premier guitar 2011-09s370

SePtemberHiGHliGHtSVieux farka tour

Sponsored by PrS Guitars

Dubbed the Hendrix of the Sahara, Vieux Farka Tour talks about growing up in the shadow of a famous dad, his unique two-fingered strumming approach, and having Dave Matthews and John Scofield join him on his new album, The Secretone of the freshest-sounding guitar albums of 2011.

The PG guide to demystifying boost, overdrive, distortion, and fuzz.

SecretS of Saturation

Summer namm

def lePPardPhil Collen and Vivian Campbell talk about the unusual necks on their favorite axes, the brutal process of writing new Def Leppard material, and Mirror Ball: Live & More the 80s juggernauts firstever live album.

Industry insiders often foretell doom for the Summer NAMM show, which isnt nearly as hectic and harried as the Winter show in Anaheim, but PG descended on Nashville en masse and found a treasure trove of hot new gear.

montreal Guitar SHow builder Profile: becker GuitarSWe travel to the fifth-annual Montreal Guitar Show to bring you photos, specs, and video interviews on the latest designs from some of the worlds most highly esteemed and forward-thinking luthiers.

In just four years, Dan Becker and Ryan Martin have gone from being disgruntled workaday drones giving their musical inclinations short shrift to being British blues sensation Matt Schofield says he passionate luthiers of custom guitars and basses that have gotten the attention was just following his muse when he took a trio of chances with his new album, Anything of notable players like Primus Larry But Time, but in the process hes set off a 21st- LaLonde and Umphreys McGees Jake Cinninger and Ryan Stasik. century blues invasion of the highest order.

matt ScHofield

GretScH Holy Grail duo JetS

Gretsch authority Ed Ball takes us back in time to explain the genesis and evolution of one of the companys most revered and coveted guitars the Duo Jet.

REVIEWS:

Kendrick Amplifiers V-Front 212 Vigier Guitars G.V. Wood Jack Deville Electronics Mod Zero Ampeg Portaflex PF-350 head and PF-210HE cabinet Breedlove Guitars Focus SE Custom Walnut Electro-Harmonix Stereo Talking Machine Richmond Guitars Empire Mahogany Crimsontone SE Mini 81 E M R G U I T A R A U G U S T 2 0 1 0 www.pr AmpP R I E ToneNation Heartland Standard Peavey Void 4 PXDe m i e r g u i t a r . c o m

Def LepparD summer Namm Vieux farka Tourseptember 2011

Matt SchofieldThe UK Bluesman Invades the States

Masterpieces from Montreal14 Sexy Axes from One of the Worlds Most Prestigious Guitar Shows

SecretS of Saturation

How to Use Overdrive, Distortion & Fuzz

10 Guitar & Bass Reviews

Kendrick, Ampeg, Vigier, ToneNation, Jack Deville, Breedlove, Peavey, Crimsontone, Richmond & Electro-Harmonix

The Genesis of the Gretsch Gems$5.95 U.S./Canada

Holy Grail JetS

American Muscle. British Brawn.

Series One 1046L6:High-Gain, Aggressive American Metal

Series One 104EL34: Series One 50:Powerhouse Classic Rock Tones Biting Classic British Rock Tones

Whether youre after the aggressive punch of the 6L6 tube or the classic British bite of the EL34, theres a Series One amp for you. Each offers multiple channels and switchable modes, delivering the broadest range of tones, from incredible high gain performance to sparkling boutique cleans. The DPR circuit provides full-on gain at any output level; ISF lets you customize the EQ to quickly dial in the sound in your head.

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Has the Guitars and Gear You Crave, the Expert Service You Need, and Prices Youll Love!We have a HUGE selection of guitars, basses, amps, and effects on hand to meet all your tonal needs, whether youre a tube-tone fanatic or a digital enthusiast. Heres just a small sampling of the gear youll find at Sweetwater!

Sweetwaters Exclusive Guitar Gallery: Choose the Exact Guitar You WantWe make finding the perfect guitar easy! At our online Guitar Gallery, you can browse through a huge selection of individual guitars, right from your living room. We post each instrument by serial number, and detailed photographs let you see your future guitar from many different angles. Check it out at Sweetwater.com/GuitarGallery Sweetwater.com/GuitarGallery.

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georgeharrison.com facebook.com/georgeharrison gretschguitars.com 2011 FMIC. Gretsch is a registered trademark of Fred W. Gretsch Enterprises, Ltd. and used herein under license. All rights reserved.

toneprintOur awesome new line of stombox beauties dont only look and sound the part, they also sport a super cool new technology called TonePrint. TonePrint allows you to download custom tunings made by your favourite guitarists, easy, fast and free using a simple USB connection. A veritable whos who in guitar are on board and ready to give you their custom TonePrints. Forget emulation, lets talk collaboration!

Shaker Flashback Vortex Dark Matter Corona Hall of Fame MojoMojo Vibrato Delay Flanger Distortion Chorus Reverb Overdrive *Currently, five pedals support TonePrints: Flashback Delay, Hall of Fame Reverb, Corona Chorus, Vortex Flanger and Shaker Vibrato.

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Chairman Peter F. Sprague President Patricia A. Sprague Editorial Director Joe Coffey Managing Director Gary Ciocci Managing Director Jon Levy

EDITORIALEditor in Chief Shawn Hammond Senior Editor Andy Ellis Gear Editor Charles Saufley Senior Art Editor Angela Cox Senior Art Editor Meghan Molumby Web Content Editor Rebecca Dirks Associate Editor Chris Kies Associate Editor Rich Osweiler Associate Editor Jason Shadrick Video Editor Steve Worthington Acoustic Editor Gayla Drake Paul Assistant Editor Liana Prudencio

PRODUCTION & OPERATIONsOperations Manager Shannon Britcher Circulation Manager Lois Stodola Production Coordinator Luke Viertel

sALEs/MARKETINGAdvertising/Artist Relations Brett Petrusek Director of Business Development Jessica Sullivan Director of Retail Sales Dave Westin Marketing Manager Nick Ireland Multimedia Coordinator Matt Roberts Multimedia Coordinator Seth Hansen

WEBsITEsOur Portal www.premierguitar.com Our Online Magazine: http://digital.premierguitar.comThe information and advertising set forth herein has been obtained from sources believed to be Gearhead Communications, L.L.C., however, does not warrant complete accuracy of such information and assumes no responsibility for any consequences arising from the use thereof or reliance thereon. Publisher reserves the right to reject or cancel any advertisement or space reservation at any time without notice. Publisher shall not be liable for any costs or damages if for any reason it fails to publish an advertisement. This publication may not be reproduced, in whole or in part, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopied, recorded, or otherwise, without the prior written permission of the publisher. Copyright 2011. All Rights Reserved. Reproduction in whole or in part without written permission is prohibited. Premier Guitar is a publication of Gearhead Communications, L.L.C. Premier Guitar [ISSN 1945-077X (print) ISSN 1945-0788 (online)] is published monthly. Subscription rates: $24.95 (12 issues), $39.95 (24 issues) Call for Canada, Mexico and foreign subscription rates 877-704-4327; email address for customer service [email protected].

PREMIER GUITAR (USPS 025-017)Volume 16, Issue 9 Published monthly by: Gearhead Communications, LLC Three Research Center Marion, IA 52302 Phone number: 877-704-4327 Fax: 319-447-5599 Periodical Postage Rate paid at Marion, IA 52302 and at Additional Mailing Offices POSTMASTER: Please send address changes to: Gearhead Communications, LLC, Three Research Center, Marion, IA 52302 Web: www.premierguitar.com E-mail: [email protected] Distributed to the music trade by Hal Leonard Corporation.

6 PREMIER GUITAR SEPTEMBER 2011

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TuninG uP

Fly Your Freak Flag High BY shawn hammond

J

ust prior to finishing the issue youre holding in your eager hands (or reading on your favorite digital device), most of the PG staff had put in several long days at the Summer NAMM show in Nashville. We hate to brag, but we wont lie, either when it comes to gear coverage, we absolutely dominated the show. No matter where you were on the floor, you could pretty much turn your head and see one of our eight editors in their highly visible black PG T-shirts, cruising from one booth to the next to snap photos and shoot HD videos. If you couldnt be in Nashville to visit the show yourself, all you had to do was keep an eye on our Facebook wall throughout the day to see a continuous string of postswith specs and a nice pictureon the cool new guitar and bass goodies. And by nightfall each day, we had several video demos from the show up on premierguitar.com and on our YouTube channel. It was a grueling trip, to be sure. But thats because were sort of the freaks of guitarmedia universe. No other guitar outlet gets you pics and info in virtual real time, and then provides you with video demos on the latest gear as fast or as professionally as we do. (We usually get you reviews of that new gear before the other guys, too.) Thats why our YouTube channel is at 15 million views and counting. For me, one of the most enjoyable videos of the show was a demo we shot of the Teuffel Tesla Prodigy guitar. Ive known of Ulrich Teuffels gorgeously futuristic designs for years, but Id never seen one in person, let alone heard one played in front of me. We asked Jamie Gale, Teuffels North American distributor, to demo the guitar. Though

Jamie had only been working with the German company for a few weeks and had hardly played the rather strangely outfitted instrumentwhich has three momentary switches for a 60-cycle-hum generator, a kill switch, and a feedback generatorhe agreed to do so. I felt bad asking him to do it, because I knew it would be daunting to come up with a musical way to incorporate such avant-garde features on the spur of the moment, but I didnt want to let that opportunity slip through our fingersif

from the NAMM-show floor to take home and mess around with for a while, it probably wouldve been the Tesla Prodigy. And I stand behind the video, too: Jamie did a great job under such duress, and the audio from the video speaks for itself. Even if you think the three weirdo switches are uncalled for, theres no denying that the guitar generated fantastic tones through the tiny Blackstar combo blasting into our SM57. A day or two after the show, I got a call from Jamie. As a businessman, he was worried

PG didnt get a nice-looking, well-micd demo of the Tesla Prodigy, who else would? It didnt take long for the traditionalist haters/trolls to descend on Jamie and Teuffel after wed uploaded the video to YouTube. The comments section was filled with predictable shots about the unusual looks and not-for-everyone features, in addition to a lot of over-the-top jackass comments from people with closed minds and/or insecure egos. Several people were sure that I, as the interviewer, shared their sentiments. They couldnt have been further from the truth: Though I felt bad for putting Jamie on the immortalized-on-YouTube spot with such an unusual instrumenta guitar I wouldve been scared to demo on such short notice, tooif I couldve chosen one instrument

about his clients wares being slagged in the slums of YouTube comment sections. Of course, as a player, he also hated being unfairly crapped on every bit as much as you and I would. He wondered if it would be best to take the video down. I left it up to him, but I told him my take on the whole situation: Fly your freak flag high, man! Jamie agreed we should leave the video up after we ruminated on how the internets anonymity can turn otherwise decent people into know-it-all jerksits a pastime for a certain element of societyand after I reiterated that there was really no other place online where you could find a video that focused on Teuffels handsome guitar like ours did. More importantly, though, I reminded him that a lot of the stuff we consider totally mundane

nowdistortion, flanging, backward effects, and radical pitch shifting, to name a fewbegan their existence as magnets for societys dung-bomb throwers. Hell, can you imagine what people were saying about Paul Bigsby when he built that first solidbody for Merle Travis while everyone else was building acoustics and semi-hollow guitars? Im not saying someday well all have 60-cycle-hum buttons on our guitars, but I believe in a future thats wide open for people to shake off the shackles of convention and keep blazing a trail forward while taking what they need/want from the triedand-true approaches of the past. The Tesla Prodigy may or may not be for you, but thats not the point. The point is that the audacious spirit embodied by Ulrich Teuffels design is the very spirit that led to practically all the musical innovations we treasure todayboth in the instruments we play and the music we listen to. Those who fly their freak flags high are those who are remembered. Think of just about any legendary musician or instrument builder out there, and I think youll see exactly what Im talking about. Freakishly yours,

Shawn Hammond [email protected]


martinguitar.com/strings

TABLE OF COnTEnTS > FEATURES & REVIEWS

FEATURES83 Vieux Farka TourDubbed the Hendrix of the Sahara, Vieux Farka Tour talks about growing up in the shadow of a famous dad, his unique two-fingered strumming approach, and having Dave Matthews and John Scofield join him on his new album, The Secretone of the freshest-sounding guitar albums of 2011.

Vieux Farka Tour (right) onstage with his Godin Summit CT and bassist Mamadou Sidibe. Photo by Daniel Boud

83

157 Builder Profile: Becker GuitarsIn just four years, Dan Becker and Ryan Martin have gone from being disgruntled workaday drones giving their musical inclinations short shrift to being passionate luthiers of custom guitars and basses that have gotten the attention of notable players like Primus Larry LaLonde and Umphreys McGees Jake Cinninger and Ryan Stasik.

94

Montreal Guitar ShowWe travel to the fifth-annual Montreal Guitar Show to bring you photos, specs, and video interviews on the latest designs from some of the worlds most highly esteemed and forward-thinking luthiers.

166 Matt SchofieldBritish blues sensation Matt Schofield says he was just following his muse when he took a trio of chances with his new album, Anything But Time, but in the process hes set off a 21st-century blues invasion of the highest order.

107 Secrets of SaturationThe PG guide to demystifying boost, overdrive, distortion, and fuzz.

121 Gretsch Holy Grail Duo JetsGretsch authority Ed Ball takes us back in time to explain the genesis and evolution of one of the companys most revered and coveted guitarsthe Duo Jet.

REVIEWS178 182 185 189 192 195 198 203 206 210

129 Def LeppardPhil Collen and Vivian Campbell talk about the unusual necks on their favorite axes, the brutal process of writing new Def Leppard material, and Mirror Ball: Live & Morethe 80s juggernauts first-ever live album.

142 Summer NAMMIndustry insiders often foretell doom for the Summer NAMM show, which isnt nearly as hectic and harried as the Winter show in Anaheim, but PG descended on Nashville en masse and found a treasure trove of hot new gear.10 PREMIER GUITAR SEPTEMBER 2011

Kendrick Amplifiers V-Front 212 Vigier Guitars G.V. Wood Jack Deville Electronics Mod Zero Ampeg Portaflex PF-350 head and PF-210HE cabinet Breedlove Guitars Focus SE Custom Walnut Electro-Harmonix Stereo Talking Machine Richmond Guitars Empire Mahogany Crimsontone SE Mini Amp ToneNation Heartland Standard Peavey Void 4 PXDpremierguitar.com

TABLE OF COnTEnTS > LESSONS & DEPARTMENTS

LESSONS69 Digging DeeperBy Ben Allison Groove is in the Heart

DEPARTMENTS17 25 28 32 Opening Notes News Letters Staff PicksPG editors and Guest Picker Audley Freeddiscuss instruments theyd like to learn to play.

Gigging & Recording > 38 Tone Tips from the RoadBy Paul TFO Allen Light Bulb Gear

70

The Rumble SeatBy Janek Gwizdala Five Essential Techniques for Bass

40

On TrackBy Rich Tozzoli Secrets of Compression, Pt. 2

73

Beyond BluesBy Bruce Saunders Major Chords, Minor Blues

34

Media ReviewsDVDS: Deep Purples Phoenix Rising ALBUMS: Tony MacAlpines Tony MacAlpine, Tom Morello: The Nightwatchman World Wide Rebel Songs, and David Brombergs Use Me BOOKS: Tony Bacons Flying V, Explorer, Firebird

42

On BassBy Dan Berkowitz Whats on Your Wall?

77

Shred Your EnthusiasmBy Paul Gilbert Reticulated Python Eats Bear

44

Guitar TracksBy Mitch Gallagher How to Be Armed and Ready in the Studio

212 Gear Search Gallery2010 Jackson PC1 Phil Collen Signature

80

Rhythm & GroovesBy Andy Ellis Running in Circles

Tech Tips > 46 The Dark SideBy Randy Parsons Think Youve Got the Latest, Greatest Gear?

214 Guitar of the MonthLate-70s Blade II Les Paul Copy

216 Modern Builder VaultAlexander James Guitars

48

State of the StompBy Gregg Stock Come on Feel the Noise

224 Last CallBy John Bohlinger Youre Out of Tune (But Thats Okay)

50

Esoterica ElectricaBy Jol Dantzig The Secret of Peter Greens Tone

204

52

Acoustic SoundboardBy Jeff Huss Guitar Builder or NFL Player?

54

Ask Amp ManBy Jeff Bober Souping up a Sound X-305-R

ToneNation Heartland Standard review

56

Mod GarageBy Dirk Wacker Introducing Fenders 5-Way Super Switch

Vintage & Upkeep > 58 Bottom FeederBy Will Ray Early-60s Kay Value Leader

60

Vintage VaultBy Dave Rogers, Laun Braithwaite, and Tim Mullally 1952 Gibson L-5

62

Trash or TreasureBy Zachary R. Fjestad Heritage Super Eagle

189Ampeg Portaflex review

64

Restoring an OriginalBy John Brown Evaluating a 72 Gibson Les Paul Deluxe

66

The Low EndBy Kevin Borden Gibson BassesA primer in EB (Thats Electric Bass to You)premierguitar.com


Photo Credit: Sarah Bastin

Elixirs are great. I dont have to change them all the time and they still sound fantastic. -JohnPaulJones

Extendingyourtonelifelike no other string.Every time you play your guitar, tiny bits of you are left to invade the windings to contaminate your strings and kill your tone. Elixir Strings are the only strings that keep dirt out of the windings by coating the entire string. Our patented micro thin NANOWEB Coating provides a clean, smooth feel while increasing string tone life 3 to 5x longer than ordinary strings.Hear more from John Paul Jones and find out why he loves his Elixir Strings: www.elixirstrings.com/jpj

WEB ExCLuSiVES

Your guide to the stories, reviews, galleries, and videos appearing on premierguitar.com/sep2011 this month.

Playing the same licks over and over? Like your tone, but dont love it? Sometimes in order to progress, you have to change. Steve Ouimette talks about five proven ways to rework your setup and free your playing.

5 Tweaks to Bust You Out of a Rut

Blazing-Hot Gear ReviewsOnly Online!

You can find reviews of the hottest gear first, only on premierguitar.com. This month, we have brand-new reviews of the highly anticipated Orange O PC and Line 6 JTV 59 James Tyler Variax Guitar, along with the Ibanez RG920QMZ Premium, Carvin V3M, Diago Little Smasher, and more. Before you make your next purchase, you have to read our online reviews!

ONLY ON FACEBOOK...Bonus Feature Photos

Head to facebook.com/premierguitar, Like us, and click on the Fans Only tab for exclusive access to all of this and more.FACEBOOK PHOTO OF THE MONTH

Want to see more photos from this issues artist and gear features? Look for the Facebook image in select articles in this issue and then click on the Photos tab on our Facebook page to access additional pictures for that piece. This month, you can see more shots of Phil Collens and Vivian Campbells Def Leppard gear, Vieux Farka Tour, and Becker Guitars.

Geo Jacopec took this photo of John Hammond during a show last year in Richmond, Virginia. He says, Im sure weve all had chill bumps during any great guitar performance, but as this shot was taken I experienced it like never before. John was playing Robert Johnsons Come on in My Kitchen, and at the point where the song breaks down to Cant you hear the wind howl I was literally paralyzed. Stunned. Never in my life had I heard and felt such deep blues. Jacopec reports that he was lucky enough to meet and chat with Hammond after the show. Thanks, Geo, for sharing this moment with our readers. For next months Facebook Photo of the Month contest, post your best guitar-related photocool gear, concerts, your band, you reading PG in unique places, or anything else youve got legal rights to poston our wall and well pick one winner to feature here in the magazine and on our Facebook page.


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WEB ExCLuSiVES

Anatomy of a Blues Jam

Whether youre a pro player, weekend warrior, or bedroom jammer, theres a place for you at the local blues jamprovided you know the etiquette. We travel around the country scoping out the jam scenes and tell you everything you need to know about fitting in.

Facebook fans get exclusive access to weekly giveaways. Log on and click on the Giveaways tab to enter.

WIN IT!

Holiday in Germany

Two of todays most talented boutique luthiers, Nik Huber and Jens Ritter, are located just an hour apart in Germany. We made our way to both of their shops this spring and bring you there with two video factory tours you have to see.

Go Go Tuners TT-1 Headstock TunersTwo winners!

Players gather for a blues jam at Stampen in Stockholm, Sweden. Photo by Bengt Nyman

August 31 - September 4

Were reaching more and more rigs every month, and September is no exception. Head online to check out Keith Urbans epic rig in a two-part video and hear about his low-tech solutions to onstage problems. We also go backstage at Lynyrd Skynyrd, Jimmie Vaughan, and Los Lonely Boys shows to get the skinny on their setups. We add a new Rig Rundown each week, so keep your browser tuned to premierguitar.com/video for the latest.

Uncover Rig Secrets With New Rig RundownsWeeping Guitars Banshee Guitar September 7 - September 13

POLL OF THE MONTH

If you can only take one tube amp to a gig, its got to have:KT66s 5881s KT88s

2%

6550s

1%

46%6L6s

2%

3%

6V6s

6%

19%EL84s

21%EL34s

In addition to the usual tube suspects, we left this one open to your responses. Amusing answers that werent part of the poll include, Wheels, so I dont have to carry it around, Great tone! and our favorite, It doesnt matter. My tone is in my hands because Im a freaking professional.

ModKits The Verb Pedal Kit September 14 - September 20

PG BLOOPER REEL, ROUND 2

Make your voice heard in this and next months poll questionand other discussion topics throughout the month by clicking the Questions tab on our Facebook page!premierguitar.com

If you laughed at our missteps in round one, youll be excited to know that round two is here! Chris Kies, Rebecca Dirks, and Rich Osweiler join the flub-fest this time around, proving that no one is immune from the on-camera jitters. Laugh along with us, only on Facebook. Click the Video tab at facebook.com/premierguitar to watch both editions.

Lace Alumitone Pre-Loaded Strat-Style PickguardActual configuration: H-H with pearloid pickguard.

September 21 - September 27

PREMIER GUITAR SEPTEMBER 2011 15

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OPENING NOTES

PAGE HAMiLTOnJune 24, 2011 Manning Bar, Sydney University Sydney, Australia Photo by Ben Hosking

Helmets lead guitarist Page Hamilton unleashes at a recent show Down Under during the bands first tour to Australia and New Zealand in over three years. Hamilton is wielding his signature series ESP, which was released in 2007. The guitar features a brushedaluminum finish, DiMarzio Air Zone (bridge) and Fast Track (neck) pickups, Sperzel locking tuners, and a Wilkinson VS-100 vibrato.

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OPENING NOTES

STEViE RAY VAuGHAn AnD JEFF BECKNovember 3, 1989 Cobo Arena Detroit, MI Photo by Ken Settle

Two of the biggest guitar legends of all time battle it out on the same stage during the Fire and the Fury Tour. This encore performance moment was captured while Jeff Beck and Stevie Ray Vaughan hammered through Becks Goin Down. SRV has his legendary Number One Stratocaster in hand while Beck wields a Lace Sensor-equipped, late-80s Strat that would eventually become the model for his signature model. August 2011 marks the 21st anniversary of Stevie Ray Vaughans untimely passing.


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OPENING NOTES

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OPENING NOTES

KiM THAYiLJuly 16, 2011 UIC Pavilion Chicago, IL Photo by Chris Kies

Riffmaster Kim Thayil, one of the granddaddies of grunge, makes his presence known at a Chicago show with the recently reunited Soundgarden. Thayil is playing his early-90s Guild S-100, serial number 002. Guild reissued the S-100 in the 90s after Thayil rose to fame with his 70s S-100. After consulting with him to make sure they got the design right, Guild gave Thayil the first five off the assembly line. Everything on the S-100 is stock. These days, Thayil plays through a Mesa/Boogie Electra Dyne stack and a Boogie Tremoverb combo.


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OPENING NOTES

OMAR RODRGuEz-LPEzJuly 16, 2011 UIC Pavilion Chicago, IL Photo by Chris Kies

The Mars Voltas Omar Rodrguez-Lpez lets loose on his Ibanez ORM1 Jet King signature model, which has a 24" scale that he prefers because he has small hands. The guitar features a single Seymour Duncan Little 59 pickup, and he strings it with Ernie Ball .013-.056 nickel-wound sets. At this gig, Rodrguez-Lpez played the same guitar through a Orange Rockerverb 50 2x12 combo for the entire set.

premierguitar.com


OPENING NOTES

JiM JAMESJune 22, 2011 Pantages Theatre Los Angeles, CA Photo by Lindsey Best

My Morning Jacket frontman Jim James croons while digging into his 2008 Breedlove Revival 000 guitar. This Adirondack spruce-topped custom instrument has mahogany back and sides and a sunburst top finish. A fan of owls, James had the luthiers at Breedlove inlay an owl with its talons clutching the B logo on the headstock. James and Breedlove are currently discussing reproducing the guitars appointments for a tenor model.


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nEWS

innOVATiVE LuTHiER TRAViS BEAn DiES AT 63BY Charles saufleY BuRBAnK, CA

Travis Bean, the innovative California luthier whose aluminum-necked guitars and basses became favorites of platinum-selling 1970s superstars and underground sonic iconoclasts alike, passed away at his home in Burbank on July 10 from complications related to cancer. He was 63. Bean started Travis Bean Guitars in 1974 with the help of partners Marc McElwee and Gary Kramer (who later founded Kramer Guitars). Beans Travis Bean at NAMM in 1977. Photo courtesy of Rick Oblinger guitars were all built around aluminum necks and a neck-through-body design intended to eliminate neck warping, minimize tuning and intonation issues, and enhance sustain and note definition. Beans guitars werent the first to feature aluminum necksWandre and Veleno both used aluminum extensively for necks and bodiesbut Beans instruments were superb all-around guitars and attracted the attention of many of the eras most prominent players. Jerry Garcia was using a humbucker-equipped TB1000A by 1975 and a single-coil-equipped TB500 by 1976 to achieve his crystalline signature tone. Keith Richards and Ron Wood both used Travis Beans on the Rolling Stones 1975 tour. Hearts Roger Fisher, Greg Lake of ELP, and jazz giant Stanley Jordan also helped elevate Travis Beans status in the 70s. Beans guitars might have remained curiosities to all but Grateful Dead fanatics and 70s revivalists were it not for a rediscovery in the late 80s and 90s by hard-hitting sonic experimentalists, including Steve Albini of Big Black and Duane Dennison of Jesus Lizardwho prized the highend sting and sturdiness of Travis Beans for their aggressive post-punk stylesand Lee Ranaldo of Sonic Youth, who used the rich, ringing, and sustaining qualities of his TB1000 for the bands colossally droning orchestral textures. Though Bean stopped building Travis Bean-branded guitars in 1979 after just five years of production, he built slightly more than 3,500 instruments. Eventually, the renewed interest in the exceptionally rare guitars prompted Bean to begin building a very limited number of specimens again in the late 90s. A website has been established to help Beans widow pay off his medical expenses. You can find more information at helptravisbean.com. Born Oliver Jespersen in 1926, he played guitar and bass in local bands before being drafted in 1944 during WWII, where he played bass in the Army band. Upon returning to the U.S., he became an electrician while continuing to gig in New York City. It was there he visited the fledgling Ampeg companythen a cramped workshop on 42nd Streetto buy an internal microphone (known as the amplified peg or Ampeg) for his bass. When he demonstrated his ability to install it himself, he was

recruited to join the company in 1956. In 1960, Oliver invented and patented the B-15, a unique and innovative bass combo featuring a double-baffle porting system, closed-back reflex cabinet, and flip-top function that proved handy for storage and transport, while also protecting the amps tubes. Beautiful in appearance and purposeful in form, the B-15 offered a warm, round sound that quickly attracted pro players. In the 60s, session bassists from James Jamerson to Chuck Rainey installed these amps in all the studios they worked, setting the low-end tone for countless hits. Fifty years later, the B-15 remains highly sought-after and has earned the distinction of being the most-recorded bass amplifier in history. It is also generally acknowledged that Oliver was the first to put spring reverb in a combo amp for guitar. Incorporating Hammonds new reverb unit into Olivers earlier circuitry, Ampeg introduced the Reverberocket in mid 1961. Other companies would quickly follow suit. He also created the Ampeg Baby Bass, based on the Zorko bass, in the mid 1960s. He served as vice president of Ampeg until 1966,

Original Ampeg Engineer Jess Oliver Dies at 85BY andY fuChs and GreGG hopkins with dennis kaGer

LOnG iSLAnD, nY

If it were not for the work of Jess Oliver, electric bass as we know it might not exist. Its reasonable to compare Olivers B-15 Portaflex to Les Pauls solidbody guitar or Leo Fenders Precision electric bass as icons that ushered in the modern music revolution. Oliver passed away on June 30 at age 85.

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when he left to form the Oliver Sound Company. Oliver remained active in the Oliver Sound Company through 2009, inventing and manufacturing a full line of unique amplifiers and sound equipment, including Powerflex amps, where the amp chassis rose up from within the cabinet on a motor driven platform. Eventually manufacturing ceased, and Jess became a service center for a long list of manufacturers and musicians eager to have their Ampeg and Oliver gear repaired by the man himself. Oliver maintained a relationship with Ampeg and was integral in the 1997 and 2010 iterations of the famous B-15. At the debut of Ampegs Heritage B-15 amp at Winter NAMM 2001, Oliver was named the Godfather of

Photo by Alejandro Perez

Bass Amplification with a special award.

Cuban Guitar Icon Manuel Galbn Dies at 80BY reBeCCa dirks HAVAnA, CuBA Manuel Galbn died July 7 in Havana, Cuba, of a heart attack at age 80. The guitarist was a member of the internationally acclaimed Cuban vocal group Los Zafiros and was a longstanding member of the Buena Vista Social Club.

Galbn joined Los Zafiros in 1963, fusing traditional Cuban music with bolero, doo-wop, calypso, bossa nova, and rock. Following Los Zafiros, Galbn led Cubas national music ensemble, Direccin Nacional de Msica, before forming his own group, Batey, which he led for 23 years. With Batey, Galbn toured the world and became one of the key ambassadors of Cuban music. Galbn later joined the group Vieja Trova Santiaguera for two years before answering Ry Cooders call to take part in a project featuring Ibrahim Ferrer, which subsequently lead to his joining the Buena Vista Social Club along with Ferrer, Rubn Gonzlez, Compay Segundo, Omara Portuondo, and Cachaito Lopez. Mambo Sinuendo, Galbns internationally acclaimed duet

album with Cooder, catapulted the Cuban guitarist to a household name in world-music circles. Galbn and myself felt that there existed a sound that had yet to be explored, says Cooder, referencing the original sessions for the album. There was scope for a Cuban band with an electric guitar to once again convey that 50s atmosphere in a smooth, simple, yet lush manner. Our group has two electric guitarists, two drummers, a conga player, and a bassista sextet with the potential to sound like a big band and unveil the mysteries of classical melodies. The result is powerful, lyrical, and entertaining music. For the past decade Manuel Galbn toured the world performing with the Buena Vista Social Club Orchestra, and spent the past three years preparing his latest album BlueChaCha.

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Nashville Guitar Community Rallies as Fingerstyle Wizard Pete Huttlinger Awaits Heart TransplantBY andY ellis nASHViLLE, Tn

On Tuesday, July 26, a standing-room-only crowd of enthusiastic music lovers gathered at the Mercy Lounge to help raise money for guitarist Pete Huttlinger. One of the worlds finest acoustic fingerpickers, Huttlinger is a Nashville-based studio guitarist and expert accompanist known for his skill backing John Denver, LeAnn Rimes, John Oates, and many other singer-songwriters. At Eric Claptons invitation, Huttlinger performed at the Crossroads Guitar Festival in 2004, 2007,

and 2010, and has been featured in the music series, Live from Abbey Road. Last November, Huttlinger had a massive stroke and then in March, he experienced extreme heart failure. He was life-flighted to St. Lukes Texas Heart Institute in Houston and underwent surgery to install a heart pump. Called a bridge to transplant, this high-tech device is powered by a battery pack Huttlinger carries with him. Huttlinger has recovered from his stroke and is currently waiting for a heart transplant at Vanderbilt University Medical Center. Hundreds of friends and colleagues each paid $20 to help defray costs associated with Huttlingers astronomical medical bills. Vince Gill, John Oates, Sam Bush, John Jorgenson, Bekka Bramlett, and the Long Players (a legendary Nashville

Wearing his heart-pump battery pack, Huttlinger joined John Oates onstage to perform a moving tribute to the late John Denver. Photo by Andy Ellis

band that performs classic albums by the Beatles, Pink Floyd, Steely Dan, the Rolling Stones, and other titans of rock from start to finish) were among the many stellar musicians who entertained the sweat-drenched crowd at the Mercy Lounge. Titled For Petes Sake Youve Gotta Have a Heart, the event was a resounding musical and financial success. In an impromptu auction, John

Oates raised $7000 from two audience members who each scored four backstage passes to any Hall & Oates show, anywhere in the world. Bill Warmoth of Artisan Guitarsa boutique guitar shop located in nearby Franklinwas on hand to show off the limited edition Collings Pete Huttlinger Signature OM1. Huttlinger has been playing Collings flattops since 1997, and in his honor the Texas-based company is making 50 of these instruments, each of which will have a custom signed and numbered label. The Huttlinger OM1 is available with a Sitka or Adirondack spruce top, a mahogany body, and a 12thfret inlay of Huttlingers signature. Collings will donate $1000 from each sale to Huttlingers medical fund.

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LETTERS

SAVinG THE SMEAGOLS

NY AMP SHOW CORNELL DUPREE KEN PARKERAUGUST 2011

All-American Reject

Leland Berg Los Angeles

Shawn: You hit that one [Banishing Gollum (or Discovering REVIEW-O-RAMA! Your Inner Punk), Tuning Up August 2011] out of the park, man. I lost that inner punk so long ago that KEITH I didnt realize it was gone, nor can I even remember URBAN what he looked like. Ive been playing for over 40 years and have some great gear and get great tone. But STANLEY after reading your article, I think back on the early CLARKE 70s, when all I had was a Univox Les Paul copy and a Silvertone stack. I must have had that inner punk on speed, because I had work all over town and tours, as well. I lost that punk after years of compromise, Im sure. Now Im on a mission to find that bastard and tear something up again.AUGUST 2011

11 SIZZLING-HOT GUITAR & BASSPRODUCTS GO UNDER THE MICROSCOPE

Finger-lickin Good Country

LAST CHANCE TO REASONProg Metals New Hope?

The Fusion Bass God Goes Acoustic

Thanks for the great article about one of the greatest players of our time. Keith [Urban, August 2011] is one of a kind. Featuring him in your magazine will open minds about this amazing musician to all the clueless doubters. Keith is proof that you dont need to look or act like a reject to be one of the best in the world. You can be a good-looking, all-around great guy who sings upbeat love songs and still shred with the best. Thank you, Premier Guitar!HHK via premierguitar.com

Hi Shawn. Loved your Gollum editorial in PG Aug. 11. I havent figured out where they are yet, but Im looking all over my studio for your cameras. I know they are in there somewhere, because you pretty much nailed me! Not the part about having a hit already[although] Im amazed you missed that fact, since you must know that if I only woodshed a bit longer Ill have a modicum of sufficient perfection to make that hit! My wife and all our friends, family, and even a few strangers, keep pressing me to share my talents and get out there and play! Well, you and I both know you cant trust those peoplebut with more practice and that special piece of gear . . . Yep, you caught me. Its not the gear or the chops, but a little punk. Thats what rock n roll started out as, and that is still its soul. Thanks for the wake-up callbecause we all know what happens if we wait too long for that perfect moment.Eddie James via email

PG editor Shawn Hammond responds: Youre welcome, Leland and Eddie. But Im just passing along what I learned a while back. There was a time when I didnt want to listen to anything that didnt have an amazing guitaristsomeone with great chops and awesome tone. But my definitions of chops and tone were revoltingly shallow and obvious, fed by the typical ego traps and insularity common to any artist too wrapped up in his own thing. Only when I opened myself up to stuff off the beaten path did I start to loosen up, break away from orthodox guitar-god worship, and find my own inner punk. Good luck in your quest to throw precious into the fires of Mt. Doom!

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A Terror Flubbers Among Us

Look, I dont want to be all negative and hater-y, but somebodys gotta take on the tough ones, I guess. To wit: There ought to be a LAW that old rock-goddy guitarists with wrinkly, flabby underarms cant be photographed wearing sleeveless shirts. Cmon guys, you know who you are! Just because theyre called muscle shirts doesnt mean they make your geezer-flaps look studlier.Anonymous via email

Well try to walk a fine line here, but there are those on the PG staff who believe sleeveless shirts should be banned altogether simply because A) even on fit people, they reveal a disturbing level of narcissism that wed rather they kept to themselves, and B) they overvalue the cooling effectiveness of 5 percent less fabric while completely ignoring the nausea-inducing effect they have on the rest of usespecially those home-cut versions that show a lot more than arm meat.

Corrections

Zany About Zagray!

Im a happy [Anacon Technology] Zagray! owner and agree with your review [August 2011]. I placed my order after reading all the positive comments from the 2010 NY Amp Show. I was hesitant, having recently had a bad experience with a Nashville-based amp manufacturer. So what was I thinking, sending money to some guy in Sweden? It couldnt have turned out better. Aleksander Niemand

is great (and fun) to deal with, and his amp is stellar. And he is a monster at packing/ shipping. Im not a fan of lots of controls, but every knob and switch on the Zagray! is useful. Note the round vs. chickenhead knobsmore intuitive design. And, for those into aesthetics, the photos in the article dont do justice to the copper-hued metal enclosure.Joan Bull (aka TDJMB on The Gear Page) via email

We neglected to credit photographer extraordinaire Neil Zlozower for the awesome Randy Rhoads pic on p. 143 of our July 2011 issue. Sorry, Zloz! Also, in our August 2011 profile of luthier Ken Parker, we described veneers in some of the captions. Only Parkers necks use veneersthe other woods are solid. We apologize for the misunderstanding. In that same issue, we mistidentified the 6-string banjo player in the Keith Urban photo on p.147. Its former Urban band member Chris Rodriguez.

Keep those comments coming!Please send your suggestions, gripes, comments, and good words directly to [email protected]. You can also send snail mail to Premier Guitar, Three Research Center, Marion, IA 52302. Please remember to include your full name. Selected letters may be edited for clarity.


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Youve been getting ready for this your whole life. Introducing the new Loudbox Artist. Its the evolution of acoustic ampliers. Incredibly lightweight and portable, it packs 120 watts of ultra-clean, bi-amped acoustic power. It features two versatile input channels with Fishmans legendary tone and feedback-ghting controls, plus a new dual effects section that makes the new Loudbox Artist the ultimate acoustic instrument amp for any seriously active musician. And best of all, its under $500.

Introducing the box for that gift you were born with.

Two mic/instrument channels accept 1/4 or XLR sources Input channels feature 3-band EQ and feedback controls Auxiliary stereo input with level control and 1/4 & 1/8 connectors Dual digital effects section, with independent channel & effects level Reverb, Chorus, Flanger, Delay, Echo, and Slap Echo D.I. output: balanced XLR outputs on each input channel and main mix Channel Mute to silence both input channels Headphone output Foot Switch input for remote muting of Input Channels or Chorus, Flanger and Slap Echo Power: 120 Watts, bi-amped Drivers: 8 woofer (100W) and 1 soft dome tweeter (20W) SPL: 112 dB @ 1 meter Weight: 25.5 lbs. Both channels feature: Combination 1/4 & XLR input Shelving bass and treble Resonant-style midrange Notch lter (feedback control) Input gain with 10dB pad and clip indicator Reverb and Delay effects level Chorus, Flanger and Slap Echo on/off Phase switch (feedback control) Dedicated effects loop 24V phantom power for condensor mics

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STAFF PiCKS

Every musician takes a unique journey toward their instrumentor instrumentsof choice. This month, the PG editors and guest picker/first-call sideman Audley Freed discuss what instrument they've always dreamed of picking up. Send your own stories to [email protected]

Joe CoffeyEditorial Director What am I listening to? The Asteroids Galaxy Tour, Fruit. Not gonna lie Im intrigued by Euro pop when theres guitar and a decent groove. What instrument have I always wanted to play and why? The Hammond organ. Where would rock, blues, and jazz be without the B-3 and those lesser-known models that were on just as many records? There are so many tasty ways to serve a song if you have the right touch, not to mention the notes.

Rebecca DirksWeb Content Editor What am I listening to? ESPN radio. Since the NFL lockout lifted, Ive been glued to sports radio to keep up with the free agent signings, trades, and training camp reports. In between updates, Bon Ivers Bon Iver. What instrument have I always wanted to play and why? I wanted to play drums as a kid so bad. The cool kids played drums, plus you got to make a real racket and burn off some steam. Alas, I was relegated to piano and havent picked up drumsticks since.

Andy EllisSenior Editor What am I listening to? Los Straitjackets, Play Favorites. With their twangy, slightly manic approach to surf music, film themes, and standards, guitarists Eddie Angel and Danny Amis put an irreverent spin on everything from Telstar to Moon River. What instrument have I always wanted to play and why? The WurlitzerI love how the overtones from the Wurlis vibrating metal reeds swirl and grind like a cosmic kalimba.

Shawn HammondEditor in Chief What am I listening to? Kyng, Trampled Sun. Blazing hard rock with tones and arrangements reminiscent of Mastodon, Tool, and old Soundgarden. What instrument have I always wanted to play and why? Drumstheyre cathartic and improve your sense of rhythm. Also clarinet (love it in classical, Dixieland, and swing music), cello (perhaps the most vocal-like instrument there is), and upright bass (too few slapbass players out there!).

Chris KiesAssociate Editor What am I listening to? William Elliott Whitmore, Field Songs. The bluesy-folk on this Iowa singer/songwriters fifth and best album highlights his Howlin' Wolf-meets-Johnny Cash voice, his acoustic guitar and banjo playing, and the occasional kick drum. What instrument have I always wanted to play and why? Steel guitarits such an emotional sound and it's the base of some of countrys biggest hits and most important songs.

Rich OsweilerAssociate Editor What am I listening to? Romance, the first single by punk supergroup Wild Flag. Their self-titled debut is out in September, and it will quickly be put into my heavy rotation. What instrument have I always wanted to play and why? There are actually a few, but Id say flute is number one. From the jazz of Rahsaan Roland Kirk to classic rock from Ian Anderson and Tull, its a versatile instrument capable of really unique stylings.

Audley Freed (Dixie Chicks, Jakob Dylan, Black Crowes)Guest Picker What am I listening to? Los Lobos, Tin Can Trust. As always, they are soulful, direct, and honest. What instrument have I always wanted to play and why? Drums, but only as an adult. I wanted to play guitar as a kid! Its an indescribable feeling playing with the right drummer, so it must be pretty fun to be able to play them yourselfespecially if you could play as good as the guys you love.

Charles SaufleyGear Editor What am I listening to? The War on Drugs, Slave Ambient. Alternately downhome and astral, Adam Granduciels arrangements on this slice of dreamy rock are locomotive, tinged with wistfulness, and unfold and sprawl like a field gone green in spring. Granduciels Nils Lofgren-esque vocals are a lovely, grounding counterpoint to the collision of new-wave keyboard textures and rootsy, low-key guitar moves. What instrument have I always wanted to play and why? Pipe organits huge!

Jason ShadrickAssociate Editor What am I listening to? Umphreys McGee, Death by Stereo. The sixheaded prog machine cranks out another album full of deep grooves and blistering guitar. What instrument have I always wanted to play and why? Becoming functional on mandolin has always been a goal of mine. When I see players like Chris Thile, Sam Bush, and Ricky Skaggs it makes me want to dig out the mando again and get my chop on.


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Media Reviews

dvd

Deep PurplePhoenix Rising Eagle Rock Video

By the time Deep Purple had added Hush and Highway Star to the rock n roll canon, theyd created a standard for driving heaviness that few bands apart from the Stooges and Sabbath would top until the days of hardcore punk. Those Deep Purple classics were crafted by a core of instrumentalistsRitchie Blackmore, Jon Lord, Ian Paice, and Roger Gloverthat while notoriously fractious, could summon the thrust of a thousand runaway trains. When they brought lead vocalist Ian Gillan into the fold the Purple was among the mightiest bands standing in rocks heaviest age. There was an unmistakable telepathy in those first incarnations of Deep Purple that enabled the band to strut, sprint, gallop, and shift gears seamlessly like a fine-tuned and dangerous machine. Its what future incarnations of the band lacked. And while the oddly named DVD Phoenix Rising (the band would fall to pieces just months after these performances) captures a potentially mind-blowing manifestation of the band storming Japan in December 1975, this version of Deep Purple rarely catches fire in the manner of the classic Machine Headera unit. By 1975, the charismatic Gillan and the rock-steady Glover were gone and the multifaceted and still blossoming Tommy Bolin had replaced the fiery Blackmore. Those longing for a previously unearthed trove of Tommy Bolin genius are likely to go away a little dissatisfied with this collection. Bolins contributions at times seem incidental, and moments like the solo on Highway Starwhere youre wound up and ready to be slainfall surprisingly flat. Its perhaps telling that the most engaging and impressive instrumental performances come from the longest-serving members, Paice and Lord. Paice is as thunderous and propulsive as ever on the skinseven in the absence of a collective band chemistryand Lord regularly justifies his standing among the most savage and punishing Hammond players ever. Watching Lord at work, were also reminded how his elegant and powerful playing was a fantastic foil for Blackmores ornate-to-reckless attack. The concert section of Phoenix Rising isnt helped by a fairly muddy audio mix, which could account for some of the lack of spark in these performances. But the accompanying interview disc probably says more about why the Purple had begun to fray musically. The interviews chronicle a too-familiar and even tiresome litany of drug dramas and ego strife. And while theres also cool footage from other 1975 shows and a peek at the circa-75 Purple as a recording band, the documentary disc is often simply an answer to the whats wrong with this picture? posed by the concert film. Its tantalizing to imagine what Deep Purple would have ultimately become if the 25-year old Bolin had found his way with Paice and Lord. Unfortunately, Phoenix Rising offers only the most fleeting glimpses of what could have been. Charles SaufleyMusic

center stage. As a classical pianist who multitasks in jazzfusion, funk, and metal, he brings a unique and harmonically rich point of view to his compositions. Planet X bandmate and drummer extraordinaire Virgil Donati guest stars on three tracks and their chemistry is super strong. The technical, melodic, and rhythmic concoctions these guys create together make for an intense listening experience. Drummer Marco Minnemann plays on Fire Mountain, Dream Mechanism, Pyrokinesis, and The Dedication. He brings to this record the kind of super chops and musicality that made him a finalist for the Dream Theater drummer auditions. MacAlpine handles the rest of the drum programming, and gets some of the best guitar tones of his career using his 7- and 8-string Ibanez guitars through a Hughes & Kettner TriAmp. What he lacks in sonic earthiness, he makes up for with a smooth clarity that highlights the nuances in his playing. MacAlpine moves seamlessly from highintensity, alternate-picked passages to rubbery legato lines, angular harmonies, and brutal riffs. This is offset by the peaceful serenity of compositions like Flowers For Monday, a lovely Di Meola-esque duet for acoustic guitar and piano. The Dedication quotes 19th-century German composer Robert Schumann, and once again demonstrates MacAlpines knack for blending Romantic-era classical music with his own artistic vision. On first listen, its a very hard and in-yourface record, but with repeated listens, one cant help but notice the harmonic sophistication, passion, and the high level of intricate compositional prowess. Tony MacAlpine is one of the best instrumental records of the year, and it ranks right up there with his 1994 disc, Maximum Security. Oscar Jordan

Tony MacAlpineTony MacAlpine Favored Nations

T-Mac is back with his first official solo album since 2001s Chromaticity. Its his 13th solo disc in a career spanning 2534 PREMIER GUITAR SEPTEMBER 2011

years. This self-produced new release is the heaviest thing hes ever done, and its full of jaw-dropping shred, soothing classical flourishes, skull-bludgeoning rhythms, and epic 8-string guitar action. With a 10-year hiatus behind himand having worked off and on with Ring of Fire, CAB, Steve Vai, Planet X, and Devils SlingshotMacAlpine now returns to

Tom Morello: The NightwatchmanWorld Wide Rebel Songs New West Records

Tom Morello playing the acoustic guitar is like Michael Jordan leaving basketball to play minor league baseball. Its not thatpremierguitar.com

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Media Reviews

Morello is destined to be on the Mount Rushmore of guitarists, but as an electric guitarist hes forged an undeniable style and influenced a generation of guitarists through his Whammy-slamming work with Rage Against the Machine and Audioslave. Thankfully, on his third solo album World Wide Rebel Songs, The Nightwatchman (Morellos acoustic Johnny-Cash-meets-Che-Guevara alter ego) embraces his amplified roots and tracks with his touring band, the Freedom Fighter Orchestra. This ensemble adds much-needed firepower to Morellos prounion, freedom-for-all anthems. From the opening licks of It Begins Tonighta fiery Audioslave Cochisestyle riff on steroidsyou instantly know this isnt the same workingman troubadour. The songs solo has the Grammywinning guitarist going back to his wah-tastic ways creating a solo fit for Evil Empire-era RATM. The albums first single, Save the Hammer for the Man, features soulful keyboard laced with steadfast strumming by Morello and guest guitarist Ben Harper. The song climaxes with dueling solos: Harper on lap steel and Morello working his pedalboard pyrotechnics. Stray Bullets depicts embittered American soldiers in Iraq accompanied by Morellos version of Duane Eddy twang. Fist-pumping songs like Black Spartacus Heart Attack Machine and World Wide Rebel Songs offer a familiar Nightwatchman-esque folk-rock vibe with sing-along choruses and vigorous strumming on his Whatever It Takes Ibanez Galvador nylon-string. Slowpaced tracks like the sparse, remorseful God Save Us All and the downtrodden warning of The Fifth Horseman of the Apocalypse counterweigh the albums bombastic rockers. The instrumentation and compositions on World Wide Rebel Songs show off Morellos abilities as an electric wizard and a soulful singer-songwriter, and the musics dynamic range makes this the most muscular, well-rounded Nightwatchman album yet. Chris Kies36 PREMIER GUITAR SEPTEMBER 2011

David BrombergUse Me Appleseed Recordings

Book

Flying V, Explorer, FirebirdTony Bacon Backbeat Books

In the mid 60s, David Bromberg backed a host of heavyweightsincluding Bob Dylan, Jerry Garcia, the Eagles, Ringo Starr, Willie Nelson, Link Wray, Jorma Kaukonen, and Jerry Jeff Walkeron guitar, Dobro, and pedal steel. Brombergs superb acoustic and electric chops and earthy sound made him one of the East Coasts most in-demand accompanists and session players. By the late 60s, Bromberg was running with the best: When he released his 1971 debut solo album, his buddy George Harrison added guitar and even cowrote a song for the project. After releasing a handful of successful albumsand still at the top of his gameBromberg dropped out of the music business and eventually stopped playing guitar. Then in 2007, he made a surprise comeback with his first album in 17 years, Try Me One More Time, which was nominated for a Grammy. For his latest release, Use Me, the 66-year-old-string wizard gathered a few friends in studios around the country to help him celebrate his return to guitar and concertizing. And what friends! Levon Helm, Vince Gill, Los Lobos, Jimmy Herring and Widespread Panic, Dr. John, Linda Ronstadt, Keb Mo, Tim OBrien, and John Hiatt all join Bromberg for a track on the album. (Helm and his band actually join Bromberg for two songs.) Each guest either wrote a song or picked a cover for the project, and also agreed to produce the session. Whether plucking snappy B.B. Kinginspired blues licks with Levon Helm, laying down shiny slide over Jimmy Herrings toothy riffs, or weaving bell-like flattop lines around Vince Gills snappy mandolin, Bromberg plays with a supple groove and fat tone. The result is an outstanding mix of bluegrass, country, R&B, and blues thats united by Brombergs soulful picking, quirky vocals, and emotional connection to the music, regardless of the genre. Andy Ellis

If the Flying V, Explorer, and Firebird are perhaps a bit too edgy for your style or current gig now, just imagine what you would have thought when those birds were launched in 1958 (Flying V, Explorer) and 1963 (Firebird). Radical wouldve been an understatement. Gear author Tony Bacons latest book explores the history of these provocative instruments and explains how theyve impacted nearly every nontraditional solidbody shape that has come along since. Bacon does a great job connecting the historical dots and trapezoids of this story, which actually begins fairly soon after Fenders introduction of the Esquire in 1950 and Gibsons rollout of the Les Paul in 1952. Although on a much smaller scale, the gear scene back then was very much like it is today, with builders keeping a close eye on each others stuff, borrowing ideas, and advancing concepts in the name of innovation and commerce. The secrecy element was alive back then too, with Gibson continuing to use the PAF label after being awarded a patent for Seth Lovers humbucking pickups, and even putting the wrong patent number on them for a few years. The thinking was that competitors equipped with the proper patent filing would be able to learn too much about humbucker design. The book contains hundreds of photographs, patent drawings, and vintage ads that are alone worth the $25 price tag. Though lacking the historical perspective on the nuclear aesthetic of the time that helped mold these guitars shapes as much as anything else, as well as any new information on the mysterious Moderne (that was patented and meant to be the third frame of the new Gibson triptych), this book is deep when it comes to the official history and the reverberations of the guitars in its title. Definitely must-read stuff for Gibson fans. Joe Coffeypremierguitar.com

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LiGhT BuLB GeaR BY Paul TFO allenurn your amp down! Weve all heard this from lead singers and soundmen (and neighbors) countless times. As guitarists, its really not our faultthe problem is that many amps simply sound best when they are cranked up. We all have that sweet spot on our amplifiers where the tone is perfectly thick and warm, but that sweet spot usually resides at a volume level that is too loud for most stages. So, how do you get that magic tone at low volumes? Simply use some sort of power attenuator, like a THD Hot Plate or Bad Cats The Leash. In my quest to find a different way to cut volume, I tried turning to the common household light bulb. Whenever a piece of my electronic gear breaks, I have my guy Brett Clark fix it. Clark has 16 US patents to his name for fiber optics, electronics, LED (Light Emitting Diode), and speaker products. He also has a pedal company called Distopia that specializes in oddball and unique effects. Brett and I were having an experimentation day and decided to check out this old and tattered contraption that looked like an extension cord with a light bulb socket soldered into the middle of the cord. This device was supposed to act as a power attenuator, with the volume being dictated by the wattage rating of the bulb. Since the socket wasnt working, Brett grabbed a lamp and rigged the zip cord into the lamp to replace the broken component on the original apparatus. Not quite understanding the science behind how the device functioned, I asked Clark to explain. I learned that the light bulbs load is always changing due to the fluctuating temperature and brightness of the bulb. The bulb is in series with the speaker, so as the bulb absorbs power and its impedance increases, it decreases the amount of power that goes

T

LEFT: Connecting a light bulb in series with your amps speaker creates a poor mans power-soak and adds a considerable amount of compression to the sound. riGhT: A Morley Tel-Ray wah uses LDR (Light Dependent Resistor) technology and a tiny light bulb to create a wah with a massive sweep.

to the speaker. When a light bulb is cold, it only provides 1/10 to 1/15 the amount of resistance as it does when hot. On a 40-watt bulb, for instance, a light bulb measures 26 cold, but it will be over 300 when lit up correctly. Brett and I tried different bulbs with different wattage ratings and found that each bulb changed the tone, feel, and sag of the amp. We began our experiment with an 11-watt bulb. It reminded me of the guitar tone on Wild Thing from the Live at Winterland album by the Jimi Hendrix Experienceit was very compressed and low volume. Using a 100-watt bulb with the 100-watt head was interesting because the volume was still lowered and compression was present in the tone once again. But the 100-watt bulb didnt compress the attack like the 11-watt bulb didit instead compressed only the bloom of the notes and added an unbelievable amount of sustain. Not only did the light bulb experiment provide interesting tones, it also entertained us with a bonus light show. The light

bulbs brightness increased when I hit the strings with more force, but when I wasnt playing, the bulb was completely dark. Through the experimentation process, I remembered that my old Morley Tel-Ray wah used a light bulb to make the pedal function. A Tel-Ray wah uses a light bulb and an LDR (Light Dependent Resistor) to take the place of the potentiometer that youll find in most modern wahs. A big advantage of the light bulb and the LDR is that you dont have to deal with a pot getting scratchy and noisy over time. The disadvantage is that the light bulb burns out occasionally, so if you acquire one of these wahs, be sure to track down some extra bulbs for backup. A Tel-Ray wah has an enormous sweep and is great for handling frequencies from baritones, 6-string basses, and even keyboards. Musicians often use terms that relate to light, like dark and bright, to describe how certain tones sound, and this language is certainly appropriate when discussing the sounds of a Tel-Ray. Darker tones provided from the

wah in the heel position means that the LDR is not receiving very much light, and brighter tones in the toe position means that the LDR is receiving a lot of light. Id be interested to see more companies investigate the tonal possibilities that can be achieved using light bulbs. Guitar players are always looking for the next new piece of gear and new ways to get great tones. Be sure to check out next months Tone Tips where we will discuss how to get great live acoustic sound.WArNiNG! The light bulb example is not a safe alternative to an actual production power attenuator, because the impedance of the load is too high for what the amp is expecting. This could blow out transformers and tubes on your amplifier.

is a multi-instrumentalist who has worked with Big & Rich, Adele, Sebastian Bach, 112, Jake Owen, Larry the Cable Guy, and many others. He also has his own project called Ten Finger Orchestra, and can be reached at [email protected].

PauL TFo aLLen


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GiGGinG & RecoRdinG > oN TrAck

secReTs oF coMPRession, PT. 2 BY Rich TOzzOli

L

ast month, we began exploring compression for guitar, primarily from plugins and outboard hardware [Secrets of Compression, Pt. 1, August 2011]. This month, well explore the same subject as it relates to guitar pedals. As we all know, any time you talk about pedals with guitar players, opinions fly wildly. That said, its worth your while to get a broad perspective of what stompbox compressors can do for your sound. In the studio, compression is often added after the fact. In other words, the guitar parts are tracked with little to no compression, and the effects are added either on the console or in your digital audio workstation (DAW). This delivers the most production control, as the amount of processing can be increased or reduced without affecting the original audio. If you record with in-line compressionthat is, with a pedal or rack unit in the recorded signal chainthe effect cannot be removed later. That means you are stuck with what youve

limited) with Input and Output knobs, others offer additional controls such as Level, Tone, Gain, Attack, and Sustain. Veteran guitarist Sam Broussard (Steve Riley and the Mamou Playboys, Jimmy Buffett, Linda Ronstadt) uses compression pedals both live and in the studio. I didnt know what compression was when I was younger, he says, and I wondered why they werent called sustain pedals because thats what they did. Now I know that they have controls similar to the simple and wonderful Teletronics/ Universal Audio LA-2A studio compressor. That unit has a knob to increase input signal to the units squashing circuit, and a gain knob. Typical pedals have Sustain and Level knobs, and, like the hardware, they squash the dynamics. Sustain is a major byproduct of the adjustments the signal gets grabbed, held for a bit, and then dropped. Its not love, but itll do. So I always squash a little when playing slide or twang, and combined with distortion I might get

Like many stompbox compressors, this Keeley Compressor has just two knobsSustain and Level.

Sustain is a major byproduct of [compressor] adjustmentsthe signal gets grabbed, held for a bit, and then dropped. Its not love, but itll do. Sam Broussardtracked. While there are situations where compression and other effects are an essential part of your sound, its sometimes advantageous to track without them. With pedals, compression is primarily about dynamic control (smoothing out string response), boost, and sustain. In fact, some pedals, such as the Boss CS-3 and T-Rex ToneBug Sustainer, are specifically marketed as compressors/sustainers. While some manufacturers keep it simple (and somewhat that elusive bloom of the tone expandingopening upin the held period, a second after the strings are struck. But compression pedals dont work in every situation. They make your notes die later, Broussard says, so your rig feels more forgiving. But compressor pedals often dont sound good for blues. Smoothed-out dynamics arent appropriate for raw juke-joint music. I asked Broussard which pedals hes currently using and what they do for his sound. The

Boss CS-3 is a good workhorse, if not exactly a tone machine, he says. But there are many mods for them on the net. And they have an Attack (or antiattack) knob that I dont use. More expensive pedals preserve more of the guitars tone, but I find theres not enough of me in the out-front mix to warrant studio-quality tone and expense. I have a Keeley pedal in the chain for studio work, but you must remember that another byproduct of compression is a rise in the noise floorhum and hiss. This isnt much of a problem at a gigif you can hear the noise, the song stopped or your drummer left. In the studio, however, its critical to avoid noise. Every compression pedal will have a slightly different tone and respond differently to your particular technique. The $20 Behringer DC9 wont sound the same as the tube-based $350 Effectrode Photo-Optical Tube Compressor. As with other gear,

price does not always equate to quality, but generally speaking, the more expensive units use better components and materials. Also, compression pedals arent for electric work alone. Try plugging your acoustic DI into a compression pedal. Compression can add a nice sustain to both chords and single-note lines played on a flattop. Overall, you should use compression pedals judiciously. Too much compression can squash the dynamics out of your sound. But just the right amount can not only give you a nice boost, but also make your tone thicker. Like other effects, to get a grip on compression, you just need to experiment with those knobs.Rich ToZZoLi is a Grammy-nominated engineer and mixer who has worked with artists ranging from Al Di Meola to David Bowie. A life-long guitarist, hes also the author of Pro Tools Surround Sound Mixing and composes for the likes of Fox NFL, Discovery Channel, Nickelodeon, and HBO.


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GiGGinG & RecoRdinG > oN BAss

whaTs on YouR waLL? BY Dan BeRkOwiTz

I

admit itI have a strange fascination for cheap decorations on my wall. It all started when I was pricing a framed art print for my office, and found out just how expensive it was to decorate with conventional art. About the same time, Id stumbled upon an odd Explorerstyle electric bassmore like a pile of parts, reallyin a local shop. I paid all of $15 for it, tried to fix it up and gig with it, but it was a hopeless instrument and best relegated to becoming a wall hanger. Thats when it hit me that basses can be art, too. My office walls now sport four basses, plus a framed print (of a bassist, of course). Heres the rundown. Wall Hanger #1: The Explorer Boat Anchor (above right). When the fire department rescued this bass from an abandoned house, it was painted yellow with black electrical tape stripes. The neck plate is stamped Japan, and despite the short, 30.5" scale, it is the heaviest bass I have ever hoistedabout 15 pounds. When I stripped the yellow finish, I found an ugly piece of wood with a couple of big knots and bark-like lines running through the top. Despite the cheap wood, its makers spared no expense when it came to hardware. It has a hefty and complicated Schaller chrome bridge with a flat plate that slides into a slot on the back. The three control knobs are solid brass, as is the switch-plate ring, which is labeled Rhythm and Treble. The neck is set up with a brass nut and super-fat frets, and there are three inlaid position dots at the octave, as if two werent enough. Using this bass as art is what it truly deserves, as long as it doesnt fall down some day and break something. Wall Hanger #2: A Box of Univox. A few months later, the same shop was bestowed

with a box of Univox parts that could conceivably make one whole Univox Coily bass. In case youre not familiar with the Coily, this model resembles an ES-335 except that its fully hollow. Ironically, one of the humbuckers coils had unraveled and I didnt think it was worth getting it rewound. I recall paying $40 for this one. The Coily was made in Japan through the mid 80s. Both the body and neck are bound, and Univox took an unusual approach to position markers by sliding them up and placing them between the E and A strings. The two octave dots are paired closely together, so that the second dot sits between the A and D strings. Of all the clunker basses Ive owned, this is the one I wished actually played better and had two working pickups. Wall Hanger #3: The EagleHas-Not-Flown Bass. A few years ago, I was strolling through a local music shops clearance sale and spotted what appeared to be a P-bass clone at first glance. And happily, it actually had a chipboard case that latched. The light-maple headstock bore a scrunched-up, thickly scrawled gold logo that read EagleI think. A quick web search revealed that there is a Norwegian company putting out guitars and basses under the Eagle brand, and theyre made in Koreajust like my wall hanger. The plywood body on my Eagle has a sunburst finish, with a chrome bridge ashtray thats reminiscent of an old P bass. Holes in the pickguard suggest it once wore a chrome pickup cover, as well. However, its humbucking pickup strays from P-bass conventions and, sadly, only the left half of it works. The neck is a rough grade of maple with a grain pattern that could be considered unconventional, though not in a good way. If you

Photo by Paul Jensen

like doing neck whammies, this is the bass for youbut to call it limber would be too kind. At least all the position dots are in conventional locations. Unlike my other wall hangers, this bass has enough faults that it has never seen a single gig or rehearsalthis Eagle has not flown on my watch! But for the princely sum of $10 (case included), it was all mine. Once again, I think the best place for a bass of this caliber isyou guessed iton the wall. Wall Hanger #4: Nearly a Hfner. Once the Fab Four hit the scene, faux Hfners were everywhere. Some of them even had the same design details. Not mine, though. This nonfabulous fake bears nary a single letter on the headstock, and its most likely a 60s or 70s Japanese clone. An authentic Hfner never had f-holes (mine has one), and they always had a white control plate with a few switches (mine has neither). I got it from a friend of a friend, whose friend had recently died. When I saw it, I immediately thought wall hanger, although I wasnt really using that term yet. He asked how much it was worth to me and I told him $50, because I planned to use it for another cheap decoration. He caught my drift and countered, A wall hanger, huh? The bass even

came with a cool, brown, semiformfitting chipboard case. Clearly, the neck of this bass is its most astounding feature. You may have heard of the term hippie sandwich to describe a neck made of several pieces of contrasting wood. My no-name beats the conventional hippie sandwich hands downthis neck is made of about 30 layers of skinny plies that can be seen easily from the backside. Adding a classy touch thats common on most of these Japanese copies, the body, f-holes, and neck all have full cream binding, and the fretboard bears pearl block markers with rounded corners. Im starting to wonder if Im the only one with this strange fascination for cheap decorations. These four dysfunctional basses cost me a total of $115. Given the choice between yet another framed print and a bunch of basses, I think I made a good decision to surround myself each workday with the instrument I play. For additional photos head online to premierguitar.comdan BeRkowiTZ

is a professor by day and a bassist when the sun goes down. He plays upright and electric bass for blues, jazz, orchestra, and musical theater. Contact him at [email protected].


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GiGGinG & RecoRdinG > GuiTAr TrAcks

how To Be aRMed and ReadY in The sTudio BY MiTch GallaGheRe looked at quick-and-easy solutions for capturing musical ideas in the last issue, using everything from handheld digital recorders to compact multitrack devices [Instant Capture, July 2011]. Lets continue with the theme of convenient recording, but change our perspective slightly. Capturing ideas is one thing, but making final master recordings is something else. For this, well usually want a more full-blown studio including a DAW (digital audio workstation), some studio monitors, a nice mic or two (or many more), maybe an outboard preamp (or more), mic stands, cables, patchbays, etc. Having all this gear is neccesary for the flexibility to make recordings in different ways, and with higher fidelity than we can achieve using the down-and-dirty recorders we talked about last month. Butas we also discussedwhen it comes to recording, its critical to be able to get into action quickly. When youre ready to lay down tracks, do you really want to spend a half hour or more getting everything out, cabled up, set in place, booted, and ready to record? If youre like me, you have limited time to work on your recordings. Why not spend that available time actually making recordings, instead of messing with the gear? With that in mind, here are some tips for setting up your studio so you can quickly get into action. Ill assume your studio is set up somewhere that you can safely leave things, and that you dont have to tear down completely after each session. Prep your DAW. The biggest time-saver as far as your DAW is concerned is having the setup work done in advance. Create a template or templates that cover your basic needs. Create blank tracks, set up the routing to get mics into the

W

An XLR patch panel makes it fast and easy to hook up your favorite mic to any of your preamps.

tracks, set up your headphone mix, initiate the reverb you usually use during tracking, and so on. Basically, prepare an entire DAW session, but save the file as a template before you record anything into it. Then, when you do get into the studio to start recording, just load up the template, save it under a new name, and get to work. Creating well-appointed templates will save a ton of time at the start of each session. Hardwire as much as possible. Most commercial studios use patchbays to centralize all the connections for their gear, and to allow any piece of gear to be connected to any other piece of gear or mixer input or output. This flexibility is neccesary because there are many different clients using the room, each of whom wants things set up in a slightly different manner. But in our studios, we are the client, and we dont need all that flexibility. I find it far more efficient to directly connect my gear, without patchbays. This saves time by not having to hook things up before each session, and the signal is cleaner as well since there are less connectors and cables in the path. Ive got my mic preamps wired straight to my DAW interfaces inputsI use an interface with enough inputs so all my preamps can always be connectedand everything else is hooked up and instantly ready to use. This saves having to find cables, crawl behind the racks, and make the connections (I

never have to re-patch). It really adds up when you save a minute or more for each connection at each session. Have your most-used mics out and on stands. I wont argue that its safer for mics to be stored in their cases and/or a cabinet. But the trade-off is the time it takes to go to the cabinet, find the mic, get it out of its case, put the shockmount or clip on the stand, and insert the mic on the stand mount. All that time adds up and not only slows down the initial launch of the session, but also slows things down every time you want to use a different mic. Try keeping a few often-used mics out and on stands, ready to go. That said, it is wise to make or find a cover that can be slipped over each mic, protecting it from dust when not in use. Make connecting mics easy. As a corollary to the last tip, make it easy to get your mics into your preamps. Since most mic pres are rackmount units with the connections on the back, you have to crawl or reach behind the rack every time you want to connect a cable. You could permanently connect a cable to each preamp input that can be hung off the rack for easy access, but that can get messy. Or, you can do what I didpurchase an XLR patch panel that mounts into the same rack as the preamps. The mic preamp inputs hook up to the back of the XLR patch panel using short mic

cables. Hooking up a mic up to a particular preamp is now fast and easyjust connect the mic cable to the mic and to the appropriate XLR connection on the front of the patch panel. Keep necessary accessories handy. I have a rackmounted drawer right below my DAW interface that holds a guitar tuner, a few adapters, picks, a slide, a capo, spare batteries, and other items that I often use when recording. The key is not loading the drawer up with a bunch of junk. Limit the drawer to the essential accessories you use on every session. The more you can have your studio set up, configured, and ready to record, the faster you can get into action when inspiration strikes. Try this the next time you set up your studio for a session. Get it completely ready to go, as if you were about to hit the record button. Now, what can you do to pre-prepare your studio and rig so the minimum amount of time is required to get it to that record-ready state? The idea is to minimize the amount of work you have to do before each session, so you can instantly get down to the real thingthe creative work of recording music.the former Editor in Chief of EQ magazine and the author of six books on recording and one instructional DVD on mastering. He operates MAG Media Productions and the Sound Sauna studio, and is Sweetwaters Editorial Director. His upcoming book is Guitar Tone: Pursuing the Ultimate Electric Guitar Sound. mitchgallagher.com

MiTch GaLLaGheR is


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Heres how it works. You start playing small clubs. You post videos on the web. Your fan base grows and bigger venues come calling. All you need is a little help from the pintsized Olympus LS-20M. Easily capture hours of magnificent high-definition video and give it an edgy, stylized look with built-in movie effects. Like all Olympus LS recorders, the audio sounds more amazing than anything youll hear on a CD. The Olympus LS-20M. Promoting yourself just got ridiculously easy.For reviews, tips and tricks, visit olympusamericaaudioblog.com.

Tech TiPs > ThE DArk siDE

Think Youve GoT The LaTesT, GReaTesT GeaR? BY RanDY PaRsOns

I

just got back from a trip to Switzerland and, boy, what a trip it was! I usually avoid writing about gear or technical stuff, but this time I cant help it. Last Thursday, I had the honor of test-driving the worlds first antimatter guitar pickup. Thats right, folks, antimatter technology is here! The pickup is being made by Uniglo, and its pretty incredible. It just blows my mind to think that inside the lipstick aluminum cylinder is a mini universe ... and its being used as a guitar pickup! So how does it sound? Spectacular! It has a warm, organic tone, and I found myself loving every note and getting giddy like a 12-year-old who has just discovered distortion for the first time. The pickups magnetic field is so strange. If you move your picking hand over it just right, you can increase the sustain and, if you really get close and cover it up

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