deluxe tuning machines. It
‘68, with the plastic logo longer on the bass
even has the silver foil serial number
side (1955 - ‘62 earlier pegheads are narrower).
sticker on the back of the headstock.
National pegheads from 1958 – ‘68 are longer on the treble side. Foil serial number stickers
After finding this Supro acoustic
were used on Valco-made instruments from
guitar and seeing the new Supro
1964 to 1968, and the “2” prefix means it was
amp line out in the big box retail
made early-mid ‘68. So that’s the story that
music stores I did some research on
dates the guitar in the pictures.
the brand. As I said, this guitar has some mojo to it and “The Supro trademark was the
is full of dynamics, from soft finger picking to
budget brand for the National Dobro
full body strumming, reminiscent to a full body
Company,
what
Gibson. Its zero fret, thin, bolt on neck, and
was known as “House Brands”
the adjustable trussrod both help to make this
to Montgomery Ward, with Supro
guitar easy to play. The body does show its
models under the Airline trademark.
age with some nicks and scratches, along with
National offered budget versions of
some spider cracking in the thin nitrocellouse
their designs under the Supro brand
finish. With all that said, this is the best sounding
name beginning in 1935. National
acoustic guitar with a bolt on neck that I have
moved to Chicago in 1936. The
ever played. I have seen similar guitars from
Supro name was on wood bodied
the late 60’s going for up to $1500, this one
lap steels, amplifiers, and electric
is selling for around $400 without a case. So
Spanish arch top guitars. The first
check out those pawnshops . . . you never
solid body Supro electrics were
know what you might find!
who
supplied
introduced in 1952, and the fiberglass
54
May June 2016
CollectibleGuitar.com
VINTAGE GUITARS & MUSICAL INSTRUMENTS AUCTION July 23, 2016 | Dallas | Live & Online
Seeking Quality Consignments, Delivering Results
1963 Fender Stratocaster Sonic Blue Solid Body Electric Guitar. Sold For: $65,625
1964 Gibson Thunderbird IV Sunburst Electric Bass Guitar. Sold For: $10,625
1952 Fender Telecaster Blonde Solid Body Electric Guitar. Sold For: $32,500
1953 Fender Precision Bass Blonde Electric Bass Guitar. Sold For: $13,125 1941 Martin D-45 Natural Acoustic Guitar. Sold For: $110,500
1938 Gibson Advanced Jumbo Sunburst Acoustic Guitar. Sold For: $53,775
Isaiah Evans 214-409-1201 IsaiahE@HA.com
INQUIRIES:
Mike Gutierrez 214-409-1183 MikeG@HA.com
Consignment Deadline: June 1 DALLAS | NEW YORK | BEVERLY HILLS | SAN FRANCISCO | CHICAGO | PALM BEACH PARIS | GENEVA | AMSTERDAM | HONG KONG
Always Accepting Quality Consignments in 40 Categories Immediate Cash Advances Available 950,000+ Online Bidder-Members Paul R. Minshull #16591. BP 12-25%; see HA.com. 41721