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2011 April » The Gigging Musician

Instrument Cable Rundown – Guest Submission by Lee Hodgson

 Posted by Paul Schille at 12:07 pm  Gear, Reviews
Apr 302011
 

Today we have a guest submission on instrument cables from Lee Hodgson. Lee teaches at London’s Guitar Institute (part of the Institute of Contemporary Music Performance), has written for Guitar Techniques magazine, been an official demonstrator for Vox amps, and is a Fret-King guitar endorsee. He has put together a very thorough comparison of a wide variety of cables, and though we may differ in our preferences (he disses one of my favorite cables!), the bottom line is that the cable you use DOES make a significant difference and it’s worth trying as many as you can to find what works best for you. Thanks for the great article Lee!

Guitar Leads Do Sound Different…

By Lee Hodgson

Introduction

Are there really audible differences between guitar leads? And if so, is there a ‘best sounding’ one? Well, they all sound different for sure, so I believe it’s a case of finding what’s best for you. After all, not everyone might want a totally transparent sounding lead. (An electric guitar is not exactly a piece of hi-fi…) Blues players, for example, may want a warmer tone, whereas a funk guitarist might want sparkle, get the idea? On a larger scale, we basically choose between, let’s say, a Fender Strat over a Gibson Les Paul (or vice versa); one has more warmth yet the other has more brightness and cut. Of course an amplifier has tone controls, so does a lead’s characteristics count? I believe so. It’s not just about treble, middle and bass; there are other more subtle factors at work – which scientific studies could explain. All we musicians care about is a musically satisfying result, wouldn’t you say? My main point is that I really can hear how some leads impede or alter the sound in some way or another. Curiously, I can also sense when a lead is the ‘right’ way round: it’s not about tone, it’s rather more to do with cohesiveness and the frequencies all arriving synchronously. Whatever, all I ultimately want is a balanced, uncongested, cohesive and generally wholesome sound. I only want gear that lets me get on with the playing of music.

Test Guitar: Fret-King Corona & Super S with Wilkinson pickups (various pickup settings used).

Test Amps: Mesa/Boogie MkIII Simulclass (EV12L), Cornell Voyager 20 (6V6 tubes, Celestion Gold Alnico loudspeaker). Also a Vox ToneLab ST (modeller).

I USED AN ESSENTIALLY CLEAN SOUND THROUGHOUT. Using parallel thinking, I’m one of those who want even their ‘dirty’ sound to be essentially clean – articulate is probably a better word – when using overdrive. I believe that clarity is invariably perceived as being a positive quality. Some producers think in terms of ‘expensive’ sounds…

Playing Style(s) used: hybrid picking mostly, plus some fingerpicking – the sound of flesh makes Jeff Beck sound good, wouldn’t you agree? I played single note lines (including soulful bends), double-stops, triads and chord strums. I can state categorically that playing multiple notes together or closely in succession, sustaining that is, reveals just how a lead accurately or inaccurately passes the component sound(s). Some leads make your chords sound disjointed and imbalanced, almost as if it’s two guitars fighting each other, whereas certain other leads definitely produce a singular, coherent sound. OK, what follows is my professional opinion of various guitar leads.

My favourite guitar cable is without a doubt, Van Den Hul Integration Hybrid (from Lava Cable). It’s just the best! It actually does seem to improve sustain. It’s quite expensive but not ridiculously so. I went for a 10-foot length.

Lava Soar.

I bought a 20-foot one of these and it’s fine. I use it for general gigging. It’s a ‘high-end’ cable but very reasonably priced.

Cordial.

The CGK 122N is definitely one of my favourite guitar cables! It seems to add something – which might imply that it’s not neutral sounding…

  • Fabulously clear sound (especially on double stops).
  • Sounds musically integrated and has a balanced tone; it’s a wholesome sound that makes a guitar sound wonderful by itself yet, it’s also offers a sound that gels with accompaniment noticeably better than when using other leads. It makes you think: “this is what my guitar should sound like!”
  • It ‘feels’ great! I’d say it’s best suited for rock/blues/overdrive sounds.

I own several Cordial leads: the CGK175, which is slightly different physically (it is more flexible so is more suited to stage use) but sounds every bit as good as the CGK 122 N, plus I have the slightly cheaper CIK122, which is ever so slightly edgier and more vibrant sounding than the rest.

Sommer Cable.

The Grindycop Beast seems to have gained a great reputation amongst discerning players. It’s main feature is its “quickness” (transient response). I bought one and found it to be, as Sommer themselves put it, ‘analytical’…

Evidence Audio.

Dave Gilmour uses the ‘Lyric HG’, as do many other top-ranking players, but I’m left unimpressed. This twin-core (solid) cable is clear enough and well balanced but all I can say is, playing loud through a VOX AC15, a Cordial cable just delivered something special. Evidence Audio might well say that their cables are totally neutral sounding but I don’t really care, I enjoyed playing through another cable more.

Elixir.

Sweet, clean and fairly open sounding. The cable measures a little resistance, which worries me very slightly.

Horizon Siverflex.

The Horizon Silverflex cable is very good but not quite as cohesive and balanced sounding as Cordial leads. It has a great sounding treble response, which makes high-pitched lead work very clear, but I think the bass end is ever so slightly disjointed.

George L’s.

I’ve heard that these are highly regarded but they’re not for me. Despite having great clarity and transparency, they have a slightly cold, clinical sound in my opinion. However, I’d recommend that you try them out with your own guitar…

  • Extremely clear, brilliant sound that works well with all kinds of sounds and playing styles.
  • Good integration and balanced tone: it’s a wholesome sound.
  • Excellent transient attack! Which makes it sound immediate as opposed to blurred.

Planet Waves (D’Addario).

I bought a 20-footer (the more expensive twisted-pair version) and had been using it quite happily until I discovered Cordial… By comparison, the PW lead sounded cluttered and uncohesive, especially on double stops (playing D & F# together on the 5th & 4th strings sounded much nicer through the Cordial lead; it sounded more focussed and the chord was noticeably more vibrant!). Planet Waves’ advertising claims that its cable is “acoustically transparent”, devoid of any filtering effects, yet it does, to my ears, sound a little thicker than other leads – which is probably why endorsee Eric Clapton likes them! I should add, however, that I once played a master-built Fender Tele at a gig and the Planet Waves lead did do it justice. You see, it’s a marriage…

  • Fairly clear sound for single-note lines but not so great for double stops or chords.
  • Flattering when you play hard but loses some detail (sounds a little furry) when using softer dynamics.
  • Might suit a rock/blues lead guitarist who wants a marginally thicker, fatter tone. (It doesn’t actually boost anything, it’s just not ultimately as brilliant or detailed sounding as certain others.)

Ki-Sound (Rotosound).

I paid £4.00 for a 10-footer and I really can’t fault it!

  • Lovely clear sound for any playing style and note formation.
  • Balanced tone: gives a wholesome, integrated sound.
  • A cosy sound. Highly recommended!

Active Lead.

I used to be an endorsee. The Active Lead is kind of like a DI-box-as-a-lead if you know what I mean. It’s perfect, therefore, if you want to quickly plug into a mixing desk or hi-fi etc that doesn’t have a dedicated guitar input (the Active Lead has a mega-high impedance, which is good for guitars).

Check this out: I once travelled by air so I couldn’t take my main rig. All I took was my (back-up) guitar, a Squier Silver Strat, and my Active Lead. I plugged into another guitarist’s little tranny Fender Deluxe (mic’d up)… …and I received many favourable comments from guitarists from the other bands at the festival. I can’t help liking my Active Lead! It serves a purpose.

  • Particularly clear sound, with enhanced high-end – it sparkles!
  • Balanced tone: gives a wholesome, integrated sound. Designed to eliminate an undesirable peak that’s found in most electric guitars’ pickup response.
  • Suffers from a little added hiss. Also, in order to avoid induced hum, you must keep the integral battery box away from transformers etc.

Ripcord (MI).

I paid £82.00 for a 20-footer several years ago and loved it for a while. But then I fell out of love with it and so I sold it! It definitely has a ‘sound’ though…

  • Not neutral sounding – imparts fatness and mid-range drive, a “juicy” sound!
  • Suffers from a kind of crackling/rustling noise when you shake it. (So don’t!)
  • Ripcord also sell expensive speaker and mains leads…

Digressing for a moment, but still considering the lengths people will go for great tone, Eddie Van Halen lowered the voltage supply to his Marshall amp and the sound, he says, went “brown”! And Eric Johnson believes, rather obsessively, in all manner of things that affect tone… Mind you, I’ve heard him play live and I can vouch that his sound was absolutely phenomenal!

Winding down now, I do recall once trying an upmarket Monster lead – they do all kinds of dedicated, stylised guitar/bass leads – and I seem to remember that it sounded neutral. Ultimately though, I preferred my “fruitier” sounding Ripcord, which I favoured at the time.

If you want esoterica, then check out Russ Andrews product brochure, which offers guitar leads that cost up to £600!!!

Finally and in conclusion, I have bought many guitar leads over the years (and plenty more besides those mentioned here, which varied between acceptable and unacceptable) and I can most definitely hear – I’d rather say “feel” – when something is right or wrong, subjectively speaking, that is. It’s all about finding that elusive “perfect combination” isn’t it?

Have fun!

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ROCKIN’ YOUR STAGE SOUND – Excerpt – Live Sound Checklist

 Posted by Ray Neyens at 5:00 am  Free, Gear, How To's
Apr 192011
 

[EDITORS NOTE: This is another post by Guest Writer Rob Gainey. Rob and his publisher, Hal Leonard, have been gracious enough to allow posting of some excerpts of his recent book "Rockin' Your Stage Sound". If you enjoy this, or any, of his articles please consider supporting his efforts by purchasing his book...it just may help Rock Your Stage Sound. - Ray]

Think about all the aspects of your tone on its way to the PA—your cords, effects, amp, speakers, the mic. Everything counts! Don’t be afraid to admit when you get in over your head and need some help, but don’t just let someone fix it; fix the problem with them and you will have earned the money you paid them to teach you. Try many different combinations with your setup. Most discoveries were accidents waiting to happen, but in a good way. Practicing at home and rehearsals are the places to do this, not during showtime! Never forget that it all begins with your tone—it has to be at its best! This is the first and most important step in taking control of your stage sound.
Here is a checklist of points that were made during the chapter. It is a good idea to look these over before every rehearsal and get into the habit of doing this for shows as well.

1. Always Use Fresh Strings
2. Listen in a Quiet Room
3. Eliminate Buzzes and Noises
4. Intonate Your Instrument
5. Check All Batteries and Keep Spares
6. Use a Quality Guitar Strap and Fastener
7. Secure Your Instrument Cable
8. Adjust Your Action Properly
9. Adjust Your Pickups Properly
10. Keep Strong Magnets Away from Pickups
11. Eliminate Squeaks and Rattles
12. Use Fresh Drum Heads
13. Tune Drum Heads Evenly
14. Allow Room for Microphones
15. Play with Dynamics
16. Use a Pickup on Acoustic Instruments
17. Use a Mute Switch to Prevent Problems
18. Use a Stage Amp for a Personal Monitor
19. Use a Clip-on Mic When You Can
20. Carefully Check All Cables
21. Carry Backup Power Supplies
22. Keep Spare Sound Cards and Discs
23. Keep Your Gear in Working Condition
24. Never Cup the Ball of the Mic
25. Never Drop the Mic
26. Never Expose the Mic Directly to the Mains or Monitors
27. Balance Your Stage Levels with the Monitors
28. Use Your Own Mic
29. Keep Wireless Systems in the Line of Sight
30. Learn What Sounds Good on Your Voice
31. Keep Your Lyrics Handy
32. Listen to Your Amp Without Effects
33. Use Fresh Tubes
34. Buy and Use a Volt-Ohm Meter
35. Check for Microphonics in Your Rig
36. Try Your Effects One at a Time to Find Problems
37. Use Only the Effects You Really Need
38. Don’t Wear Earplugs—Turn Down
39. Place Your Effects in the Correct Order
40. Use Loop Switching to Create Unusual Effects

[Editor's Note: Do you have anything to add to this list? What is on your checklist for making sure you have a great gig? Let us know in the comments.]

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ROCKIN’ YOUR STAGE SOUND – Excerpt 2 – Effects Overview (pt 2 )

 Posted by Rob Gainey at 5:00 am  Gear, How To's
Apr 152011
 

[EDITORS NOTE: This is another post by Guest Writer Rob Gainey. Rob and his publisher, Hal Leonard, have been gracious enough to allow posting of some excerpts of his recent book "Rockin' Your Stage Sound". If you enjoy this, or any, of his articles please consider supporting his efforts by purchasing his book...it just may help Rock Your Stage Sound. - Ray]

Flangers/Choruses/Phasers
These units are all similar in that they mix a processed signal with the original unprocessed signal to produce a particular sweeping or swirling effect. Flangers and choruses both change the speed of a delayed signal to produce a swishy or sloshy sound, depending on their settings. Phasers shift the phase of a signal by using a filter to sweep the frequency range. They all sound different when you hear them one after the other, but they are remarkably similar. Extreme settings on a flanger or chorus will produce a warbling effect known as vibrato. While phasers have Speed and Depth controls, flangers and choruses can also have Sweep in their settings.
An ordinary delay unit can be used to produce a flange or chorus effect if it has a modulation control, which automatically varies the speed of the delay. Sweep is the equivalent of delay time, Speed is the equivalent of modulation, and Depth is the equivalent of the feedback or repeat control of a delay unit. With no modulation and longer delay times of 40-60 ms, this is called a doubler, because it sounds like two people playing the same thing ever so slightly out of time.

Delay
Delay is an effect in which you can hear the individual repeats of a signal. Often called “echo,” this is one of the most popular effects in the history of audio. There are many types of delay units, from old tube Echoplexes to pristine-sounding digital delays, but they all perform a similar function: to repeat a given length of your input signal at least once, often more. With each succession or repeat, the volume decreases; at least for normal delay usage. Most delay units have a control for length, another for feedback (the number of repeats), and a mix control that allows you to balance the delayed signal with the original signal. Delay is best used before any reverb, as this is what occurs in the real world and sounds most natural to us.

Reverb
Often confused with delay, a reverb unit produces a large number of “reflections” by means of a digital algorithm. No discrete “echoes” can be heard; instead it sounds like you’re playing in a cave. The evolution of the reverb effect went from using a microphone and speaker in a tiled room to a long box with a “plate” in it or a small box with “springs” to the now famous digital reverbs with complex space modeling, backward reverbs, and “gated reverbs” that build and end abruptly.
The operation of these units will vary considerably, but there are three main parameters on most digital reverbs: Room, Density, and Decay. Smaller rooms produce shorter, tighter reverbs, Plates produce medium-length reverbs, and Halls produce longer reverbs. Each program uses a different algorithm to produce a particular tone for each reverb. Density controls the amount of reflections produced by each program. Decay determines how long the total reverb time is from the initial sound until the final reflection has decayed. While there are often a few more parameters, each unit has a different set of features, sometimes even for different programs.
Reverbs should always be last in the chain, as they usually sound most natural after everything else. The tails they create would sound quite unusual before other units like harmonizers, choruses, and delays, but if you’re out to discover that “unique tone,” this may be the one rule you’d want to break, and my leading choice for a strange effect.

Line Drivers
A line driver really isn’t an “effect”; it simply amplifies a signal that has been weakened by multiple effects units in series to a level that will drive a long cord to an amp without a significant loss of gain. This unit will rarely be switched in or out of the signal path; it is usually left in the whole time. It doesn’t provide “distortion” as we know it—its main purpose is to cleanly amplify a signal without changing the quality, just the level.
These units are best used very last in your signal chain, even after any reverb. If you only have a few effects, you may not need one at all. If you have six or seven units, you may need one. It really depends on how much gain your amp has. If you have plenty of gain left over after all is said and done, you don’t need one. If your gain is cranked all the way up and you could use some more level, then you definitely need one.
An entire library could be devoted to just effects, but that’s just not practical for the purposes of this book. There are quite a few other effects—some of them one-of-a-kind specialty units that nothing else can replicate, but in the end, they will typically fall into one of the four categories we have discussed here. As long as they are sequenced correctly, you should be able to make what you have work with few problems. Just keep in mind that people come to hear music, not effects.

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Yamaha Release iPad App For LS9 Mixers

 Posted by Ray Neyens at 6:34 pm  Gear, News, Videos
Apr 142011
 

Yamaha’s new StageMix iPad app for it’s LS9 mixers finally hit the Apple iPad App store yesterday. The app was previously available for Yamaha’s higher end M7CL mixers. This new app brings mobility to the mix engineer. With it’s “Sends on Faders” ability you could have the LS9 at front of house and have an iPad on stage for making adjustments to monitor mixes (or vice versa, LS9 on stage & iPad at FOH).

My band is thrilled by this new release as we use the LS9 for our in ear monitor mixer. The mixer lives next to our drummer which can make access to it a little challenging for the rest of us in some venues. With the new iPad app we can set up an iPad near the front of the stage for the rest of the band to use for tweaking their own mixes.

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ROCKIN’ YOUR STAGE SOUND – Excerpt 2 – Effects Overview (pt 1)

 Posted by Rob Gainey at 2:39 pm  Gear, How To's
Apr 142011
 

[EDITORS NOTE: This is another post by Guest Writer Rob Gainey. Rob and his publisher, Hal Leonard, have been gracious enough to allow posting of some excerpts of his recent book "Rockin' Your Stage Sound". If you enjoy this, or any, of his articles please consider supporting his efforts by purchasing his book...it just may help Rock Your Stage Sound. - Ray]

Compressors
Compressors and gates are actually the same electronics used in different ways. As opposed to completely opening and closing, compressors ride your signal level. When your signal reaches a certain strength (Threshold) it begins to turn the signal down at a specific rate (Attack) and by a certain amount (Ratio), and turns it back up once you have gone below the threshold (Release). It would seem like this would be the perfect effect; however, it comes at a price: noise. Extreme ratios and very low thresholds will essentially turn down every note you play, yet turn up the noise when you aren’t playing. Compressors can also remove all the life and dynamics from your playing as well. These effects aren’t meant to replace your ability to control your instrument, but they help if you’re in the range. A rule of thumb to consider when using them is, for every 1 dB of compression in your signal chain, you will add 1 dB of noise. Light compression and lower ratios should be your first choice for a natural sound.

EQs
When properly used, these are incredibly handy devices that can change not only your tone, but your level as well. There seem to be two schools of thought regarding their use: one group of users simply cut out frequencies for the proverbial “smiley face” EQ setting, and another group of users just push everything up (though not quite equally), then leave it on pretty much the whole time. Often the amp needs adjusting to make either of these approaches work. I question both philosophies. Wouldn’t it be easier to set your amp to the right rhythm tone in the first place, then use the EQ for a lead tone or gain boost? It could also be used to balance the tone of a second guitar; i.e., one sound for the Strat and an EQ for the Les Paul. You shouldn’t need an EQ to make your amp sound right if you choose the right amp.If you’re sitting in on other people’s gear, an EQ is almost essential. Instead of tearing up their settings to get your sound, simply use your EQ to compensate for their settings. I seriously recommend this for any bass player or guitarist, especially for an acoustic instrument.

Gain and Distortion Pedals
These are probably the most misused devices of all the effects. While they can make a marginal amp sound better, they can also make a great amp reek! There is no substitute for having a great amp and getting great sounds from it. If you can get a great sound from your amp without these units, effects can make them sound even better when used reasonably. And like any processor, they can make you sound really bad when pushed to their limits. They should enhance your tone, not become your tone! Very few of them have adequate tone control over the drive they create, making them a liability at higher settings. Using them to go from a clean sound to a saturated lead tone is risky at best; if you need a two-channel amp, then get one! Don’t try to use a footpedal as a substitute; use it to enhance a great amp sound.

Harmonizers and Octave Pedals
While nothing beats a well-played harmony, it’s impossible if there’s not another like instrument in your band. Many high-end harmonizers claim to be able to follow the intervals correctly in key, but a song rarely stays in one key, and pitch shifters aren’t really capable of playing through changes or following movements correctly. They do provide some harmony effects, and used occasionally they can sound very interesting. If you balance them correctly, even the off notes don’t sound so bad when they are blended behind the dominant pitch. The only pitch intervals that sound right on most of these units are an octave above and below, or the unison, which essentially is a doubler. As long as you are aware of the capabilities and inadequacies of harmonizers, you won’t be misled to believe the many outrageous claims made by their manufacturers. Cool effect, but rarely true harmony.

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What’s Your Favorite Overdrive Pedal? I Have a New One!

 Posted by Paul Schille at 6:43 pm  Gear, Reviews
Apr 132011
 

So this is a post that is bound to stir up some controversy as there is no right answer and there are so many overdrive pedals available today that’s there’s almost a different one for every guitarist out there. In the constant search for that perfect tone that we all hear in our head, I’ve tried a lot of the pedals out there today and I usually have 2 or 3 different ones on my board to allow for a variety of tones over the course of the gig. In the collection currently are an EH Little Muff (vintage), Univox Super Fuzz (vintage), Ibanez TS-9 Tube Screamer (early 80′s), ProCo Rat (original big-box), MXR Micro Amp (80′s) and MXR Distortion+ (late 70′s). Then several of the more modern units like the Fulltone Fulldrive 2 Mosfet, Voodoo Lab Sparkle Drive, Xotic BB Boster, Hermida Zendrive, Boss Blues Driver, Fulltone Fat Boost, and a couple more I can’t recall right now.

Jetter Jet Drive

So is that too many? For sure if you’re a minimalist and get your tone all from the amp, and no if you’re like my friend Billy who makes my collection look anemic. But I recently heard about a pedal that is getting rave reviews, so when one popped up on Craigslist at a good price I couldn’t resist. And man, am I happy I called! The new overdrive is the Jetter Jet Drive pedal. If you haven’t heard of these guys yet, check out their site at www.jettergear.com. And if you get a chance, definitely find one of these pedals and give it a try. This is basically two pedals in one box, and they’ve done a great job of making the two sides work seamlessly with each other. I’ve tried other dual pedals that have settings that just don’t work with each other, but it has been impossible to find any setting on either channel that doesn’t sound great alone or combined. What you have with this pedal and a clean amp is basically four “channels,” taking you effortlessly from clean to mild to crunch to solo.

The Jet Drive has two two channels, Blue and Green, and each offers it’s own unique flavor. The Blue channel is a bit more aggressive in nature while the Green channel is more buttery. Either channel can provide everything from clean boosting to crunchy grind, and even at maximum gain settings each channel provides harmonically rich, moderate gain lead tones that never get flabby or overly compressed. But it’s when you combine the two channels that this little pedal really shines! Adding the perfect volume boost for solo work, notes really sing, and your Tele still sounds like a Tele and your Les Paul still sounds like a Les Paul. The tone remains very transparent, the low-end stays tight and focused, and you will not hear any harshness or spikiness on the top.

The tone controls are a bit different here as well, as they are tuned to the frequencies most often used by guitars. Going from Lean to Rich, you can dial in very usable high end as needed in both channels. I’ve found settings between 1 and 3 o’clock work best for me. This pedal will be going on my travel board, as it should give me a wide variety of sounds with whatever backline I find at the venue. I was going to shoot a short video of the pedal in action but came across an amazing demo by one of my favorite guitarist, Peter Thorn, so thought I would share that with you here. Both the pedal I have and the one Peter demos are Version 2 of the pedal and have about 25% more gain than the original version. I talked with Brad at Jetter and he said that any serial number that starts with “0810…” or higher is a V2.

So have a look at the demo and let me know what you think!

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Get 3 Print Issues of Premier Guitar for Just $4.95

 Posted by Paul Schille at 2:46 pm  News
Apr 122011
 

3 print Issues of Premier Guitar for only $4.95 is a great deal and one you shouldn’t pass up. PG has quickly become my favorite guitar magazine, in part due to that fact that every issues is available in it’s entirety online at premierguitar.com. So if you can get them free online, why would you want to subscribe you might ask? Great question, and my only answer is, you need to try and it and if you’re anything like me you’ll subscribe as soon as your 3 issues run out! Some of the information you find right here on The Gigging Musician comes straight from PG’s weekly email newsletter which is packed with more info than we can post here. If you want to be in-the-know first, give Premier Guitar a try today!

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New Wilkinson Vintage Series Guitars

 Posted by Paul Schille at 8:22 pm  Gear, NAMM
Apr 052011
 

Vintage Reissued

One of the finds of the show this year at NAMM was the Vintage line of guitars from Trevor Wilkinson. Ray and I have always found some of the coolest things downstairs at NAMM and this year was no exception. Vintage Guitars is part of the JHS/Trevor Wilkinson/Fret-King family and would be considered their budget line. But what a budget line it is! The whole idea behind the Vintage line is to bring top-quality craftsmanship at a reasonable price point. This is something that all the big players talk about, but making it happen is quite another thing, and in this respect, the Vintage line really delivers. The guitars are available as the Vintage Reissued (new), and Vintage Icon (aged) with prices ranging between $300 and $600! Along with the usual Strat and Tele models are a killer Les Paul version as well as SGs, a Flying V and a really cool LP Special I still have my eye on.

The show guitar!

The guitar that immediately caught my eye at the show though was a rosewood fingerboard, very distressed, ash blonde Tele model called the V62MRAB. I played it unplugged at the show, and even in that environment you could tell that this guitar was special. It really rang and nailed that vintage vibe I love. I always take Teles on the road when we have to fly to gigs, and I immediately thought this would be a great road guitar. So I filed all the information away and figured I would look into getting one at some point in the future.

Well a week or so after getting home from the show I found that of all the great guitars we had seen, this particular guitar was still the one I couldn’t get out of my mind. But I really wanted the exact one I had played at the show and figured there probably wasn’t much chance of tracking that one down. I dug out the Vintage information and gave Dennis Drumm there a call, and sure enough, because of all the snow in the Northeast, they hadn’t even unpacked the guitars yet. I was in luck! So we worked out a great deal for the guitar (thanks Dennis and Trevor!) and it was on it’s way!

My Vintage Icon V62 MRAB

Great, aged hardware!

There’s nothing quite like opening that package when a new guitar shows up, and on first inspection it was definitely the one I had played at the show! So straight to my favorite luthier it went for setup. I’m pretty picky about how my guitars play, and this guy just knows how to get the best out of every guitar. So he recut the nut, did some fret work, a new shim, truss rod adjustment, intonation, the works, and the thing plays great! The stock Wilkinson pickups have a great, spanky Tele tone, but since my current gig requires humbuckers most of the time, in went some new pickups. Since I was too lazy to do any routing, I went with a Seymour Duncan Little’59 in the bridge and an Alnico II Pro in the neck. The Little ’59 gets really close to the Wolfetone Marshallhead in my other humbucker Tele, and the Alnico II Pro has a great, warm Tele tone. The middle position is the real winner here though as it get a very acoustic-y sound which is great for clean work. I’ve played this guitar at every gig we’ve done since it arrived and I’m loving it! I use some really nice Les Paul Reissues and Custom Shop Teles, and it just goes to show that price doesn’t tell the whole story as you can pick up this exact guitar at Amazon right now for $459.

We’ll post some video from our shows this summer so you can check out the tone. And if you happen to make it out to one of our shows, make sure you come back and say hi and check this guitar out. You’ll be ordering one off Amazon on your phone before you leave the venue!

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Spring Sale on Clayton Custom Guitar Picks

 Posted by Paul Schille at 1:30 pm  Gear
Apr 012011
 

Wall of Clayton Custom Picks

TGM Picks

If you’ve always wanted to have custom picks of your very own, now’s the time to finally get them! Clayton Custom Guitar Picks is having their Spring Break Sale which offers 15% off any custom pick order. Ray and I ordered a batch of their picks for The Gigging Musician and we left several hundred of them scattered around NAMM. Clayton offers a wide variety of picks including their own well-known Acetal material. We opted for their Duraplex Tortex-like material and loved them. Clayton has a really easy-to-use tool to let you build and proof your custom pick right on the site. It really couldn’t be any easier!

Picks come in batches of 100 and pricing for custom picks starts at only $24.99. To get the 15% discount, just enter SPRING11 during checkout. The sale only lasts through April 5th so don’t miss out!

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