guitars - The ToneQuest Report

Transcription

INSIDE
Kingsize Jones…
a brief history of
amplification
&
the guitarist’s
enduring Quest for tone
The vintage
Big Dickerson
&
Magnatone 280
revisited
Introducing the
new Magnatone!
Our indepth
interview with
founder Ted Kornblum, plus
commentary
from the entire Magnatone
development team.
12
Reviews!
The Magnatone Single V
Twilighter Stereo
Super 59
Varsity
Mountainview Publishing, LLC
the
The Player’s Guide to Ultimate Tone
$15.00 US, Jan-Feb 2014/Vol.15 NO.3-4
Report
TM
Kingsize Jones
“Innovation has nothing to do with how many R & D dollars you have. When Apple came up with
the Mac, IBM was spending at least 100 times more on R & D. It’s not about money. It’s about the
people you have, how you’re led, and how much you get it.” – Steve Jobs
In many respects it would be fair to assume that just about everything that can be done with a
guitar amplifier design has been done by now. Tremolo was the first real innovation to be developed for guitar amps, and while smaller and cheaper ‘student’ combos retained the low power,
no-headroom character of early guitar and lapsteel amps, bigger professional models steadily
gained more power and cleaner tones at higher volume levels. Tape echo was never offered as
an onboard effect in an amplifier, but the Echoplex made a huge splash with guitarists, and the
outboard reverb developed by Hammond and licensed by Leo Fender was also tremendously successful. By the time Fender blackface amps with reverb and vibrato appeared, guitar amplification had evolved to deliver power, volume and brilliant clean tones that were unimaginable just
10 years earlier.
15
The New Orleans
Guitar Company
Our interview with
luthier Vincent Guidroz
plus our review
of the Voodoo Custom
21
Driving South…
Riverhorse returns
with a reverent rant on the
classic B.K. Butler
Tube Driver
22
I Wanna Be Your Dog…
more fuel for your
Tube Driver quest…
24
Meet the Visual Sound
True Tone Clean Boost!
Our review with commentary from designers
Bob Weil and R.G. Keen
26
Yoga for Guitarists…
a new DVD to ease your
aches and pains!
Meanwhile, Gibson was also very busy developing far more new and sometimes bizarre amplifier
models than Fender ever produced, yet they never managed to escape Leo’s slipstream. Ampeg
concentrated on gaining a jazzier following on the east coast, Silvertone, Alamo, Supro and
Danelectro successfully targeted the budget market, and among what could be considered the boutique builders of the day, outfits like Magnatone and Standel were producing high-quality, professional amplifiers on a much smaller scale. The British Invasion completely changed the landscape
of popular music to an extent that had never been experienced in the past, but the catchy hits by
the Beatles and the Stones offered few clues as to what was to come… Sgt. Pepper lit the fuse,
and seemingly overnight rock & roll was redefined by Jimi Hendrix, Cream and Led Zeppelin.
Marshall amplifiers became essential to the sound of rock music, but for many young guitarists in
America, owning a plexi and pinstripe Marshall stack was little more than a dream, nor did classic
Vox and Hiwatt amps ever reach America in significant numbers.
CREAM
As the guitar and amplifier industry continued to evolve, Fender lost its considerable mojo following the CBS acquisition, Gibson nearly disappeared as a subsidiary of the Norlin Corporation,
www.tonequest.com
cover story
Ampeg enjoyed a brief period of renewed popularity thanks to
the Stones, disco and cocaine gave the entire industry erectile
dysfunction in the ‘80s, and then live blues experienced a
strong resurgence, prompting blues bars to open in major
cities throughout America and Europe. Suddenly guitarists
wanted Fender tweed amps again… Andy Marshall at THD
scratched that itch with the first replica ‘boutique’ Bassman
amps, and in 1989 Rick Perrotta started Matchless in Hollywood, California along with partners Mark Sampson, Steve
Goodale and Chris Perrotta. In our opinion, Matchless can be
credited for creating the demand for modern boutique amplifiers, and you can credit Mojotone for making small batch
building viable for aspiring amp designers who could never
afford to buy parts in the quantities that big suppliers demand.
Today there are literally hundreds of different
guitar amplifiers being
built at every conceivable
price point, and like guitars, ‘cheap’ is no longer
an automatic guarantee
of bad tone. Jeff Beck’s
2010 tour and his choice
of a Fender Pro Junior
mic’d and fed to the house
couldn’t have been more revealing or instructive, yet aside
from our detailed July 2010 interview with Beck’s tech, Steve
Prior, the significance of Beck’s amp du tour seemed to have
gone largely unnoticed. Maybe there were too many guys with
too much cash invested in their vintage tube amp stash who
really didn’t want to hear about Jeff Beck using a cheap little
Fender amp. Na,na,na,na,na,na,na,na!
How do you reconcile Beck’s Pro Junior with the notion that
a boutique amp is somehow going to elevate and transform
your tone and chops while the most creative guitarist of our
time can pull off a global arena tour with a $600 1x10 combo
amp? You don’t. The amp doesn’t make the music… you do.
The truth
is, many
of us are
perpetually
packing a
Kingsize
Jones for
whatever seems to be the latest and greatest in the world of
gear. Whether it’s Dragon’s Breath Magic Coils, Hunchback
speakers, the Stumble & Drool Snatch Box Limited Royal
Assasin or the Blow Job Overdrive with the Honey Dripper
mod, a lot of guitarists enjoy chasing tone on a closed oval
track like a pack of hounds chasing a mechanical bunny. The
players may change, but the game remains the same, and it
isn’t about who wins or loses – the game can only exist by
churning money. If these sound like the words of a dour pessimist, think again… Deep down in your gut you know this to
be true, although we’ll admit that we too usually choose to
adopt a more romantic and altruistic view of capitalism. One
can only take so much reality. It’s why we play the guitar…
When it comes right
down to it, there are
more copiers than
innovators working
in the amp business,
and when something
truly toneful and
uniquely desirable
comes along, it truly
is a big f’ing deal.
In the true spirit of the Quest, we are poised to introduce
you to the new Magnatone amplifier company created by
Ted Kornblum and his merry band of men. Ted’s father and
grandfather owned St. Louis Music, and having been steeped
in the music business, Ted stealthily assembled a collection
of vintage Magnatone products while acquiring the rights
to a name long forgotten. Thus equipped, he put together a
new Magnatone company based in St. Louis. Granted, new
companies are launched every day, but Kornblum accomplished something that is very, very difficult to do… With help
from some very sophisticated ears and talented engineers, his
group has designed and built amplifiers that capture the very
best features of the original Magnatones, while making them
so much better than any of the originals could ever be. By any
measure, the new Magnatone amps have been meticulously,
artfully designed and built for today’s players and tastes.
Most importantly,
they sound and look
uniquely fine, firmly
entrenched in an
entirely new boutique niche that the
Magnatone company
completely owns. Not
since the appearance of the original
Matchless DC-30
has the bar for amp
builders been raised and reset quite so convincingly, so settle
in and relax as we relate the fascinating story of the old and
new Magnatone company, followed by our reviews. Enjoy…
For many guitarists Magnatone amplifiers remain cloaked in
mystery. Thousands of Magnatone amps were built by various owners of the name over two decades, and many classic
Magnatone amplifiers have survived to be experienced and
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TONEQUEST REPORT V.15 N.3-4 Jan-Feb 2014
cover story
appreciated today.
The Magnatone
story begins in the
late 1930’s with
Delbert Dickerson,
a machinist living in
Southern California
who first built a
lapsteel and amplifier for his daughter
Belva. Dickerson
launched the Dickerson Musical Instrument Manufacturing
Company in 1939, and Dickerson lapsteels and amps remain
fairly plentiful, easily identified by their faux mother of pearl
(mother of toilet seat) coverings in vivid colors like emerald
green and ruby red. You may recall our May 2006 article titled
The Big Dickerson in which we reviewed a small but immensely toneful emerald green Dickerson sent to us from Montana
by Larry Pogreba. The comments we offered then are every bit
as timely today…
Barely bigger than an old GE toaster, the Big Dickerson features an 8” speaker, a chunky power transformer crammed
onto a cheap steel chassis, and an unusual tube quartet consisting of a 5Y3 rectifier, dual 6K6’s and a single 6C5. Larry
also sent us an ancient GE 6L6 that can be used in place of
both 6K6’s to create a slightly bigger Big Dickerson when
needed. To be fair and accurate, Larry’s Dickerson has
been entirely recapped and the original speaker replaced
with a modern ceramic job of undetermined origin (we
suspect Japan). The
Dickerson originally
didn’t even come
equipped with a
volume knob – pure
“plug and play!”
Larry sent the amp
to Bruce Collins at
Mission Amps in
Arvada, Colorado
to have the original 6C5 preamp tube changed to a gutsier
6SL7, which required a few minor circuit mods, and he also
added an extension speaker jack (great idea) that enabled
us to make the Big Dickerson even bigger on demand. Now,
some of you might be thinking that you’ve heard all these
cheap little crappy amps before and there’s nuthin’ there for
you. Please, think again. James Pennebaker coincidentally
mentioned a little Silvertone amp of his with an 8” speaker
just the other day… “Put a mic on it and it sounds as big as
anything I own…” There ya go.
The first time we lit up the Dickerson, 30 minutes flew by
before the first break in the instantaneous connection we made
with that amp. It filled the room with a bright, pure, beauti-
fully compressed
sound that made
every one of our
guitars shine
with a new, old
voice. By its very
nature, the Dickerson inspires
musical ideas
and a dynamic feel that are completely dictated by the amp,
yet you’ll find yourself venturing to fresh new places rather
than struggling to revisit any worn out ruts in your repertoire.
Another misconception held about these little amps is that
they are only useful for pure distortion. While they technically
don’t produce clean sounds, there is much to be mined at half
volume and a dimed guitar. The little 8” speaker produces
amazing chunky rhythms with a delicious inside/out compression that is completely missing in a big speaker, and at
a volume that encourages you to play unconsciously at your
most expressive best. Our secret weapon with any of these
small amps is reverb. Add it via an old or reissue Fender
reverb tank and all bets are off – you’ll be amazed by the
sounds you create. Now, you don’t necessarily have to snag a
Dickerson… there are lots of similar options, like a vintage
Gibson BR9, an old 2-tone Valco, a Magnatone Troubadour,
Bronson, Oahu, Alamo, Danelectro, Silvertone, Montgomery
Ward… the point is all about expanding your horizons tonally
and creatively while diminishing the size of your speaker and
the number of tubes, components and watts in your baby amp.
Less is more when you’re chasing the Big Dickerson, and
modifications are sanctioned and encouraged.
Delbert Dickerson
eventually sold his
business in 1944
and it was sold
again in 1946 to
Art Duhamell, who
changed the name
of the guitars and
amps to Magnatone, manufactured
Magnatone 190
by the Magna
Electronics Company in Los Angeles. Many different models
were built by Magna Electronics – far too many to be described here, but a comprehensive history of Magnatone has
been created online by Douglas Ahern, complete with an oral
history and thorough documentation of all Magnatone models
that includes specifications and pictures. See www.magnatoneamps.com/history.html. Still more detailed information can
also be found at www.vibroworld.com/magnatone.
Our hands-on experience with classic Magnatones has been
limited to a vintage Magnatone 280 and a rare 190 model
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cover story
documented in our November 2009 cover story. The 280
was in dead mint condition acquired from ‘Vern,’ the second
owner who had bought it from the first. We zeroed in on the
280 specifically because we had seen one in Neil Young’s rig,
and the 280 is widely considered to be the crown jewel of the
entire Magnatone line from 1957 to the early ‘60s. We paid
$950 for the mint 280 and here are the impressions it left…
We can’t tell you how many times we’ve taken a leap of faith
on a 40 year-old amp hundreds or thousands of miles away
only to find that it needs nothing more than perhaps a few
tubes or a different speaker. Yes, the accepted parts tolerances
of plus or minus 10%-20% were a big swing, especially when
you add ‘drift’ over decades, but after literally hundreds of
such purchases on your behalf, we can confidently say that
these classic amps remain not only fascinating pieces of
America’s industrial history, but also a living testament to a
standard of enduring longevity that will never be seen again.
And so it goes with
the Magnatone
280. No, it isn’t a
gain monster you
can hide behind,
although fully
dimed it gives up
the goods with a
little more punch
from the Normal channel – but the real deal with the 280 was
and is all about old school fidelity... rich, timbral viscosity
that allows every guitar you play through it to sound woody,
deep, sonorous and steeped in the potent romance of wood,
nickel and steel. And yes, the pitch-shifting vibrato channel
is creepy-good, both in the less intense ‘mono’ mode, and
in stereo, where the speakers move out of phase to create a
bizarre but very usable jitterbug warble and bleat. If you’ve a
mind to, you can potently speak to folks through the Magnatone. Close your eyes and the guitar sounds as if it is being
channeled through a diamond stylus on old vinyl, introducing
a smoky and wizened legitimacy to your tone and voice – a
sound to be remembered and revered for the way it floats in
the mind long after the last note has faded.
As good as the vintage
280 sounded, we would
still describe it as an
acquired taste for those
who can appreciate
subtle nuances and a
cleaner tone that doesn’t
even pretend to rock.
The Magnatone behaved
as if a governor had been
installed that limited any
hint of overdriven tones or the full power and bluster of a 25 watt
tweed Fender. The 280 is a great amp on many different levels,
but by today’s standards there is a lot left to be desired.
Designing and building guitar amplifiers that possesses a truly unique and desirable sound is a significant accomplishment
today. To make a difference there must first be a difference,
and even the most rabid tone hounds will admit that a lot of
ground has already been covered when it comes to guitar
amplification. Too often it seems as if hot new amplifiers are
described as offering new and essential sounds that can’t be
had by any other means – as if none of the amplifiers built in
the past 50 years, the past decade or last year can compare to
the latest boutique amplifier to emerge from the pack.
Really? We humans buy into the buzz and the hype because
we really do want to believe that someone has created a
fresh, new sound that is fundamentally better, but in truth,
that’s often not what’s happening. Viewed within the prism
of history, creating a unique sound – one entirely new to the
electric guitar is virtually impossible at this stage in the game.
What we really want is the best possible range of inspiring
tones and sounds we can get, and Magnatone has built amps
that meet those criteria on every level – visually, technically
and sonically. How? That is a story best told by the person
responsible for creating Magnatone, Ted Kornblum, with additional insights from his team…
TQR:
How did the initial idea of reproducing a new line
of Magnatone amps originally occur to you?
My grandfather founded St. Louis
Music Supply Co. in 1922, and he
was the distributor for Magnatone
dating back to the early days. From
the moment I learned that my family
made musical equipment I wanted to
be involved. But before I officially
joined St. Louis Music, my folks
wanted me to gain outside work
experience. So I held a number of
music industry jobs to gain experience and not just be the “owners
son” that was born into the business.
“Be careful what you wish for”, because when I finally did join St. Louis Music, I longed for my
independence not to mention it’s not easy working in a family
business for a number of reasons.
One day I was flipping through the massive catalogs SLM used
to sell Magnatone, and saw the vast amount of Magnatone
products they made ranging from record players, coin operated
radios, and of course guitar amplifiers. I was curious to see if
this company was still in business, and much to my delight, the
company had been out of business since 1969 and the trademark
had been abandoned! It was almost too good to be true. So with
the aid of my attorney, I secured ownership of the brand.
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cover story
Just because I owned the brand, it did not guarantee me success. I knew that it would require a significant amount of capital as well as talented people to help me bring it back to life.
And who better to help me with this then the great talent pool
of engineers that helped my father bring Ampeg back from the
dead? The founding members of the Magnatone Engineering
team consists of Obeid Khan, Greg Geerling, Ken Matthews,
Dan Ryterski, Gregg Hopkins, Chris Villani, George McKale,
Larry Cragg and me.
Over the years, I’d seen many of the legendary USA made
brands get outsourced, and in almost every case these brands
lost their soul in the process. Funny enough, while these famous brands were focused on outsourcing their livelihood, the
boutique guitar amplifier industry was sprouting in America.
Over the years this market has grown to be quite a category.
I view Magnatone to be part of the high-end American craft
market. So instead of “outsourcing” my brand, I set out to
“in-source” it to America including both people and parts. I
assembled a team of engineers and builders that is really a
“dream team” and for the past four to five years we have created a full line of all tube, USA made guitar amplifiers. It took
me longer than normal to bring the brand to market because I
wanted to re-enter the market with a full line of products.
Ken Daniels, owner
of True Tone Music
in Santa Monica,
California has
been an invaluable
advisor to help
me understand
the high-end retail
market. His store is
clearly one of the best I’ve ever been in and he and his staff
definitely know the high-end market. Ken once told me that
he likes to offer his customers “retail foreplay”. I asked him to
clarify, as I’d never heard that term used before. He explained
that he likes to keep his customers returning to his store to
check out new gear as it is released throughout the year. I took
his advice and over the past seven months we have released
to the market five of the eight models in the total product line
and this December marks the release of the next three models
called the Master Collection. I also learned that guitar players
require a variety of sounds from their equipment and in many
cases require two different amps to achieve their tone. I don’t
adopt the view that one amp with two channels can sound as
good as two separate amps that each have their own personality. So we designed the models in the Traditional Collection
to not have a master volume control and the models in the
Master Collection for the player that wants a master volume
with more gain.
I needed to establish a benchmark for the Traditional models
that would rival
even the best
vintage 50’s
tweed amps, and
also have reverb,
tremolo and
of course, our
famous pitchshifting vibrato.
So I enlisted Larry Cragg to help us nail this tone. These
models use either 6L6 or 6V6 power tubes for that American
tone. I praise Larry for helping us achieve what he refers to as
an amp with “touch sensitivity and dynamic range”.
I’ve been a close friend with Billy Gibbons for years and
when I told him I was going to resurrect the Magnatone
brand, he was blown away, not to mention that we’d known
each other for years and I never even told him I owned the
brand name. If I could pick one player to work with to design
amplifiers that address British guitar amp tones, it would be
Mr. Gibbons! Over the past three years, Billy has toured with
new Magnatone prototypes in various stages of completion
to help us define as well as refine both the look and sound
of these models. With the help of Billy’s guitar tech, Elwood
Francis, and studio engineer, Gary Moon, the Master Collection of models was born. One of Billy’s priorities was to have
a master volume control as well as use EL-84 or EL-34 power
tubes for a British tone.
TQR:
To what extent were original examples acquired
and examined, and over what period of time?
Since there has never been
a book published on the
history of Magnatone and
the brand had been forgotten by most people, the
only way that I could really understand the strength
of the brand was to collect
as many examples of vintage Magnatone products.
Over the last ten years or
so, I’ve been collecting Magnatones as a way to validate the
brand in tangible form. I feel like I’ve been on a continuous
treasure hunt and to this day I believe I own over 300 vintage
Magnatone products dating back to the company’s early days.
My collection consists of coin operated AM radios, portable
record players, public address systems, lap steels, solid body
guitars and basses, and of course guitar amps galore. I intend
to publish a coffee table book at some point to share these
gems. I have also collected an extensive library of the product
literature as well as advertisements. In fact, if you check out
the recent ad campaign we have been running, you’ll see a
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cover story
series of ads that were
originally created in 1957
and we have reissued
them. The art direction
they did back then was so
stylish and fashionable, it
remains timeless. We did
update the product in each
ad as well as the description, yet kept the models
and headlines used in the
original ads.
TQR: How did you
approach cabinet construction? The original Magnatones looked cool, but
they were a little quirky in terms of construction.
Gregg Hopkins is one of the best cabinet restoration builders
around, and he has prototyped every new Magnatone cabinet,
probably at
least twice
considering
the design
changes made
over the years.
Gregg can
explain more
about this
process, but I
will say that
he has not only helped in cabinet construction but also in the
testing of the various cosmetic materials that we use to outfit
the cabinets.
Cosmetics and Attention To Detail
My personal interest was in the designing of the cosmetics
as well as securing the various custom-made parts for all the
models. I feel that if our customer is going to covet their new
Magnatone and use it for years, it needs to look at good as
it sounds! The covering material we used for the cabinets is
100% cotton (it gets better looking as it ages), the brown grill
cloth needed to match the vintage look so we had it reproduced, and the classic chevron logos needed to be remade and
also suitable as replacement parts for vintage amps as well.
My original thinking was to use as many stock parts as readily available for obvious reasons. However, as I got into the
selection of materials for cosmetics, it seemed like everything I
wanted had to be custom made to suit my taste. I figured that if
I were a customer for a Magnatone, I’d want these unique parts
on my amp! And since the amps are made in the USA and this
automatically makes them expensive, we might as well go the
extra mile and treat our customers to the best.
TQR:
How difficult was it to faithfully reproduce the stereo and pitch-shifting vibrato features?
Everyone I spoke to
during the developmental period
was honest with me
in saying that the
vintage amps really
were too fragile, difficult to service and
needed to be more
powerful. However they loved the true pitch-shifting vibrato
circuit, especially in stereo. So we kept the exact vibrato circuit
that Magnatone patented in 1957, and had to source the silicon
carbide varistors needed to retain the famous vibrato design. I
knew from the very beginning of the engineering process that
we needed to use varistors in the vibrato circuit. No substitutions would be allowed. Magnatone fans and critics of the
brand would be really disappointed if we choose to use a more
modern and or less expensive way to achieve the vibrato sound
without varistors.
Serviceability & Road Worthiness
Tube amplifiers
require a fair
amount of TLC
as they are fragile
and we all know
at times they need
to be serviced. I
brought in from
Los Angles Bob
Dixon, who owns
an amp repair
shop called The Amp Hole. Having Bob inspect all the proto’s
we made before they went into production enabled us to learn
from his repairman perspective what service concerns he had
and change them before they become a problem.
New Models & the Future For Magnatone
I know that Magnatone has a history of making electric
guitars that are quite collectable in today’s vintage market. In
1957 Magnatone
hired Paul Bigsby
to design a line of
guitars and also
Paul Barth was
hired shortly after
the Bigsby years.
I have a few of
these examples
and envision
upgrading these
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cover story
models with the aid of the famed guitar builder named John
Bolin, of Bolin Guitars in Boise, Idaho. John built six Magnatone prototype guitars and we had them on display at the
2013 NAMM show to get market feedback on them before
pricing them for sale. We will follow up on the guitar business
in due time, but for now I think it’s very important for us to
remain focused on the guitars amp business and get the brand
positioned successfully before branching out into the electric
guitar business.
Obeid Khan, Engineer
The original
Magnatones
we listened
to all had
a decent
clean
sound, but
not really
a good
overdriven
sound.
Obeid Khan They were
all also weak on power and the delivery of the notes in a
modern context. Great sounding amps with a “vintage” vibe,
but limited in their usage because of that. The cabinets were
fragile, the chassis were very packed and tight physically and
prone to bending, the speakers were of ‘50s and ‘60s vintage
which did not always reproduce the best tone…We wanted to
improve on all of these things in the new designs but keep the
original Varistor Vibrato circuit. That was the most important
thing for us to replicate with these new amps.
High End Crash
Power supplies were beefed
up with more current
capabilities, transformers
and speakers upgraded to
similar sounding but better
power handling units. The
output transformers were
developed in conjunction
with Larry Cragg to achieve
a balance of tone that did not
have the “high end crash”
Larry Cragg as Larry called it. A smooth
overdriven top end was the tonal requirement we had for our
transformers, much like the tone from many other classic
amplifiers from the era. We use a mix of transformers by
Heyboer and Magnetic Components in our amplifiers and all
are made in the USA.
The loudspeakers from that time were typically barely large
enough to handle the 20-25 watts of a 280. There has been a
huge amount of development in that arena since Maggie built
the 280/480 amps. We set out to find speakers that reproduced
that kind of American sound, papery, immediate mid and
top end, with a more powerful bass response. We had to be
careful to stay away from “over efficient” drivers that gave
up tonal balance for sound pressure levels. The speakers are
made in the USA by WGS (Warehouse Guitar Speakers) for
us custom and we have been very happy with the sound and
consistency from them. We also offer Celestion Alnico Gold
speakers as an optional upgrade.
The process with
Larry began with the
“Mule”…a prototype we built based
on a ‘56 Tweed Pro
that had been one of
Larry’s favorite amps
of all time. We spent
months getting the varistor circuit worked
into the signal path without a “sonic penalty”. Many different
iterations and locations were tested and finally we had gotten
really close. At that point Larry came out to listen and we did
the A/B comparisons and he said, “It’s 95% there, but there
is that 5% left.” So we went back and worked the 5% down
some more. Finally, we ended up with an amp (Single V) that
exceeded Larry’s tonal expectations for the project.
The Twilighter was a similar approach where Larry was in
the thick of the development. Amps were sent back and forth
with slight circuit changes here and there to get the balance
just right and to get the amp to play well with all types of guitars. Larry did extensive sound listening tests on his own with
his friends and contacts and sent us back to the drawing board
a couple of times. But once we had cracked the code of the
integration of the Vibrato circuit, it did become a little easier
for us to do new designs. The Stereo Twilighter was relatively
quick in its development. Based on the two 6V6 Twilighter,
it personifies the Magnatone Stereo Vibrato effect. We added
the 5 way selector switch to operate mono and also in different stereo modes to give some flexibility to the end user.
ADDITIONAL NOTES
The chassis was
upgraded
to a boxed
welded
steel
enclosure
along
with a
single PCB that mounted all the preamp tubes and compo-continued-
7
amps
nents. With the original Magnatone design being somewhat
of a rat’s nest (ask any tech), the design lent itself to a PCB
approach, at least for the preamp. In this application a PCB
gave a consistency in layout and repeatability that was never
found in the vintage Maggies. The cabinet was also upgraded
with finger jointed corners and better construction techniques.
The biggest thing we wanted to keep was the original Varistor
Vibrato that Magnatone was famous for.
LFO Design – Low Frequency Oscillator.
The LFO drives the Vibrato
audio modulator stages, and it
is the generator of the pulsing
wobble. We started out with
a vacuum tube LFO, but soon
realized that the limitations
imposed were too great for what
we were trying to do. A solid
state LFO was developed which
also allowed the remote speed
control feature. The advantages
of a solid state LFO design are
many, the range of speed is far greater than a tube LFO and
the stability is much greater as well… No caps to dry out and
now your tremolo doesn’t work. We now have the ability to
go extremely slow and even stopped on the LFO speed, all
of which can be remote controlled with a simple 20K ohm
expression pedal. The audio modulators remain all tube signal
path for the preservation of the authentic vibrato sound.
The original circuit has been updated with far greater range,
control and stability and usefulness than the original, while
retaining the classic sound.
EARLY VARISTOR DEVELOPMENT –
The most difficult part of the process…
A lot of brain power went into
this, Ken Mathews and Greg
Geerling were instrumental in
sourcing the new Silicon Carbide Varistors. The originals
were tested and quantified
and then Ken located a few
different manufacturers. Many different samples were tested
and evaluated on their own and in test circuits until a proper
match was found. The new varistors also have to be graded
and paired for use in the circuit. Ken built the test and grading
jig that we use to match them up into pairs. This was not an
easy task – in fact, it was probably the most difficult part of the
process. Understanding how the center frequency points change
with voltage bias and varistor grade is essential in reproducing a
consistent sound from one amplifier to the next.
The other large daunting task was getting the circuit to
integrate into an otherwise good sounding amplifier without
sucking all the
tone out of it.
Larry helped
immensely in
this process,
giving us his
objective set of
ears for critical
listening. We
have learned
a great deal
about how to integrate this Vibrato circuit into many different
types of circuit topologies. Take the Super Fifty-Nine and
Super Fifteen amps – those amps have the vibrato within the
gain circuit where it becomes part of the texture of overdrive
rather than an effect sitting on top of the sound. This was
another challenge to integrate within a master volume gain
structure type of amplifier. The noise and headroom shortcomings of the vibrato circuit had to be placed just right in
the signal path to allow gain to pass with quality tone and a
healthy overdrive sound to be achieved.
Being a Marshall guy myself, I enjoyed the challenge of making a British style master volume amp
with the inclusion of Maggie Varistor
vibrato. This was not an easy task because of all the tradeoff’s involved with
the gain structuring and noise levels
and overload characteristics. You had
to juggle them all to where it all came
out OK. Plus, integrating the varistor
vibrato into a distorted master volume
amp arrangement had never been done
before. Of course it also had to live up
to the standards of Billy and Elwood,
so it was a long process to finally get it
where everyone was happy.
Ken Matthews, Engineer
“History doesn’t repeat itself, but it does rhyme.”
– Mark Twain
Ted Kornblum put out this challenge of going back, and picking
the Magnatone line of amps up at their high point, and using the
original technology of vacuum tube signal paths and varistor
vibrato, but being able to include the heritage created by all of
the most prolific and successful tube guitar amps,
and including some of the new things that resulted inside the
team during the process as well. We didn’t and couldn’t build
exact replicas, as some exact varistors and speakers and vacuum
tubes have become obsolete. In the case of those obsolete parts,
we always obtained better performing parts,
-continued-
8
cover story
even having them custom made for our purposes when necessary.
So history does not repeat itself, as Mr. Twain said, but we did
and do rhyme with the best of legacy Magnatone and all of the
art applied to vacuum tube amplification in that era, and in the
decades since. We had fun, have some great results, and we
are just getting started.
Greg Geerling, Engineer
I was looking back
through some of my
notes last weekend,
and the amount of
Vibrato research
and experimentation we did over the
past few years was
just insane. Many of
the experiments were insane as well. We knew from the start
that vibrato was the cornerstone of the Magnatone amps, but
I don’t think that we understood at the start just how complicated the whole thing was. There were so many variations just
among the various Magnatone amps, and endless varieties
and personalities even between different units of the same
model. I think I had 5 or 6 of the 280s at one time, but no two
were alike (all were pretty good, but some had more magic
than others). That’s what sparked it for me – what was it that
made the “real” Magnatone vibrato, how could we reproduce
it and make it reproducible? Who would have thought that you
could sit for hours listening to these crazy vibratos, coming
up with ways to “see” the vibratos on the scope, measure their
parameters, etc.?
We started at the beginning, looking at the progression of Magnatone
vibratos (not to mention
other vintage things –
the DeArmond Trem, the
old Gibson trem, new
vibratos, old vibratos,
Fender tremolos, analog,
digital, varistors, optical,
new stuff, old stuff, computer simulations, on and on – and
still continuing, I guess)
Anyway, we went all the way back to the old Bonham Vibrato
patents. Ken and I sat for hours scribbling circuits on the
white board, prototyping things, experimenting with different
materials, different components, grinding down “new” varistors to try to make them act like the old ones, blowing things
up – all fun stuff. For me the most important “piece of magic”
was the “stereo” vibrato – how did the 8-varistor multi-stage
tube vibrato work? My goal was to make sure that if we did
nothing
else, we at
least had to
capture and
faithfully
reproduce the
multi-stage
“Magnatone” stereo
vibrato. When Obeid got involved he got the amps going,
doing his magic there, which of course was really the more
important piece. Vibrato is just an effect (but certainly an
important and necessary one for Magnatone). Obeid (and I
believe George was involved as well) really did a good job
on getting the initial single stage (and dual stage) vibratos
going in the earlier prototypes – very true to the original amps
and really, really faithful to the original vibrato circuits and
their signature sounds. But I think we finally made a true
believer of Obeid when he did the first “stereo” vibrato in the
early stereo Twilighter proto. It’s that special circuit, with the
“real” varistors, carefully selected, with the ability to have the
vibrato stages in phase, out of phase – all that makes it “The
Vibrato.”
And from there, we took it to places that Mr. Bonham wished
he could have gone, covering all of the classic circuits tone
and range, but extending the low end response, improving the
oscillator drive circuitry to allow even slower vibrato speeds,
and the “remote” speed control. Obeid (and the team) really
did things right and we’ve not only built the foundation for
the Magnatone vibrato, but we have also brought it right up to
date while keeping it “right.” We have a very special collection of mad scientists who have created some things that we
are really proud of.
Dave Hinson, Sales Manager
Most important
was that the
Vibrato circuit
be reproduced in
exacting precision,
the sourcing and
acquisition of a
reliable, high quality Varistor being
the key ingredient.
These were daunting but absolutely necessary tasks and were accomplished
with painstaking effort. The cosmetic design while adhering
to the original look came together in what you might call
respective retro. While keeping with the original and making
subtle improvements to make it a valid, user-friendly amp
with modern concept and accessibility. The power amp and
-continued-
9
cover story
pre-amp sections were the weak spot of the Magnatones of
yesteryear. This is the area that needed basically a complete
re-vamp and was accomplished with respect to the tonal
quality, a less fragile circuitry and certainly an emphasis on
reliability. The reverb circuit is also certainly more pleasant
than the 480 or the M series amps. This improvement was
something that gives the new Magnatones a voicing of their
own while also respecting the brand and it’s integrity.
There will
certainly
be more
stereo
model options and
I would
suspect
some
Artist and tribute reissues of the famous models associated
with Musical Legends. The Master Collection of models such
as the Super Fifty-Nine, Super Fifteen and Super Thirty are
a slight departure with a very positive and modern approach.
While not exacting remakes, these in a way are what Magnatone was respected and known for in the ‘50s and ‘60s – innovative and extremely versatile amps combining a very modern
power/Pre-amp with the Varistor Vibrato and the master
volume circuit that in no way hinders the performance or tone
of the amp. The Master Volume is extremely subtle and nearly
undetectable when not engaged.
The Varsity is the
sleeper in the arsenal. While not brandishing the Varistor
Vibrato, this amp is
hands down one of
the most amazing
sounding amps
on the market by
anyone. Roughly 15 watts with a very simple control layout,
the Varsity sounds much bigger, and the tone of this amp is
un-rivaled by anything past or present.
Gregg Hopkins, Vintage Amp Restoration
The R & D on the new Magnatone cabinets was about a three
year process and we tried a little bit of everything. There is a
rack of prototypes at the Magnatone factory that are all different. We wanted to play on style points of some of the vintage
Magnatones from different eras, but also update and improve
them here and there.
We experimented with dozens of combinations of different grill cloths and covering materials. I’ve restored lots of
brown-era Magnatone cabinets using covering material from
the original
American manufacturer, so we
went to them for
the various colors
and patterns for
the three series
of amps and had
them custom
made. They’re
unique to the new Magnatones. One of the three grill fabrics
is custom manufactured and all are made in the USA. We
also found a small company here in the USA that hand makes
leather goods and they’re making the two different leather
handles for the Studio Collection and Traditional Collection.
The brown
cabinets of the
late ‘50s and
early ‘60s were
notoriously weak,
so we gave them
proper joints,
beefed up the
chassis mounting
and upgraded the
hardware on all the cabinets. Back panels that need to be removed for service are held with big heavy-duty stainless steel
machine screws and threaded inserts instead of wood screws.
The look of the Master Collection is a departure from anything Magnatone has done in the past, and we had some fun
with it. From first glance they have some style points we’ve
seen on classic British amps, and that relates to their sound
as well, but we gave the combos a wrap-around baffle and
illuminated logo inspired by the M Series “suitcase” amps
Magnatone made in the ‘60s. When the new Magnatones
debuted at NAMM last January, people were knocked out by
how great all the amps look. When they played them, they
were doubly impressed. To look at them makes you want to
plug in your guitar. There are some new designs in the pipeline that we’ll see in production one of these days.
Magnatone Single V Review
The Single V is a big 30 watt dual 6L6 amp and our review
model was loaded with two robust Celestion Alnico gold
speakers. The Single V is also described as “loosely based on
a ‘56 Fender tweed Pro.”
The Single V features Normal and Bright channels with two
inputs with high and low sensitivity, separate volume controls
for both channels, treble, bass, presence and reverb controls.
The True Pitch Shifting Varistor Vibrato is controlled by an
-continued-
10
cover story
AM/FM slider that
allows switching to
traditional vibrato,
and Intensity and
Speed Controls.
An expression
pedal can also be
used to control
speed. The cabinets for the Single
V and Twilighter
reviewed here honor the original Magnatone designs in appearance, but like the new amp circuits, the cabinets have also
been enhanced and improved as described by Gregg Hopkins.
Tone
home players and gigging musicians with 30 watts of manageable headroom. The #2 inputs on both channels deliver lower
volume and gain, and we tended to prefer the #1 inputs. The
Normal channel is rich, full and round, while the Bright Channel adds more sparkle and presence. The first thing we noticed
was the beautiful fidelity and lush detail that the Single V produces. Our old Magnatones never sounded this crisp, defined,
clear and transparent. The bass and treble controls display a
broad and effective sweep, and increasing bass also seemed to
fill in midrange frequencies. The Single V stays clean and clear
up to 12 o’clock on the volume control with rich harmonic
overtones, smooth, musical treble and deep, solid bass. Beyond
12 o’clock thick output tube distortion gradually increases,
producing a perfect mix of edgy sustain and clarity. Above 3
o’clock the Single V gracefully achieves the overdriven char-
Larry Cragg, musician, collector, tone freak and longtime tech
for Neil Young is quite proud of the Magnatone Single V. We
asked him to explain…
My idea
was… pitch
shifting vibrato is really
nice, but I
want to have
a really good
amplifier –
it’s not about
the vibrato,
it’s about how
good does the
amp sound? When you get tired of the vibrato and turn it off
how good does it sound? So they came to me and asked, “If
you were king, what would you do?” They said the sky was
the limit and I knew immediately what I wanted. It took a long
time before the amp sounded the way I wanted it to, but we
finally nailed it. It’s loud, but it sounds as good as anything I
have ever heard.
TQR:
The first thing we noticed were the great clean
tones, but it also overdrives beautifully… more so
than most.
That’s where I
was coming from.
I was all about
the sound when
you turn it up,
and I hope you
did – all the way
up.
In terms of power and volume, the Single V will please both
acter of a late ‘60s metal panel Marshall with intense sustain,
yet retaining the pure fidelity and definition present at lower
volume levels. If you can handle the full 30 watts, you won’t
need an overdrive pedal to reach the promised land with the
Single V. As good as it sounds at clean volumes, it is equally
toneful and adept at delivering a solid overdriven sound with
single coil and humbucking pickups.
True Pitch Shifting Varistor Vibrato
Of course
the most
salient
feature
of the
vintage
Magnatone 280 was its true pitch shifting vibrato, and the
Single V resurrects this unique effect in stunning detail along
with a more traditional vibrato, and both are excellent. The
optional use of an expression pedal adds flexibility and control on the fly for live performances, and the technical team
at Magnatone have absolutely nailed
the captivating vibe of pitch shifting
vibrato. The quality of the long pan
reverb in the Single V is equally good,
with a variable range of intensity from
the single reverb control that makes
it very usable, from barely wet to a
full splash. Overall, the Single V is
a heady achievement on a technical
level, meticulously designed and richly
endowed with truly exceptional tones.
Our only quibble pertains to weight. Loaded with Celestion
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11
cover story
Alnico gold speakers, our review amp was heavier than the
stated 58 lb. curb weight, but the handcrafted leather handles
at least make lifting these amps as painless as possible.
Magnatone Twilighter Stereo Review
In terms of tone, the Single V and 22 watt Twilighter Stereo
definitely share the same sonic DNA. They are similar enough
to be identifiable as sharing the same badge, yet varied enough
to appeal to different tastes and power/volume requirements.
The Twilighter is
a 2-input, 22 watt
dual 6V6 combo
loaded with Magnatone Signature
speakers made by
Warehouse Speakers in the image of
vintage Oxfords.
As we immediately noted in our review notes, the Twilighter produces a
more percussive, glassier tone with a power range similar to a
Deluxe Reverb, but with two speakers you get a louder, more
imposing sound. Once again, Larry Cragg described the development of the Twilighter:
The Twilighter came
about a few years
back when I was in
St. Louis. We were
having a big meeting
with everyone and
the perception was
that among Magnatone collectors they
liked the original
1x12 Twilighter. But
the original Magnatone amps without the vibrato just don’t
do it for me. They made a new version of the Twilighter using
the old circuit and it sounded OK until they turned it up, and
then it didn’t sound good at all. I said, why don’t we make the
world’s biggest, juiciest sounding blackface Deluxe Reverb?
The mono version is very cool, too. With a single 12 it still
sounds bigger than a Deluxe. They both sound great.
Like the Single V, the Twilighter produces an outstanding
clean tone, and while the overdriven sustain at high volume
levels is less intense than that of the Single V, it remains
nicely focused, rich in complex harmonic overtones. The addition of a Midrange tone control along with Treble and Bass
also helps the Twilighter achieve a more focused tone that will
really hold its own on stage. Like the Single V, the long pan
reverb is really good, and fans of Vibrato will be knocked out
by the Mono/Stereo/Wet-Dry/DryWet settings for
the pitch shifting
vibrato. For us the
stereo setting is the
money tone, but all
of the varied vibrato tones offer a unique twist on vibrato that
is entirely unique to the Twilighter. An expression pedal can
also be used to precisely control vibrato speed. The Tremolo
setting is more subtle, and we found ourselves leaning much
more on the pitch shifting settings. Before we had spoken to
Larry Cragg, we wrote in our review notes “sounds like a big
Deluxe Reverb,” and the Twilighter really does challenge the
best vintage examples of this classic Fender amp with a more
robust and versatile voice.
Magnatone Super 59
With
none
other
than
Billy F
Gibbons
involved
in the
handson development and prototyping of the Super 59, you might
think this is the beast in the Magnatone lineup designed for a
full face melt. You’d be wrong. Of course, Señor Gibbons is
righteously known for some rather smoldering guitar tones,
but we have come to know him and his music well enough
to point out that his tonal repertoire and tastes extend way
beyond the sound of an amp fully floored… May we suggest
“A Fool for Your Stockings” as proof of the Rev’s uhm…
sensitive side? A more delicate and touching ode to irresistible southern snatch has yet to be written, and the guitar
tones are Gibbons at his clean Fendery best. True, most of ZZ
Top’s big hits feature Gibbons ripping it up pretty good, but
the Super 59 should not be narrowly viewed as just another
afterburner amp by any means… It’s got all the tones.
Unlike a lot of vintage
and new amplifiers
that have been deliberately designed to rock
hard, the Super 59
actually boasts a beautiful clean tone with
volume and power.
It’s all in the way you
manage the master volume and volume controls, and while
that juggling act is nothing new, 45 watt amps that can really
boogie rarely display such gorgeous clean tones at stage
-continued-
12
cover story
volume levels as the Super 59. It’s just another diamond pin in
the pork pie hats of the design team at Magnatone.
Controls
are consistent with
the other
models
reviewed here, effective and straightforward. Left to right you
have the Pitch Shifting Vibrator (no typo) with the same FM/
AM switch for Vibrato/Tremolo, Presence, Bass, Mid and
Treble controls, Master Volume, Vibrato Channel Volume and
Normal Channel Volume. The Vibrato and Normal channels
both feature dual inputs with slightly lower gain from the #2
inputs. For the loudest, cleanest tones in either channel you
simply turn up the Master Volume and keep the individual
Volume for either channel set lower. For maximum burn use
the individual channel Volume as the heat control and adjust
the Master to taste. It’s that simple, and among all the things
we like about the Super 59, we also like what isn’t there, like
more knobs and switches. If you can’t get yer tone with what’s
here, more knobs and switches won’t help you. However, we
do like the groovy backlit Magnatone front panel and illuminated control knobs… Another touch that shows how much
thought went into designing these amps.
We deliberately reached for our
most excellent ‘07 Robert Cray
Signature hardtail when we first
hit the switch on the Super 59. We
knew the amp was gonna rock, but
we wanted to know if adequate
attention had been given to the full
spectrum of the guitar rather than
just the distortion elements. You
can rest easy in the knowledge
that the Super 59 deftly handles
both clean and dirty jobs with
equal aplomb, whether you are playing a guitar equipped with
Fendery single coils, humbuckers, P90s, Filtertrons or something reminiscent of classic DeArmonds. We played them all
with the Cray Strat, our Thinline Cabronita, the Squier Tele,
an Andy Elliott custom Honey Pine Tele with gold foil neck
pickup, our ‘55 ES135 loaded with double P90s, a new and
OMG awesome Echopark Arroyo loaded with a Filtertron
and DeArmond gold foil, and our infamous 2010 ‘57 Historic
Goldtop pushing early ‘60s vintage Gibson patent number
humbuckers. We can confidently say this about all of the new
Magnatones reviewed here including the Super 59 – the lush
fidelity and tone stacks work beautifully with all of our guitars
and pickups. You know how some amplifiers seem to sound
best with single coils but perhaps not so great with humbuckers? That’s not happening here, and like the Single V and
Twilighter Stereo, the Super 59 could easily be prized by play-
ers who don’t even use or need
distortion. The clean tones are
that good, yet cranked, this amp
purrs and growls with the same
extraordinary fidelity and clarity.
The tone controls are precise and
effective in subtilely goosing
specific frequencies, and as we
mentioned in our review of the
Twilighter, the WGS speakers
are typical of the Warehouse
brand – full, round and rich with
a sweet top end and perfectly
balanced from top to bottom.
COMMENTS ON THE SUPER FIFTY-NINE
BILLY F GIBBONS
Ted, it’s such a pleasure to have
accepted your invitation to participate in the Magnatone revival under
your direction. Everyone is truly
impressed with the sound and performance, not to mention the beauty
of the appearance of the entire line.
Splendid…!
GARY MOON, ZZ TOP STUDIO
ENGINEER
When Ted sent the first Super Fifty-Nine prototype to ZZ’s
“Foam Box Recordings” in Houston, we immediately “threw
it into the fire” and set it up to replace Billy’s go-to studio
amp. It has the best characteristics of a classic British EL34
amp, and once we adjusted the gain and master to get the volume and feel right, we were able to dial-in “BFG-approved”
sonics with the EQ section easily. We started recording tracks
with it the same day, and never went back to its predecessor.
It sounds bigger, it’s more dynamic, and the noise floor is
much, much lower. Long story short, there’s a Super 59 set up
and mic’d at Foam Box right now. Kudos to Ted and Obeid.
ELWOOD FRANCIS, BILLY GIBBONS GUITAR TECH
We did a gig last
night and the word
is that Billy’s guitar
was a monster
of tone. I have
never had so many
compliments and
I’ll be honest when
I say, Billy pretty
much always sounds great and always has gotten compli-continued-
13
cover story
ments, but never like these! It starts at sound check when a
couple of local guitar heroes usually show up, and continues
all day and night. I must admit – the Super Fifty-Nine sounds
like a fucking guitar factory. That amp slams a home run just
by turning it on!
All of the Magnatones we reviewed feature true high fidelity
that will be immediately apparent on the first few chords, and
their exceptionally musical character is maintained throughout the entire sweep of the volume controls.
The WGS “hotdog” basket speakers are outstanding.
The Varsity
The Varsity name was
used by Magnatone as
early as 1948 and appeared on the model 108,
one of the smaller combo
amps equipped with a 10”
speaker. The new Varsity
is a 15 watt dual EL84
amp that will appeal to
those whose power and
volume requirements are more modest, and of course, dual
EL84 booteek combos have become immensely popular during the past 15 years. Few of them sound quite like this.
Available as a 1x12 combo or head in black or a very cool
burgundy croc tolex, the Varsity embodies all the features that
have made smaller combos so popular today – portability,
comparatively low decibel levels, and the harmonically rich
character of EL84s that can be overdriven to produce smooth
sustain and excellent dynamic touch sensitivity. Minimal
features include Hi and Lo sensitivity inputs, Volume, Treble
and Bass controls, a top-mounted extension speaker jack and
line out. A NFB (negative feedback) 8dB boost toggle switch
is also mounted on the control panel for extra burn. Clean
headroom is more than adequate with, here we go again…
outstanding full fidelity, and cranked, the Varsity is the quintessential 15 watt rocker that sounds much bigger than it looks.
When we went to Atlanta’s Boutique Guitar Exchange to pick
up the amps for review, they couldn’t get the players in the
store to turn off the Varsity. Magnatone will sell a ton of them.
The overall build quality of the cabinets and accessories is exceptional, including the supplied cables and footswitch, pine
cabinets and the faux alligator reverb bag. No detail has been
overlooked in designing and constructing these amps.
Unlike the originals,
you’ll have easy access
to chassis and tubes.
None of the new Magnatones are cheap, but
one look at them and it
is obvious that you are
getting what you pay
for and more. Simply
put, they sound and look better than they had to… Absolutely
state of the art, with everything you need and none of what
you don’t. Quest forth…TQ
Varsity 1x12 $1699
Single V 2x12 combo $3999
Stereo Twilighter $2999
Super 59 head $2999
See www.magnatoneusa.com for additional models, options,
pricing and dealer locations.
Final Notes
Here are a few additional observations that apply to the
amps reviewed here along with a photographic montage of
historic Magnatone shots and moments captured from the
new Magnatone company…
The leather
handles are
a work of art
and very comfortable, which
is important
given the
weight of the
2x12 models.
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14
cover story
2013 NAMM SHOW, LEFT TO RIGHT: GREGG HOPKINS, LARRY CRAGG, DAN RYTERSKI, GREG
GEERLING, THOM KIEFFER, OBEID KHAN, GEORGE MCKALE, TED KORNBLUM (CENTER)
NOT PRESENT AT TIME OF PHOTO, KEN MATTHEWS, DAVE HINSON, CHIRS VILLANI
New Orleans Guitar Company
Voodoo Custom
“The minute
you land in
New Orleans,
something wet
and dark leaps
on you and starts
humping you like
a swamp dog in heat, and the only way to get that aspect of
New Orleans off you is to eat it off. That means beignets and
-continuedTONEQUEST REPORT V.15 N.3-4 Jan-Feb 2014
15
guitars
crayfish bisque and jambalaya, it means shrimp remoulade,
pecan pie, and red beans with rice, it means elegant pompano
au papillote, funky file z’herbes, and raw oysters by the dozen,
it means grillades for breakfast, a po’ boy with chowchow at
bedtime, and tubs of gumbo in between. It is not unusual for
a visitor to the city to gain fifteen pounds in a week –-yet the
alternative is a whole lot worse. If you don’t eat day and night,
if you don’t constantly funnel the indigenous flavors into your
bloodstream, then the mystery beast will go right on humping
you, and you will feel its sordid presence rubbing against you
long after you have left town. In fact, like any sex offender, it
can leave permanent psychological scars.”
–Tom Robbins, Jitterbug Perfume
“America has only three cities: New York, San Francisco, and
New Orleans. Everywhere else is Cleveland.”
–Tennessee Williams
Luthier Vincent
Guidroz is building
works of art in New
Orleans. This isn’t
hyperbole or an
exaggeration to fix
your attention – two
minutes spent on
Ray Davies
his web site are all
you will need to become a believer, and the shop photos of his
work space in New Orleans are enough to inspire a trip to the
Crescent City. What could be better than a 3-day trip to New
Orleans to pick up a guitar? Not much. Well, 5 days would
be better… If you have never been to New Orleans, please,
please go while you are young enough to enjoy it. Sure, there
was Katrina, but the city has fully recovered from that misfortune stronger for it. Yeah, Ray Davies was shot in the leg
in New Orleans while he was living there, but he was running
after a mugger that had grabbed his girlfriend’s purse. Better
job for a Rottweiler, Ray… This is America, not Iceland. Post
Katrina New Orleans was indeed portrayed as a cess pool of
poverty, crime and corruption, but if you were to send 8 feet
of water surging into certain areas of Chicago, Philadelphia,
Miami or Atlanta, the outcome would surely be the same,
or worse, so let’s jump off the bandwagon when it comes to
bashing New Orleans as some kind of dying remnant of the
confederacy or a pimp colony for Big Oil. That would be
Houston. Louisiana is no more corrupt than New Jersey, and
all of us are living on the edge of chaos – we just choose to
pretend otherwise. That one thin wire that connects your home
to the world is fragile indeed, and unless you are off the power
grid like our friend Larry Pogreba in Montana, there are no
guarantees of running water, flushing toilets, incandescent
light or connectivity if that wobbly grid goes down. Whether
we know it or not, most of us resort to living on faith – even
those of us who profess to have none, and faith so far seems
to have worked
well enough. In
the end, it’s all we
have. So why not
take a little trip to
New Orleans and
experience the
profound miracle
of the human spirit that pulses throughout this amazing city
and its people, music, food, architecture and art. If there was
an intensity control for life, New Orleans would be perpetually stuck on 10, and the same can be said for the guitars
built by Vincent Guidroz. Laissez les bons temps rouler, and
Enjoy…
TQR:
How did you first become interested in the guitar,
and what led you to exploring guitar repair and construction?
I guess growing up in
New Orleans,
you’re surrounded
by music.
Besides growing up in The
Quarter, alVincent
ways hearing
brass and jazz, you get exposed to a lot of different genres of
music and playing an instrument just becomes a part of life for
a lot of folks. Living here, I think you hear all of the popular
music that the rest of the country hears but you also have this
definitively New Orleans soundtrack that is just a product of
our history. When you take into account all of the different influences that this place has seen and our role in the entertainment world, it’s just a natural progression for people to want
to be active participants. Like a lot of guys, I picked up the
guitar, did the high school garage band thing, played around
New Orleans and then after a while I just kinda got tired of it
and didn’t pick up a guitar again for nearly ten years. I think
sometimes you just need to step back from things and come
back at it with a fresh perspective.
As long as I
can remember I’ve
always been
into drawing
and by my
late teens
I started
getting into
sculpture.
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16
guitars
By the time I was twenty I had a sculpture studio, executing
what was mostly figurative or architectural work. I did some
stone carving and bronze casting, but most of the work was
in composite casting and mold making. Eventually I had the
opportunity to get into some automotive prototyping and
product design, and I think it was there that I started to see the
connection between product design and how that affects our
everyday lives. I still do some sculpture, but after fifteen years
or so of doing it daily, I was starting to get a little burnt out on
the chemicals around the studio, and was looking for another
avenue to pursue. A friend of mine showed me a Strat that
he made using hardware from Stew-Mac, and that demystified the guitar for me. I liked the idea of making something
with organic materials, but there was still a lot to learn about
how to pull off a professional looking product, so I started
experimenting with the process. I built as a hobbyist for a few
years before I felt that I might be able to make something of
it. Eventually you develop that skill set that allows you to trust
your hands.
TQR:
How did you first acquire experience as a luthier,
and how did your hands-on experience evolve and
expand?
During
the first
three
of four
years of
actively
doing the
guitar
thing, I
was still
taking
on sculpture commissions to pay the bills. I read all the books
about guitar making that I could find but I’m just one of those
people who learn best by doing, so the first hundred or so
guitars really taught me how to see the entire design and the
process of building guitars. When you’re first getting started
with something like this, it’s a losing proposition because not
so many people are willing to take a chance on something
that’s unproven, so you sell your work on the cheap just to pay
for the next shot at it. You do something enough and things
start to become more apparent, whether that applies to the
design or the process, I think the same holds true. There is a
clarity that develops through repetition.
I’ve been lucky enough to have a steady grass roots stream of
work that’s given me the opportunity to continually tweak my
designs. Over the years the relationships that I’ve developed
with the professional musicians here in New Orleans has
definitely influenced how I see instruments as a whole. I think
I’ve always tried to operate under the premise that most im-
portantly the work should cater to a player’s sensibilities. As a
builder, once you get to a point with the craft, I think you try
to push boundaries to get noticed. As you get better with the
craft, I think you start to realize it’s just as important to know
when to stop. Ornamentation has its place, but I think it’s secondary. There’s something very special about just having an
instrument that you connect with. That connection quite often
comes down to how that instrument feels in your hands and
responds to touch. If you strive to make things that musicians
connect with, I think you naturally focus on those elements
that make the experience more expressive.
TQR:
Were there specific guitar designs from the past that
have inspired or influenced your work? Describe
specific design and construction features that have
appealed to you and why?
I’ve had some wonderful
electrics from the 50’s and
60’s come through the shop
over the years which have
greatly influenced my neck
shapes, but I’ve also been
inspired by all kinds of
other stringed instruments.
The zero fret is probably
the most immediately
noticeable detail that I’ve
adopted. I really loved
some of Macaferri’s work
because there was just an
elegant simplicity in his design but so much of it made sense
from a structural perspective. The zero fret just works really
well and I think that’s definitely one of those details that adds
to making all of my work feel the same up around the nut.
Using two way truss rods became a core element because they
allowed me to simulate string tension while I’m doing fretwork. Those features make for very precise playing surfaces
that you can
easily dial
in a neck’s
flexibility
under a load.
Regardless
of how beautiful or tonally rich an
instrument
is, if the geometry of the playing surface is unstable, that tool will never
be reliable in its intonation. I think that precise intonation is
one of those make or break elements in an instrument and I
found that single piece necks were too unreliable for tools
that are taken out on the road. Early on I started making necks
-continued-
17
guitars
from bookmatched billets and found that as a core, laminated
necks are so much more stable when you take into account
changes in temperature and humidity, and the rigors of travel.
Aside from the mechanics of guitar design, I think I was
also drawn to the work of guys like D’Aquisto and others in
that vein because they took an artful approach to the design.
Musical instruments as a whole are pretty simple things really
when you get down to the bare essentials, but people wind
up developing relationships with these objects and so I think
that deserves a thoughtful approach. It’s my job as a builder to
make sure that all of my geometry lends itself to a comfortable playing experience that stays in tune with itself.
As a builder, once you get past being familiar with some of
the hardware components with building guitars, I think you
start to notice more how the design affects the dynamics of
an instrument. When you start taking into account the overall
design and how the density of the materials affect tone, that’s
when you really see definitive results as a builder. How an
instrument is built, how hollow the design, how dense the materials used, all of those things become formulas to attain very
repeatable tonal voices. I take a fairly intuitive approach to
building things in general. If you spend enough time working
with any material, I think you develop a sense for what it does
well, as well as its limitations.
Music is just another
language. It’s a way for
people to make abstract
ideas more complete. As
a builder, the best thing
that I can hope for is to
make something that
helps that process along.
I think the mark of a
great instrument is one
that allows the player to
relax. When you have an
instrument that allows the player to ease up on their touch, it
changes the approach to playing. You start to see more clearly
the nuances of each instrument and those voices become
more defined. Those individual characteristics sway a musician to play certain things with a specific approach and each
instrument winds up having its own voice. It’s all about the
experience.
TQR:
How has working in New Orleans influenced your
work in ways that are unique to the city and its culture of art and music?
Definitely being here has made me very aware of how the arts
affect our lives, but this place also has this long tradition of
hospitality. We’re pretty warm and open people and I think for
the most part, a little more laid back and a little less con-
cerned with convention. Personally, I think it’s the humidity.
It slows things down.
I don’t know what
it is about this city.
When you take
into account the
rich history of this
place and all of its
strange traditions,
you come to realize
that this is a very
eclectic place and
it draws in all kinds of wonderful misfits. Aside from the
stream of working musicians that pass through my door, I get
a steady dose of sculptors and painters, crafts people, gear
heads, ukulele troubadours, gospel playing buggy drivers,
guitar collectors, and just people that are drawn to creative
things. It’s just a long line of interesting people. How does
that affect my work? Usually it slows down my production,
but it’s just part of the process. There is simply a lot of creative energy in this city, always has been. That exposure to all
of those different creative souls, cultures, music and traditions
definitely affects how I see things. To some degree, I’m sure
that shows up in the work.
TQR:
What are some of your favorite types of wood to
use in guitar construction and why?
Hands down, for the pure joy of working with the material is
spruce. Nothing is quite like it for uniformity and liveliness
of sound. Cedar is a close second. For necks and body woods,
Honduran mahogany is probably the most consistent to work
with, and it acts like a big treble filter, so it pairs up nicely
with the harder top woods like maple and myrtle, which just
happen to make for great high volume stage rigs. Myrtle is
a nice top wood option for someone looking for crystalline
clarity, but you can really only pair it up with something like
the Honduran or limba, otherwise it gets to be a little too
much. Limba is a nice option to the mahogany as a neck wood
if you’re looking for something with a slightly more percussive bass side, and I think it allows you to incorporate some of
the softer top woods. Same thing holds true with ash, though
it’s a little
tougher to
carve because
there’s such
a difference
between the
summer and
winter growth
densities. For
the species
from this
-continued-
18
guitars
region, I enjoy working with both swamp ash and cypress in
certain applications. The swamp ash that I use is lighter in
weight and usually not quite as consistent in color as its northern cousin, but it has that lower mid range honk that sounds
great onstage, especially if you temper it with a softer top
wood. Quartersawn cypress and redwood make for very nice
top plates, especially with semi hollows if you’re going for a
softer bass thump and less piercing highs, because they allow
a player to dig in a little more. I find that the softer top woods
on semi hollows work well for someone who maybe plays a
little cleaner, with a more fingerstyle approach, but they also
make for great slide guitars as well.
I really
think it
comes
down to
what a
player is
hoping
for in an
instrument.
Cypress swamp
Someone who plays around the house for their own enjoyment has
different criteria than someone who is playing at stage volume. That higher volume and more gain setting has a tendency to clip off some of the highs, especially when you throw
the other members of a band in the mix, so that player I think
requires a different approach to getting their sound, compared
to someone who plays at a lower volume. Technique is also a
big determining factor in a build’s specs. People that have a
softer touch can get away with playing on harder woods but
their mistakes show up more easily. Softer wood builds are
more forgiving but you might have to work a little harder for
it. I don’t think anyone can say that any particular build spec
is the holy grail of tone because there are simply too many
variables at play. It all depends on the application.
TQR:
How do you determine the types of pickups you
use?
I think it depends on what kind of vibe a player is going for
when choosing pickups. The scale length of an instrument
and the specs of the build have more of an effect on the tonal
characteristics than the pickups, but certain pickups definitely
work better in certain applications. If someone is going for a
higher gain more volume sound, humbuckers definitely lend
themselves to a creamy saturated thicker voicing but depending on the scale, and the build, and the amp, they can get a
little too fat sounding at times. Soaps and smaller single coils
are beautiful sounding friendly pickups but they can get a little
ratty and gritty sounding when you push them, and they’re
noisy, but it’s a give and take kinda thing. It all has its place.
So much of the
sound comes
from a player’s
touch. I think
people focus
on some of
the details like
pickups because
it’s an easy thing
to change, but
Sonny Landreth
you can chase
your tail trying to find that perfect sound. It’s more important to have pickups that don’t overpower everything else
that’s going on with an instrument. I think it’s important to
let the sound of the wood show through. Otherwise the wood
becomes simply decorative.
TQR:
You also build basses... Is the design process for
bass and guitar generally the same, or does each
require a different approach?
Although you
would think
that they’re
very similar,
basses require
a somewhat
different approach to the
layout. Aside
from the obvious differences with the scale length and how that relates to ergonomics,
bass strings apply so much force along the neck that things
move drastically as you apply tension. You almost have to
lay it out knowing that things are going to be pulled up into
alignment. You try to design so you can at least control what
part of the neck is doing the majority of the flexing, but it’s a
balancing act.
I find that
in the bass
world, you
have two
major camps
when it
comes to
action and
technique.
Chopper
You’ve got
the jazz/fusion guys with the softer touch that are playing over
ramps, beating out 16th notes and covering a lot of territory.
They want really low action with spot on intonation because
they’re doing a lot of melodic passages, but those big strings
-continued-
19
guitars
need plenty of room to oscillate without buzzing on frets, so
it can be a challenge to get everything setting up perfectly,
especially with the 6-string basses. Then you have the guys
that fall into more of the slap/R&B/ funk end of the spectrum.
Those players are still concerned with low action but only so
far. They seem to be just as concerned with how much air is
beneath the strings at the slap points because if it’s too much,
they’re hooking more string than they want, not enough and
they’ve got no control. Bass players approach music differently. Bassists are every bit as much living in the percussive
world as they do the melodic. It’s more about the groove.
Totally different animals.
TQR:
Can you briefly describe the significant defining
features of each model you build?
I’m presently building three guitar models and one bass
model. Of the guitars, my least expensive, the Model 8, is
basically a semi hollow bolt in the 25.5’’ scale. The neck is a
3 piece opposed grain with a tilted 6 in-line headstock and a
12’’ radius on a 22 fret rosewood board. The neck is pitched
at the heel to allow for a tune-o-matic style bridge and tail
or a Bigsby. It’s available with humbuckers, soaps, Tele or
Strat pickups, in a number of different wood species combos.
Average weight on the Model 8’s usually comes in right at
7.25 lbs.
The Voodoo Custom is a chambered neck-through carved top
solidbody in the 25’’ scale. The neck core is a bookmatched
5 piece billet construction with matched body wings, capped
with a ¾’’ carved top. The rear of the body and neck are
carved to a seamless comfortable form that snugs up against
the player and balances naturally. The 3 on a side headstocks
are bound to match the fretboards with 3-ply hardwood bindings. The ebony or cocobolo boards are 12’’ radius on a 22 or
24 fret layout. It’s available in a wide range of wood species
with either humbucker or P90 pickups. Average weight on the
Voodoos range from 8 to 8.5 lbs.
The Jb14 is basically the same 5pc. neck-through billet
construction as the Voodoo wrapped in a slightly Rubinesque
semi-hollow body with a 14’’ lower bout. The scale is the
25’’, 22fret design with a 12’’ radius, available with humbuckers or P90s. The Jb is a more elegant looking guitar that’s still
very stage friendly. Average weight on the Jb14’s range from
7 to 7.5 lbs.
The bass model that I make is a single cut 5piece bookmatched neck through design with a ¾’’ carved top available
in a 34 or 35’’ scale, 22 or 24 fret, 12’’ radius in either a 4,5
or 6 string layout. The backs are carved to lay up against the
player comfortably and balance effortlessly. It’s available in a
wide range of wood and electronic options. Average weights
range from 8.5-9.5 lbs.
TQR:
You also appear to be open to creating ‘custom’
models. Please describe the kinds of features and
appointments that can be customized for custom
projects.
With the standard models that I make, they all have some
custom options like different bindings or wood pickup covers
and such. It makes the pieces a little more unique if you can
do some things to maybe build in some visual harmony. As
for building custom models, once or twice a year, I’ll take on
a custom build that’s a totally blank slate. I can’t do it often
because it breaks the rhythm in the shop, but it offers me a
chance to stretch out a little bit.
TQR:
What would you most like to accomplish in the
future, Vincent?
I’m guessing that if only half of those things that I can imagine make it to fruition, I can consider it a pretty good day. I
hope to at least get to the point that I feel like I’ve made a real
contribution to a bigger picture. For now, the fact that I get
to build musical instruments for people and that brings them
some enjoyment is pretty gratifying in itself.
Voodoo Child
It took a while for Vincent
Guidroz to have a guitar available for review, but this is the
bane of the small builder. You
don’t build guitars to be sent
away for reviewers to paw over.
Builders have overhead, building
guitars can’t be rushed, and if
demand exceeds your capacity
it’s hard to set one aside for a
month. No matter – it was worth
the wait. The first sentence you
will read on the New Orleans
Guitar Company web site goes like this:
“We are a collection of artists, musicians, tool junkies and
wood hounds…”
Believe it. When the Voodoo Custom arrived we gratefully
popped the latches on the case and muttered, “Jeezus, that’s a
piece of art.” And it is. We haven’t seen such minute attention
to detail and deft craftsmanship since the last time we had one
of Chuck Thornton or Juha Ruokangas’ guitars here. Some
people just have the ability to go over the top and hoist the bar
a few notches higher when they build a guitar, and it begins
with a vision of what they want their instruments to be. The
ability to translate that vision into reality at such a high level
is worthy of our respect and admiration, yet the effect tends to
stick with you long after the guitar has come and gone.
-continued-
20
effects
The Voodoo
we received
for review is
a chambered
neck-through
design built from
bookmatched
black limba with
two center ebony
laminations, topped with bookmatched quilt maple. The
grain in the top is an alligator reflecting pool of want. The
cocobolo fingerboard and headstock are bound with
cocobolo, the headstock inlay is pearl, and the truss rod cover, control cavity cover and control knobs are carved from
solid wood. The Voodoo neck carve is a moderately full C
shape and the feel of the frets and fretboard were flawless
perfection.
We have
never seen
a more
beautiful
fretboard,
and you’ll
note the
presence of a zero fret in front of the elegantly carved bone
nut. Hardware includes TonePros nickel stop tailpiece, tuneo-matic bridge and nickel locking 18:1 Grovers. Our Voodoo
Custom weighed 8.8 lbs., but the body design and balanced
feel of the guitar seem lighter in hand. Visually, this guitar
reveals the random perfection of figured wood that suggests some mysterious force that is anything but random…
Voodoo indeed.
For all its beauty and fine attention to detail, the Voodoo
Custom does not create the impression of a ‘fussy’ instrument overwrought with questionable affectations. Three P90
pickups may be a bit unusual, but Guidroz’ use of a toggle to
add or subtract the middle pickup (down is on for the middle)
works well, producing a wide range of very deep and useful
tones. The Lollar P90s are custom-wound with a 5% underwound reverse polarity middle pickup and 5% underwound
neck for enhanced clarity. The
middle pickup adds midrange
depth to the neck and bridge,
the bridge pickup alone is bright
and chimey with lots of sparkly
treble tones typical of Lollar
P90s. The neck pickup alone is
clear and thick with good treble
snap on the top and a deep bass
rumble on the wound strings. As
solidbody guitars go, it really
doesn’t get any better than this
Neil Youngs’s Frets
on all counts, but the Voodoo
Custom is just one
example of many
variations built by
Vincent Guidroz.
The singlecut semihollow Model-8
with cypress top and
swamp ash body
had us drooling on
our keyboard, and
the 25” scale semi-hollow JB-14 equipped with humbucking pickups takes the concept of a mahogany and maple
solidbody to entirely new places. All New Orleans models
are available in a range of optional pickup configurations,
wood combinations and finishes, and we’ll say this one more
time… Seeing is believing, and the collection of “artists,
musicians, tool junkies and wood hounds” at New Orleans
Guitar Company definitely deserve your consideration as one
of the foremost custom electric guitar (and bass) makers in
America. Quest forth, ya’ll…TQ
Driving South
Lightnin’ Hopkins
“So vast, so
limitless in
capacity is
man’s imagination to
disperse and
burn away the
rubble-dross
of fact and
probability,
leaving only
truth and
dream.”
–William
Faulkner
It gets dark around here early these days. And I like it. Texas
may seem like some sort of glorified all night well lit party,
and thanks to the endless ozone haze from the refineries nearby, it may be. But I’m under the impression that good things
happen in the gloaming, that cusp of day fading into eve, that
tenebrous and wintry hour where the rote hustle and bustle of
making a living finally gives us time to come on home and
pull ourselves together, make some music, and, hopefully, use
that art form to make sense of our lives.
As for me, I’ve been so out of the loop lately, out of my head.
-continued-
21
effects
I need a guitar in my
hands more than ever.
Suffice it to say when
least expected, a girl
from North Dakota
came onto the scene
and showed me what it
means to get it right, to
have a true shotgun riding running buddy and
partner in crime for this
amusing ride of life. It’s
as heady and righteously
stellar as it gets, and I
thank my lucky stars
for that. And if there is
a crash and burn I’ll take my lumps in stride, but there won’t
be. This one is good to go. What she doesn’t know is what
I do in the back corner of this 100 year old bungalow, down
hard on the wooden tiger oak floors with a 64’ Deluxe, the 62’
Echoplex, the Big Tex blonde Strat with Lollar Specials, and,
finally, sending it all into perspective, this old Tube Driver.
I’ve never figured out how the heck B. K. Butler did it, but
after all these years, with so many endless heaps of overdrivedistortion-screamer hogwash pedal attempts put out by
countless crop dusters, the Tube Driver still embarrasses all of
them. I’ve looked inside a few times and none of it makes a bit
of sense to me – the circuits, the wiring, and the mystique of
what’s going on behind this curtain. But I’d rather not understand it. I just want to keep cranking through it until the day
comes when I can’t set some notes free to bloom in the air.
If you don’t have one in your stash, with all respect, I just
can’t relate, nor figure out what you’re into, where you’re
trying to take yourself, but it isn’t my place. I have a couple
of them. The extra one sits in the kitchen cupboard, with a
vintage Stanley coffee thermos I take along for fly fishing
adventures.
I barely push this pedal.
Like the bottle of Scorpion
Mescal the editor of this
mag left here, all you
need is a small dose to be
messed up. I’m not a fan
of absurd heaps of gain,
am more so fascinated
with clarity, feel, and
organic warmth. I’d much
rather redline an old tube
amp and let it fold up and
deliver on its own than
squeeze the front end too
much. I run
the Tube
Driver gain
on about
2-3 max,
and EQ it
to give a
fat, girthy
ass-end that
doesn’t fall
apart, all
the while retaining top end sparkle and shimmer. I did switch
the 12AX7 out for a 50’s RCA 12AU7 to give it a wide usable
sweep of drive, and according to me, the RCA’s have always
been the smoothest for anything. The Echoplex agrees with
it, too, and the combination has always been a game changer
for me.
It seems to prefer bigger amps, although I have heard it
through a little Kay amp that was rowdy for slide. Some say
that single coils are all that should be used with Tube Drivers,
but with the late 50’s neck PAF. in the 2007 burst, a pickup
which measures around 7.2 and for some reason has some
truly special transparency, I enjoy kicking it at the hips to land
in some early Freddie King terra firma. It doesn’t surprise me
that Gibbons and Eric Johnson, as well as Gilmour, have quietly sworn by these for years. Gilmour, especially, has his dialed in to give his Strats a sensuality and ether soaring beauty
that stops us all in our tracks, while the Rev knows how to
add just the right blend of woolly grease to his patented game.
I once read that Butler doesn’t even play guitar, he is simply
just another savant inventor (like Leo Fender) who wanted
to make something he kept hearing in his head. Butler even
might have modeled it after an organ sound he heard… Now
that’s funny. A website says he’s hand-building them these
days, signs them and ships them in tiny batches, and as much
as I bet they are amazing, I don’t really care to compare any
of them. I just want to play this guitar and pull myself back
together, and wait for the silhouette of a North Dakota girl
coming through the porch lit glass of the doorway again at the
end of the day. TQ ~Riverhorse
I Wanna Be Your Dog
The title of this little riff is borrowed from the classic 1969
Stooges song that has, for us, always embodied the essence of
what true rock & roll is all about – a slithering, tribal guitar
rhythm, pounding beat, and a potent plea of angst and lust, or
a vow to throw a party of epic intensity and duration. Really,
how many times has the phrase “all night long” been used in
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22
effects
blues and rock
& roll? Confession time has
arrived… Have
you too noticed
that popular
music is rapidly
deteriorating
into just three
horribly repetitive and worn
out genres?
It’s true… Our
culture is careening into a parody of itself, crunching popular music down
to hip-hop, ‘country rock,’ and whatever you want to call that
awful shit that young teenage girls listen to while they dream
about their next pair of Uggs. You can still find great new music today, but not as easily as simply turning on a ‘free’ radio
station. You have to dive way down deep and dredge it up
from the muck like a pearl diver. As for live music, the club
scene in America has seen better days. You need to go to Europe if you wanna rock,
and we know plenty
of bands that do, but
they ain’t rockin’ much
here… What happened?
Now, no one expects a
mature adult to act like
a twenty-something…
that is unseemly at best
and just plain embarrassing at its worst. But
it is incumbent upon
all guitar players no
matter their age to hold
on to some kind of attitude. Have you seen John Fogerty lately? Absolutely killin’
it, never played or sounded better. Attitude = Altitude, and
Fogerty is riding an impressive high. Well done, John.
Atlanta Rhythm Section
In the interest of helping
you keep your attitude,
we’ll add a brief coda to El
Riverhorse’s B.K. Butler
Tube Driver rant. It was
1983 when we rambled
over to Atlanta Discount
Music in Doraville clueless
and needy. We needed to
cop some attitude of the
overdriven and distorted
kind, but staring at the dozens of distortion pedals in
the glass case at Atlanta’s Rhythm City had provided no clues.
So we asked the guitar player working behind the counter at
Atlanta Discount what might be the best fix for our Kingsize
Jones, and he replied, “I just saw Dickie Betts and he was
using one of these. Sounded great.” Uhm, well yes, Dickie
has some attitude and tone… I’ll take it. ‘It’ was a B.K. Butler
Tube Driver, and yes, we too subbed in a 12AU7 for a little
more headroom and found the Tube Driver to be a very cool
tool. Aside from some dim memories and our precious 1952
J45, it’s the only thing we still have left from 1982. Twenty
years later when we did our two-day Houston hang with
Billy Gibbons he proudly pointed out his Tube Drivers in the
studio, and we have spied one in Eric Johnson’s rig here at
the Variety
Playhouse.
Riverhorse
also correctly referenced the
Tube Driver
as a critical
ingredient in
David Gilmour’s classic
tone… Oh,
but our memories are short, our attention span even shorter,
so perhaps you are chasing
something more current with a
bigger buzz behind it, like the
elusive Dumkudo overdrive that
our good friend and Delta Moon
slider Mark Johnson brought
over recently. Nearly impossible
to find used, you can only buy
one from the builder in Japan
through PayPal in yen only,
please, send your money and
wait… We wrote to Dumkudosan to ask if he might send one
for review and received a Japanese ‘no,’ which is no response
at all. Adrian Legg explained that concept to us. We really
didn’t need the Dumkudo anyway, so we just kept on goin,’
but stay tuned… The
truth is, B.K. Butler
cracked the code when
he designed the Tube
Driver. It was a completely bad ass tool in
1983 and it remains so
today. Perhaps it’s time
you stopped chasing
the flavor of the month
and got your own Tube
Driver… Yes, yes, you
-continued-
23
effects
do that. Grab
you some
attitude, and
why not work
up your own
version of “I
Wanna Be
Your Dog”
with the band.
It makes a
great wedding
song when
dedicated to
the happy
couple who
will no doubt be coupling post reception if the groom doesn’t
get too wasted. You can play Jim McCarty’s Helldrivers’ version straight from our web site at www.tonequest.com – it’s
been there for years. Just scroll down to the bottom of the
front page, click and crank those speakers up! Here, we’ll
make it even easier for you… Three chord verses – G F# E
Break – G E D B C D E
So messed up I want you here
In my room I want you here
Now we’re gonna be face-to-face
And I’ll lay right down in my favorite place
And now I wanna be your dog
Now I wanna be your dog
Well c’mon
Now I’m ready to close my eyes
And now I’m ready to close my mind
And now I’m ready to feel your hand
And lose my heart on the burning sands
Well c’mon
Quest forth, dog…
VISUAL SOUND
True Tone Clean Boost
As pure and rippin’ as the Tube Driver is, there are times
when a more subtle and suggestive busted up guitar tone is
called for – blues certainly, and hard rockin’ rhythms where
you really don’t want a ton of hot snot spewing from your
speakers. And for those times when a glass of Pinot Grigio
is preferred over a warmed shot of Bols Genever, we give
R.G. Keen
TQR:
you the most
excellent True
Tone Clean
Boost by Visual Sound. We
asked Visual
Sound founder
Bob Weil and
design partner
R.G. Keen to
explain the
genesis of the
TTCB:
Following a long history of designing and building many different boost pedals successfully, what
specifically inspired the development of the Clean
Boost? Was this another R.G. Keen collaboration?
Bob: Yes, definitely. RG and I have been working collaboratively for many years now, so pretty much everything you
see in our line these days comes out of that creative/technical partnership. The other guys in our office are also always
involved these days too, lending their ears and ideas.
TQR:
How does the tone control work, specifically? It
doesn’t seem to simply increase treble tones...
RG: It’s an active semi-Baxandall shelving tone control with
an asymmetrical boost/cut characteristic. The turnover point is
deliberately low to allow it to boost/cut mids and highs at the
same time. This proved to be more useful than more normal
tone controls when working with the voicing at other places in
the circuit and also when working with a “typical” – if there
is such a thing – guitar amp and speaker voicing. It’s one of
those things that’s quite difficult to deduce from theory, but
works great in practice.
TQR:
You note in the product description that the Clean
Boost runs off of 27 volts internally. Please explain
why this is significant in terms of the how the pedal
operates and sounds, and does this effect the way
the pedal works with other 9V pedals on a pedalboard?.
RG: The typical 9V battery is a legacy of early transistor
circuits from the early 1960s. They needed more than a few
volts, but not a pack of small 1.5V batteries. The early effects makers picked this up as handy for their purposes, and
the 9V battery has served well for a long time. However, it
has limitations for the way we use pedals and amps today. A
circuit working from a 9V source is only about a gain of 10
to 20 away from clipping. Today’s practice with pedals often
involves driving the input of a tube amp with much higher
-continued-
24
effects
voltages to get clipping from the input
tube, not just from a
solid state clipping
circuit in a pedal.
The sound is different, and today’s
sophisticated pedal/
amp users make use
of the difference in
their playing. So
getting big output
voltages which are NOT distorted from a pedal involves
making the pedal run on more than 9V internally. Historically,
the answer was either two 9V batteries to get 18V, or an AC
powered pedal to get bigger internal voltages. We have better
power supply technologies today (RG once made a living
designing power supplies) so the easy answer is to take the
9V supply that’s a de facto standard for pedals, and convert
it up to something bigger. In the case of the TrueTone, that’s
nominally 27V, which can supply nearly 20V of peak-to-peak
signal at the output.. This is plenty to overdrive the input of
most tube amps. But you need more than 9V to do it right.
Once you’ve decided to go this way, you have to exercise74/
what I call “good design hygiene”, making the pedal work
The TrueTone was designed with these issues in mind; there
was a positive effort in the design to not pollute the power being fed to it, and not cause any foreseeable oddities with other
pedals. There can be other issues with pedals running just on
9V simply because these pedals may not be able to take the
sheer size of signal coming out of the TrueTone – it can be
bigger than its power supply on both positive and negative
voltage directions. Some pedals may not like having this kind
of input. If the True Tone is used before another pedal instead
of just before a tube amp, it’s a good idea to start with the
TrueTone volume well down before increasing it to the level
you want.
TQR:
We don’t hear a lot of hard clipping as you would
experience from a true distortion pedal. Can you
explain how you go about designing a clean boost
that sounds more like your amp turned up versus
something more intense and gritty?
RG: The word “overdrive” has become a bit vague in today’s
music jargon. About all you can say is that an overdrive is
a not-very-intense distortion. Probably. But the True Tone
really is an overdrive in the Webster’s Dictionary sense of the
word. It produces an output which is minimally distorted, and
intended primarily for over-driving a tube amp input grid. It
can be used other ways, but that’s the main design focus.
Bob: So, TrueTone doesn’t produce an overdrive sound on
it’s own. It’s a clean boost that’s actually clean, but it will
push a lot of amps into overdrive and can also push other gain
pedals to overdrive more.
and play well with others. Modern practice on pedalboards
is moving rapidly to no batteries at all. The pedals will be
connected to either a daisy chained power supply like the 1
SPOT, a set of isolated power supplies, or some combinations
of the two. You simply have to make each pedal work in the
systems environment of the modern pedalboard. Today, we
see a rising tide of what the computer business would call
“systems integration” problems. Random pedals may or may
not have had any thought put into how well they work with
other pedals in a setup, and this can cause problems. Bob
didn’t like how some pedal manufacturers forced people to
buy their proprietary odd-voltage power supply in order to
get higher than 9V. He insisted that the pedal run off a 9V
supply to make it easy for musicians. He knew that we could
use a voltage step-up circuit inside the pedal, so that’s what
we did.
RG: Tubes – well, all amplifiers, really – clip two ways:
input clipping and output clipping. Output clipping happens
when the device has a signal which may not be distorted on its
input, but is amplified so much that it exceeds the signal the
device can put out. Input clipping happens when the input is
driven outside the range in which it can respond well, whether
the output has more headroom or not. High gain devices clip
on their outputs, and low gain devices clip on their inputs in
most cases.
For tubes, the impedance driving the input grid is important as
well. Tubes do in fact clip even more softly when driven from
a low impedance source. If the amp being overdriven does not
have a lot of series resistance between its input jack and the
first tube, it will benefit from both the higher signal voltage
and the lower impedance. The True Tone is designed to take
advantage of this quirk when driving a tube input. It’s not
the only thing it does well, though – we all like happy side
effects!
Bob: Speaking of side effects, I’ve heard from some musicians who like to leave the TrueTone on all the time, set to
-continued-
25
amps
just slightly above unity gain, because it makes their guitar or
bass sound better overall.
Review
You may recall our most recent review of the excellent
Garage Tone series of pedals made by Visual Sound. Bob Weil
and R.G. Keen contrived to create truly affordable professional
effects pedals, and they succeeded without exception. To us,
‘clean boost’ is best described as the sound of your guitar and
amp turned up by degrees when, technically, it isn’t. You step
on the pedal and now your amp sounds like it’s expanding on
the edge as you nudge the volume control, but still well short
of hard clipping. This is a very useful effect as long as you get
a smooth, musical ‘clean boost’ that mirrors the unaffected
tone of your guitar and amp that you have worked so hard to
achieve.
The True
Tone Clean
Boost does
a really
nice job of
gradually
jacking up
yer tone
with a bigger, thicker
voice via
the Volume
knob up to 15dB, but it also has a Tone control that is very
useful for filling in different frequencies or subtilely rolling off
highs to taste. While most builders’ product descriptions tend
to assume that you’ll get the same consistently stellar results
regardless of the guitars and amps you may be using, this isn’t
always true… You have probably noticed how certain amps
and effects devices seem to sound best with different types
of pickups, for example. The Tone control on the True Tone
Clean Boost allows you to shape EQ to optimize the sound
based on whether you are playing a guitar with a bright Tele
bridge pickup, Strat, P90, or a heavier bridge humbucker. It’s
a simple pedal with an equally straightforward purpose, but
the Tone control adds a bit of flexibility that we found very
appealing. Overall, the True Tone Clean Boost is just what the
name implies – toneful, versatile and at just $120.00, a great
value. Highly recommended.TQ
http://visualsound.net
THE BEST CHEAP AMP YOU CAN STILL FIND
Silvertone 1484
Otherwise
known as
the Silvertone Twin,
the model
1484 built
at Nathan
Daniel’s
Danelectro factory may well be one of the very best sounding
(and truly usable) bargain amps left for tone freaks on a budget. But you don’t buy a 1484 because it’s cheap – you buy it
because it sounds so ‘60s cool and real. The fact that you can
score a head alone for $300 or a complete 2x12 rig loaded
with Jensen C12Qs for a hundred more is a bonus, but we’re
not talking about a curious relic here that won’t get turned
on… The 1484 is a serious dual 6L6 amp with decent headroom and power, cheesy but cool spring reverb and tremolo.
When you plug in, the classic ‘60s sound of the 1484 lends
a heavy dose of garage tone greatness to your playing that is
undeniably unique, refreshing and fun. If the tones from the
1484 don’t make you smile and laugh out loud, you should
probably quit playing, guilty of taking yourself way too
seriously. You can also use it to lay down some deadly guitar
tracks while you’re laughing.
You’ll note
random mentions of Jack
White and the
1484. Irrelevant.
Here’s the
deal… These
old Danelectro/
Silvertone amps
aren’t as loud as a typical Fender powered with 6L6s, which
is fine. The ’65 head Greg Talley just bought for $295 and left
with us for review might produce 25 watts or a little more,
loaded with the original Silvertone 6L6 and 6CG7 RCAs,
and Silvertone Amperex 12AX7s. Channel one and two are
functionally identical with volume, bass and treble controls.
Not much happens with the volume knobs until you reach 10
o’clock. Beyond that the amp sounds clear, bold and bright
with just the right amount of sustain and rich overtones suspending the notes and chords. Crank the bass to 3 o’clock and
it functions like a midrange control. It’s a big tone, anything
but shy, and greasing the 1484 with all our favorite overdrive
pedals produced a magnificent sound with extraordinary clarity and depth. Trust us, if you are looking for cheap thrills in
2014, the 1484 is a sure bet. Best of all, Nathan Daniel built
thousands of ‘em. Quest forth… TQ
-continued-
26
painless playing
Yoga for Guitarists
How are your back, shoulders, hands, fingers and
wrists holding up after having played the guitar for a
few decades? With age and
experience come aches and
pains that are completely
foreign to young immortals,
but you don’t have to accept
stiffness and painful joints
as an inevitable consequence
of logging too much boogie
time. Decatur, Georgia
guitarist and yoga instructor Joe Palese has developed a DVD program for guitarists
that specifically addresses the types of chronic nagging
pain, stiffness and lack of mobility that can uniquely affect
guitarists. Thanks to our good friend, chiropracter Greg
Talley, and running buddy Bella the Alabama hound dog, we
have managed to remain fairly flexible and avoid the kinds
of back and shoulder problems that can plague guitarists,
but we have
experienced the
onset of painful
arthritis in the
joints of both
thumbs. Hours
spent at a computer keyboard
and playing
Bella the guitar have
taken their toll. Some days are better than others, but after
using the exercises in this DVD that specifically address the
hands and wrists, we experienced improved flexibility and
fewer days when our carpometacarpal joints at the base of
the thumb were painful. None of the exercises in Yoga for
Guitarists require extreme contortions and you don’t need
any special equipment – just a few minutes set aside to practice the exercises as described by Joe:
“Musicians are essentially athletes, what we do requires an
extraordinary amount of physical discipline and concentration. Over time, due to repetitive stress and movement,
a devoted musician is likely to experience tremendous
discomfort or even an outright injury. Yoga can heal these
injuries or completely avoid them. I have been practicing
Yoga for 21 years and teaching for 16 years. After beginning
my regular Yoga practice, the aches and tightness that had
accompanied my guitar playing completely disappeared.
Throughout my 16 years of teaching I have worked with and
ultimately
healed
many
musicians
who were
living with
tendonitis
of the
wrist and
elbow,
Carpel
Tunnel
Syndrome, rotator cuff issues, low back pain, and chronic
tightness of the shoulders.
The techniques that you will learn in this video are not only
designed to heal existing injuries, but to prevent these common issues from occurring. Divided into sections for the upper and lower body, this video is designed with the beginner
in mind, although even an experienced Yoga practitioner will
surely benefit. Thorough explanations of all poses and sequences are provided, as well as practical ways to implement
the poses into your daily routine, whether at group rehearsals or a home practice. The human body is a fascinating and
miraculous force of nature. Holistic Medicine states that
‘our biography dictates our biology.’ In other words, factors
such as the foods we eat, our sleep patterns, exercise routine,
posture, and job stress all play a role in how we feel and how
well we perform our day-to-day tasks. Your Yoga practice
will be a tremendous asset to your musical path. Enjoy!
And from another resident of Decatur, GA…
“I am so grateful to
Joe Palese for giving
us “Yoga for Guitarists.” The exercises
are simple and effective and Joe explains
and demonstrates
them thoroughly in a
manner that makes
me feel relaxed,
inspired and energized. As a traveling guitarist I will take this video wherever
I go knowing the meditative approach and exercises help
me heal and prevent future strain on my muscle and joints.
Thank you Joe!” — Emily Saliers, Indigo Girls
You can acquire Yoga for Guitarists online for just $19.99
with best wishes for a toneful and painless 2014!
http://muse-eek.com/yoga-for-guitarists/
www.joepalesemusic.com
27
OVERFLOW
-continuedTONEQUEST REPORT V.15 N.3-4 Jan-Feb 2014
XX
ToneQuest
Report
the
PO Box 717 Decatur, GA. 30031-0717
PERIODICAL POSTAGE
PAID AT
DECATUR,GA
AND ADDITIONAL
MAILING OFFICES
TM
the
ToneQuest
ToneQuest
Report
TM
Editor/Publisher David Wilson
Associate Publisher Liz Medley
Graphic Design Rick Johnson
EDITORIAL BOARD
Billy F. Gibbons
Greg Martin
Joe Glaser
Richard McDonald
Tom Guerra
Joe Mloganoski
Bakos AmpWorks
Johnny Hiland
Todd Money
Dick Boak
Gregg Hopkins
CF Martin & Co.
Vintage Amp Restoration
Joe Bonamassa
Mark Johnson
Analogman
Tom Anderson
Tom Anderson GuitarWorks
Mark Baier
Victoria Amplifiers
Jeff Bakos
Phil Brown
Acquire Your Personal Copy
of the 1999-2013 TQR Archives
NEW SALE PRICE
You know you want it… you know you need
it… In celebration of the holidays and our 14th
year of publication you can now acquire the
complete ToneQuest Archives on CD for just
$219.00 shipped. You will receive every issue of
TQR spanning November 1999-December 2013
in PDF format, keyword searchable for easy
reference with a complete Back Issue Index in
MS Word. Save these files to your PC or tablet
for access to every review article and interview.
Order now online at www.tonequest.com using
the coupon code TQXCD at checkout or by
phone at 1-877-MAX-TONE (629-8663). Offer
expires April 1, 2014, so don’t delay!
Dan Butler
Butler Custom Sound
Don Butler
The Toneman
Steve Carr
Carr Amplifiers
Erick Coleman
Stewart-McacDonald
Larry Cragg
Neil Young
Jol Dantzig
Jol Dantzig Guitar Design
Ronnie Earl
Dan Erlewine
ZZ Top
Glaser Instruments
Mambo Sons
Delta Moon
Phil Jones
Gruhn Guitars
Mark Karan
Bob Weir & Ratdog
Robert Keeley
Robert Keeley Electronics
Gordon Kennedy
Ernest King
Gibson Custom Shop
Chris Kinman
Kinman AVn Pickups
Mike Kropotkin
KCA NOS Tubes
Sonny Landreth
Stewart-MacDonald
Albert Lee
Larry Fishman
Adrian Legg
Fishman Transducers
Bill Finnegan
Klon Centaur
Lindy Fralin
Peter Frampton
Greg Germino
Germino Amplification
Dave Malone
The Kentucky Headhunters
VP Mktg, Fender Musical Instruments
Co-Founder K&M Anaslog Designs
Manager Gibson Repair & Restoration
Justin Norvell
Sr. Mktg Mgr, Fender Guitars
James Pennebaker
Artist Relations, Fender Musical Instruments,
Nashville
Riverhorse
Tommy Shannon
Double Trouble
Todd Sharp
Nashville Amp Service
Tim Shaw
Fender Musical Instruments Corp.
Randall C. Smith
Designer & President, Mesa/Boogie Ltd.
John Sprung
American Guitar Center
Peter Stroud
Buddy Whittington
John Mayall & The Bluesbreakers
Greg V
Los Angeles
The Radiators
Lou Vito
Jimbo Mathus
Mike Voltz
Shane Nicholas
R&D / Product Development, Gibson Memphis
Sr. Mktg Mgr, Fender Guitar Amplifers
René Martinez
The Guitar Whiz
The ToneQuest Report™ (ISSN 1525-3392) is published monthly by Mountainview Publishing LLC, P.O. Box 717 Decatur, GA. 30031-0717, 1-877-MAX-TONE,
email: tonequest1@aol.com. Periodicals Postage Paid at Decatur, GA and At Additional Mailing Offices. Postmaster: Send address changes to:TheToneQuest
Report™, PO Box 717, Decatur, GA. 30031-0717.The annual subscription fee for The ToneQuest Report™ is $89 per year for 10 issues. International subscribers please add US $40. Please remit payment in U.S. funds only. VISA, MasterCard and American Express accepted. The ToneQuest Report™ is published solely
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28

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