LED ZEPPELIN III
Inside Jimmy Page’s acoustic-rock masterpiece
G U I TA R P L AY E R . C O M
P L AY B E T T E R • S O U N D B E T T E R
“Gear is just 12% of your tone!”
ERIC JOHNSON
NEW GEAR
52
Guitars, amps & effects from Winter NAMM
…reveals his new album, new Strat and the one secret to getting great tone
PLAYERS LESSONS
VINNIE MOORE
MICHAEL LEE FIRKINS
JOSÉ FELICIANO
Cop his faux-slide style
ETHAN GRUSKA NILI BROSH
JAZZ RHYTHM MASTERY Comping made uncomplicated
$8,000
GOLD-LEAF GUITAR Inside Versoul’s stunning Custom Raya 6
NEW & COOL
Six-String Bling
Kari Nieminen’s Versoul guitars are the stuff of rock and roll royalty. B Y
M I C H A E L
R O S S
KAR I N I E M I N E N L AU N C HED the Finnish guitar company Versoul in 1995 with just two acoustic models. He now offers more than 50 acoustic, electric, resonator and bass guitars, as well as amplifiers and a fuzz pedal. Multiple examples of his instruments are owned by a who’s who of rock royalty, including Billy Gibbons, Pete Townsend and various members of the Rolling Stones, and have found their way into the hands of players like Michael Landau, Tim Pierce and the late Allan Holdsworth. Some thanks for that is owed to the Who’s Roger Daltrey, who introduced Nieminen to guitar technician/ guru Alan Rogan in 2003. “Alan was Keith Richards’ guitar tech before he switched to being Pete Townshend’s, some decades ago,” Nieminen explains. “Alan helped me introduce my guitars to many important artists.” Nieminen sent Rogan two guitars: a Resosun 6 resonator and a version of his Henry 6 finished in gold leaf. The first musician Rogan forwarded them to was Ronnie Wood, who immediately bought both. Wood ultimately expanded his Versoul collection to 16 guitars, including versions of the Raya, the most popular of Nieminen’s designs and the one named for his wife, Raija. Wood’s gold-foil Raya 6 Custom has a cast blue lens on both sides of the body, each containing four LED bulbs. That instrument also has perforated chrome-plated steel sides as well as additional binding and purfling on the body. Wood’s collections also J OE L NIE MINE N
include a Raya 6 Custom Blue Lite with an Arctic Ocean salmon skin top and three Versoul pickups: one bridge humbucker and two single-coils.
22
APR IL
20 20
G U I T A R P L A Y E R . C O M
“Ronnie bought this guitar in 2016 with a matching Versoul combo amp finished in Arctic Ocean salmon skin,” Nieminen says. “I used a total of 13 skins to finish the amp shell.” Wood also used a Raya 6 Baritone on the Stones’ A Bigger Bang tour and for the DVD A Tribute to the King; Scotty Moore & Friends Live at Abbey Road Studios. “In addition, Ronnie has bought a Raya 12-string Baritone and two Raya 6-string Baritones.” JOEL N I EM INE N
Wood isn’t the only Stone sold on Versoul. In 2007, during the A Bigger Bang tour, Pierre de Beauport, Keith Richards’ guitar tech and the band’s backline chief, asked Nieminen to build his boss a 10-string acoustic. “I spent the day before the show measuring another
hands. The D-shaped neck is beefy yet
Jetdrive overdrive pedal reveals the Custom
10-string acoustic Keith had on tour,” he
comfortable, thanks to the smooth rolled
Raya 6 to be a terrific tool for rock or even
recalls. “After the show, I built my first Buxom
edges, and the fret finish is perfect. The offset
fusion. The pedal’s compression lends the
Minor 10-string in one month.” The Buxom
green abalone fretboard dots are hard to see
guitar a more classic, less individual response,
Minor body is a slightly smaller jumbo. The
while playing, but the fingerboard’s gold-leaf
but the Raya’s distinctive personality still
guitar was shipped to Germany where the
side markers are easy to discern.
shines through.
Stones were performing. Keith approved, and
Even before plugging it in, it’s evident that
If you’re a standard-issue working
a few years later Nieminen built Buxom
the Raya is a great-sounding guitar. The
guitarist, and not a world-famous rock star or
10-string Baritone and Baby Buxom (parlor
overtones sound perfectly in tune, the output
a hedge-fund manager, eight grand and
0-size body) 10-string acoustics for him.
volume of every note is nearly identical, and
change might be steep for even the best-
the acoustic tone is warm and inviting. The
playing and nicest-sounding instrument. But
It’s easy to see why players are drawn to
quality of the guitar’s ring and sustain is
if you don’t need the bling, a non-gold-flake
them. He sent us a special version of his
interesting, and something about its attack,
version of the Raya runs about five grand less.
After playing one of Nieminen’s creations,
Custom Raya 6. It sports the Raya’s
That puts you in Fender or Gibson Custom
distinctively shaped two-piece Finnish alder
Shop territory for a hand-built guitar that will
solid body, but it’s top-coated with 23-carat gold leaf finished over with lacquer, and it displays maple/mahogany/black-fiber purfling and maple/black-fiber binding. The headstock is covered in gold as well. “I created a special method for gold leafing in the mid 1980s when I was studying at the University
I CAN’ T HELP THINKING THE GOLD LEAF IS AFFECTING THE SONIC IMPRINT
turn heads, please ears and set you apart.
S P E C I F I C AT I O N S Custom Raya 6 CONTACT versoul.com PRICE $8,350 street
of Art and Design in Helsinki,” Nieminen explains. “This method creates a three-
decay, sustain and release is different. A
NUT WIDTH 1 11/16”
dimensional effect and is unique each time it
single note played with vibrato sustains
NECK Bolt-on Aspen curly maple
is applied.”
substantially. Strum a chord and it rings, but
FRETBOARD East Indian rosewood
not quite like a typical high-end guitar. There
FRETS 21 medium jumbo
brown pearloid for the pickguard and control
is something reminiscent of the sonic
TUNERS Gotoh
cavity plate, a nut cut from wild Finnish
personality of my Harmony Rebel, which adds
BODY Solid Finnish alder, two piece
moose shinbone, and hand-crafted pickups
to the Raya’s character. I can’t help thinking
BRIDGE Gotoh Tune-o-matic-style
whose covers resemble vintage microphones.
that the gold leaf is affecting the sonic
PICKUPS Versoul humbuckers with Alnico V
The overall impression is of a pimped-out
imprint, and not in a bad way.
bar magnets
The guitar’s other offbeat features include
pawnshop instrument, and that’s meant as
The Raya’s pickups also recall the Rebel’s
CONTROLS Volume, tone, 3-way pickup selector
in appearance, but their sound leans toward
FACTORY STRINGS S.I.T Power Wound Nickel
traditional midrange humbucking tones rather
.010–.046
idiosyncratic design features beg the
than gold-foil airiness. Run clean through a
WEIGHT 7 lbs.
question, “Is the Custom Raya 6 a
Fender Blues Junior and a 1966 Band Master,
BUILT Finland
conversation piece or a player’s instrument?”
the bridge pickup retains plenty of clarity and
a compliment. Still, these fancy appointments and
The answer begins to reveal itself the minute you take the Versoul guitar in your
G U I T A R P L A Y E R . C O M
bite, while the neck pickup is warm, but not
KUDOS Beautifully built. Inspiring, distinctive sound
muddy. Adding some drive from a Jetter
CONCERNS Bling may not be your thing
AP R I L
2 020
23
TRACKS
My Career in Five Songs
Vinnie Moore reveals a fistful of tracks that made him the shred god he is today. B Y
V I N N I E
D
e
M A S I
DES P I T E H I S R E PU TATI ON as one of the heaviest and most ferocious guitar shredders of the past several decades, Vinnie Moore is remarkably mellow, chill and engaging when GP meets him backstage at New York City’s historic St. George Theatre in December 2019. Moore’s band, the pioneering heavy metal outfit UFO, with whom he joined forces in 2003, is winding down its farewell tour. “I would love for this to continue as long as it can, because it’s so much fun to do,” he explains. “But [UFO lead singer and co-founder] Phil Mogg has been at this since the late ’60s, and I can certainly understand why he wants to retire. What’s remarkable to me though is that, while a lot of singers lose their voice as they age, Phil’s has gotten thicker and more bluesy. I actually think he sounds better than ever now.” The band’s retirement, while bittersweet, may offer Moore the opportunity to shift his focus back to his solo career, which has run concurrent with his tenure in UFO and began in the very pages of this magazine when Moore was first profiled in Mike Varney’s Spotlight column back in 1985. Recognizing Moore’s extraordinary musical gifts, Varney
forces with UFO, he was drafted to be in Alice
Moore is planning a European tour that has
signed the young Delaware native to his
Cooper’s band and appeared on his 1991
dates extending to July.
Shrapnel recording label and tracked his 1986
release, Hey Stoopid. He’s also logged time
solo debut, Mind’s Eye, which became a huge
with Vicious Rumors and appeared on
career-defining tracks, Moore is earnestly
success and established Moore as one of the
recordings by Destruction, Jordan Rudess,
humble. “If you wanted me to name the songs
premier guitarists of the late ’80s neoclassical
Glen Drover and Michael Angelo Batio.
that inspired me as I player, I could
instrumental shred scene.
Moore’s ninth and latest solo album, Soul
immediately reel off several,” he explains.
Shifter (Mind’s Eye Music), is a cornucopia of
“The open-string pull-offs on Van Halen’s ‘I’m
became known for the melodic lyricism of his
thrilling, yet tasteful guitar virtuosity that
the One,’ the harmonies on the solo to Deep
lead lines, the structural cohesion and
pushes the boundaries of instrumental guitar
Purple’s ‘Highway Star,’ and the phrasing and
accessibility of his compositions, and the
music beyond the narrow confines of
lyricism of Santana’s ‘Samba Pa’ Ti’ were all
general diversity of his style. Before joining
neoclassical shred. In support of the release,
things that found their way into my style, for
Far from a mere speed demon, Moore
28
APR IL
20 20
When asked to cite his quintet of
G U I T A R P L A Y E R . C O M
example. But it’s harder for me to talk about my own stuff. I tend to play and write more by intuition and am not always conscious of where my inspiration comes from. But I’ll do
Moore’s signature model Dean
my best to explain it anyway.”
Vinman 2000, in Trans Amber
“DAYDREAM” MIND’S EYE (1986) “This was an important track from my debut album that I still play live to this very day because it always gets a great audience re-
AXE-OLOGY
The five guitars behind Moore’s success.
sponse. I stole the name from a Robin Trower song, although my composition is completely
“In high school I had both a 1965 Gibson ES-335 and a Fender Stratocaster. Then, in 1982,
different than his, style-wise.
I bought a Kramer Pacer and played that almost exclusively for the next three or four years or
“I was experimenting with a lot of key
so. That was the first guitar I ever owned with a Floyd Rose locking tremolo, and I did a lot of
changes when I wrote it, and the song goes
shedding and recording with it early on. I don’t own the Strat or the 335 anymore, but I still
from G Aeolian to F Mixolydian to A altered dominant to F# Aeolian within the first 45
have the Kramer’s body, and I’ve been looking for the right replacement neck for it for the
seconds or so. During the solo, it switches to B
four-track, which was integral in launching my career, so I’m not too regretful, but I sure
Aeolian and E Aeolian sections as well. It was
wouldn’t mind having it back.
definitely a learning experience to play
past few years so I can restore it. The 335 I sold for $550 and used the money to buy my first
“One of my favorite acoustic guitars is a Washburn Stephens Extended Cutaway model,
melodically over the constantly changing
where the heel of the neck is substantially reduced, allowing me access all the way up to the
harmonic landscape. I’ve never been into just
24th fret. You can hear it a lot on 1999’s The Maze album and 2001’s Defying Gravity release.
jamming and calling it a song, and I feel that
My main guitars these days are still my signature model Vinman 2000s, which are made by
even though ‘Daydream’ is an instrumental,
Dean. I’ve always been a Strat-body guy, and these fall into the superstrat category. Some of
it’s got a catchy melodic hook for the chorus
the features that make them unique are my specially designed Shreadhead pickups, the Floyd
that you can sing along with. It’s really
Rose locking tremolo and the 12-inch fingerboard radius. I don’t have huge hands and I like a
important to me to compose with a coherent
smaller, more streamlined feel to the neck, so the 12-inch radius is the happy place for me.
structure and have melodic hooks that stick in people’s minds.”
“AS TIME SLIPS BY” TIME ODYSSEY (1988)
“I also have a custom model Vinman with a fixed Wilkinson bridge that’s not available commercially as of now. I originally used it for recording rhythm tracks on albums because the fixed bridge keeps things in tune just a bit better than the floating bridge, but I liked it so much I tracked several solos on Soul Shifter with it as well.”
“Over the years, I’ve written far more ballads than I’ve been able to put on my records, and
perceive it, but I really didn’t let that influence
There was I time when I would experiment
this track from my second album is one of my
me. When I write, I just write. I’ll imagine how
with all different possible modulations and
personal favorites. It’s very melodic and was
people may react, but I’m not governed by
permutations if I needed to find a chorus to fit
definitely influenced by the phrasing of Carlos
what I think their reaction is going to be. I
a verse, for example. Now I trust my
Santana. It’s mostly in the key of E major, and
don’t put limitations on myself, nor do I set
instinctual first response a bit more. I can be
I’m using a lot of jazzy chord voicings with
out to write something in a specific style just
obsessive about things, and if I get sucked
added major 6ths, 7ths and 9ths in the clean
for the sake of doing it. I find that I’m not
into that vortex it can take way too long to get
arpeggiated rhythm track.”
very good at that anyway, because I’m not
anything done.”
“MELTDOWN” MELTDOWN (1991)
inspired. I get much better results if I let things happen organically. “My writing process is essentially me
“FLY” TO THE CORE (2009)
“I totally changed directions on the title track
picking up the guitar and playing until I hit on
“Around the time I wrote this, I was influenced
of my third album, Meltdown. It’s much more
a riff that inspires me. When that happens,
by some techno music, and you can definitely
blues based, and there’s added emphasis
usually the floodgates open and I’ll get a
hear it on that whole album. I’m always trying
on riffs and rhythm playing. To me, it kind of
bunch of related ideas. It’s kind of a feast-or-
to look for new and interesting things,
sounds like a rock band, but without a singer.
famine thing though. I’ll either have nothing or
musically, and they’ll usually find their way
This song became something of a catalyst for
too many ideas to fit in one song, and I’ll have
into my writing. This song is based off a funky
me as well, as it opened the door that took
to go into editor mode.
groove, with a pedaling octave lick on a
my playing in other directions. At the time I
“One thing that’s evolved in my writing
remember being aware that I was changing
process over the years is that I tend to make
things up and wondering how people might
decisions much more quickly than I used to.
G U I T A R P L A Y E R . C O M
tremolo-picked low Eb string. Against that, I’m playing some triads on the middle three
strings, then adding these uniquely voiced
AP R I L
2 020
29
NEW GEAR
52
The Hottest Things We Saw at NAMM 2020
Here are some of the guitars, amps, effects, accessories and recording products that thrilled us at the annual gear extravaganza. BY J IM M Y L ES L IE , M IC H AE L ROSS, CHRISTOPHER SCAPELLITI & ART THOMPSON IT S E E M S T H AT, with each year, we look to the winter NAMM show
Taylor and Yamaha, as well as Gibson’s rebooted Acoustic Custom
with increasing anticipation. The MI industry has been on a roll, turning
Shop and L.R. Baggs’ Soundscape technology. That said, there was no
out fantastic gear that meets the desires and needs of musicians and
shortage of terrific new products and technologies in the realms of
makes innovative use of emerging technologies and materials. Once
electric guitars, amps, effects and gear for studio and live performance.
again, this year’s NAMM show in Anaheim, California, didn’t disappoint. While we found plenty to like in all of the gear categories, we agreed
But take a look for yourself. Over these next 10 pages we’ve collected a sampling of the gear that got us most excited about the
that this NAMM was all about acoustics. We saw some remarkable
year ahead. Watch for these and other products to be reviewed in our
advances in the acoustic world, including new models from Martin,
pages in the coming months.
LIVE & RECORDING
2
1 IK MULTIMEDIA AXE I/O SOLO IK’s AXE I/O high-end audio interface won praise for its sound quality and features designed to help guitarists capture great tones quickly and easily. The AXE I/O Solo
3
brings the same great tones and ease of use into a portable two-in/three-out interface for players on a budget or simply on the go. It features IK’s high-end Pure mic preamp, an instrument input with proprietary toneshaping options, an amp output to
1
incorporate hardware gear into your setup, and 24-bit/192 kHz converters for pristine audio. AXE I/O Solo also has a streamlined re-amplification setup and a blend knob to
4
mix direct and processed signals for zero-latency monitoring. It can even act as a
onboard opto compressor, high-pass filter
controller for IK’s AmpliTube 4 software,
and presence control, you can dial in great
which comes included, along with a suite of
tones in seconds. Other features include XLR
T-RackS mixing and mastering plug-ins.
mic and line outputs, a processed output for
Available now for preorder. $249.99.
using the box with an amp and a 15db pad
ikmultimedia.com —CS
switch. $799 (street). radialeng.com —CS
2 RADIAL ENGINEERING HDI
Live — my DAW of choice — and was blown
hi-definition, studio-quality HDI direct box
3 TASCAM MODEL 12 MIXER/ INTERFACE/RECORDER/ CONTROLLER
provides seamless blending between
If you want a mixer that can interface with
program via its 12-in/10-out audio interface
ultra-clean tones and amp-style distortion
most popular studio DAWs and cover you for
and became a controller for the onscreen
and saturation, so you can get just the right
practice sessions and gigs, the Model 12 is
program. The Model 12 has a classic analog
amount of character and grit. And with the
hard to beat. I saw it hooked up to Ableton
mixer-style design that’s intuitive and features
The unique color control on Radial’s new
40
APR IL
20 20
away by how seamlessly it integrated with the
G U I T A R P L A Y E R . C O M
precision 60mm faders and familiar EQ and aux controls. The unit boasts high-grade mic pres, MIDI capability for syncing drum
6
machines and keyboards, and a built-in 12-track recorder that captures your recordings on an internal SD card at up to 24-bit/48kHz resolution. $599 (street). tascam.com/us —CS
5
4 UNIVERSAL AUDIO LUNA The LUNA recording system transforms any of UA’s Thunderbolt-equipped Apollo and Arrow interfaces into a full-featured analog-style, Mac-based production system. Tight hardware-software integration allows it to quickly route audio through DSP-powered UAD plug-ins with no discernible latency. LUNA also emulates the audio-summing circuitry of Neve’s classic 80-Series audio mixing consoles from the late ’60s/early 70s, giving your tracks the professional sounds heard on thousands of classic recordings. Other features include integrated Multitrack Tape emulation and a growing list of new, free software-based synth, piano, band and orchestral instruments from Moog, Spitfire
6 ESP LTD M-1000
Audio and other popular plug-in designers.
ESP has long been a dominant force in the
LUNA will be available this spring as a free
shred sector. In addition to offering loads of
download. Free. uaudio.com —CS
performance-enhancing features for a
7
8
modest price, this new model in the LTD 1000
ELECTRIC GUITARS 5 EASTMAN ROMEO-SC
Series throws down in the looks department with an eye-popping burled-poplar top that looks amazing with its Purple Natural Burst finish. Built for speed, the three-piece maple
We were all wowed last summer by
neck has an extra-thin U profile, carries 24
Eastman’s Romeo, a thinline archtop
frets and is topped with a Macassar ebony
semi-acoustic guitar boasting an original
fretboard. The pickups consist of an
design (courtesy of Los Angeles–based
EMG 57TW in the bridge and an EMG 66TW
master luthier Otto D’Ambrosio) and offering
in the neck, with push-pull controls on both
a broad range of tones from its dual
the volume and tone pots to split each pickup
humbuckers. Now comes the Romeo-SC, a
independently. Other details include Grover
variation on the original that delivers a wealth
tuners and a Floyd Rose 1000SE tremolo that
of vintage single-coil and humbucking tones.
provides excellent stability. $1,199.
Like the Romeo, the Romeo-SC has a solid
espguitars.com —AT
spruce top and laminated mahogany back
C-shape neck and medium-jumbo frets on a
and sides to assist in its lightweight nature, as
7 & 8 FENDER LEAD II AND III
well as a maple neck and ebony fingerboard.
Originally produced from 1979 to 1981, these
fingerboard. Humbucking pickups more your
But whereas the Romeo sported two Lollar
double-cutaway guitars with their hardtail
thing? The Lead III has two beefy-sounding
Custom Wound Imperial humbuckers, the SC
bridges and through-body stringing return in
alnico humbuckers, volume and tone controls,
features a lipstick-style Seymour Duncan
2020 as part of Fender’s Player Series.
and dual toggle switches for pickup selection
Vintage Stack pickup in the neck and a
The Lead II sports a pair of single-coil pickups
and split-coil sounds. A great-sounding guitar
Seymour Duncan ’59 in the bridge. It’s also
that are wired to dual-toggle switches — one
that’s fun to play courtesy of the same spec
the first guitar in the lineup to feature
for pickup selection and the other for phase
neck and a rosewood fretboard, the Lead III
Eastman’s beautiful Red Burst finish. $2,340.
reversal — along with pots for volume and
also comes in a variety of cool-looking colors.
eastmanguitars.com —CS
tone. It’s a great player, with its modern
$599. fender.com —AT
G U I T A R P L A Y E R . C O M
25.5-inch scale (9.5-inch radius) maple
AP R I L
2 020
41
12
13
14
16
15
mini-humbuckers. The Contender RB adds a
24.75-inch scale, 12-inch radius and satin
artistry. To get more information and price
Bigsby. Featuring a flame-maple top, the
finish is topped off with Kluson-style tuners. A
quotes, or to start an order for a truly
Roundhouse packs HA5 humbuckers and a
gold-foil pickup in the neck pairs with a
one-of-a-kind guitar, contact Xotic on the
Tune-o-matic bridge and stop tailpiece. The
PAF-style humbucker in the bridge position,
Xotique website. Prices vary. xotique.us —AT
revamped Warhawk guitars have thinner
each with its own volume and a shared
bodies and offer even more ways to rock.
master tone control. Hofner-style creme/gold
The 390 (shown) comes with three P-90s,
“teacup” knobs and a Bigsby B7 vibrato
the DA (or Double Agent) has a humbucker at
system with nylon-saddle bridge add to the
the bridge and a P-90 in the neck slot, and
retro appeal. $999. suprousa.com —MR
the Warhawk DAW has a Wilkinson tremolo.
AMPS 17 BAD CAT THE PAW This stereo hybrid combo features a tube
and superb-looking guitars. $TBA.
16 XOTIC GUITARS XOTIQUE CUSTOMS
reverendguitars.com —AT
Xotic announced a new series of guitars at
speakers. It has 16 selectable IR responses
NAMM called Xotique, a custom-shop line
you can choose from that give the Paw a ton
where players can design their own highly
of flexibility, and the feature set is further
Supro caught my eye with this beauty at
personalized guitar by requesting
bolstered by a stereo effects loop, two
NAMM last year but are only now shipping it.
specifications outside of the normal Xotic
speaker outputs for driving larger cabinets,
Designed with Nashville-based guitarist Ford
California Classic series parameters.
two XLR direct outs, and a USB port for
Thurston, the traditional Supro double-cut
Examples of custom options include
loading and saving IRs. The Paw sounded
shape has been increased proportionally to
— but aren’t limited to — custom colors, body
impressive, and the package is ultra-
the size of an ES-335, and the mahogany
and neck woods, top wood, binding and
convenient for gigs, rehearsals and recording.
body features a gentle bevel along the edge.
pickup configurations. The online catalog
This is a cool amp with great tones and
A three-piece bound mahogany neck with
shows numerous examples of this six-string
capabilities. $799. badcatamps.com —AT
These are all great-playing, vibey-sounding
15 SUPRO CONQUISTADOR
G U I T A R P L A Y E R . C O M
preamp and a class D power section that delivers 60 watts per side into two six-inch
AP R I L
2 020
43
NEW GEAR
17
18 BLUGUITAR AMP 1 IRIDIUM EDITION The new Iridium packs four channels (Classic, Vintage, Overdrive and Modern) and uses Nanotube and solid-state technology to produce 100 watts of power. The stompboxsized amp also has an adjustable gain/boost
19
function that is placed ahead of the channels, as well as a noise gate with three sensitivity levels. The analog speaker simulation is
18
voiced for metal tones, but it can be turned off to allow for IR responses of any cabinets you choose. Designer Thomas Blug — a killer rock guitarist himself — was showing a yet-to-be-named unit slated for introduction in 2021 that will reportedly house all of the Amp 1 circuits, along with an expanded effects section and even side-mounted platforms for adding two pedals of your choice. $849. bluguitar.com —AT
19 BOSS NEXTONE STAGE This 40-watt 1x12 combo (also available in an 80-watt version) emulates the sounds of four
20
21
different power-tube types — American 6V6 and 6L6, and British EL84 and EL34 — all on a Power Amp Select switch. A second switch sets the output to zero (standby), .5 watt, half or full power. The amp has Clean and Lead channels with dedicated level controls, three-band EQ, an effects loop that allows pedals to be placed wherever you choose, and 99 user-definable presets. Onboard effects include reverb, delay (with tap tempo)
drum and bass accompaniment behind your
and tube-sounding tremolo. A USB facilitates
guitar part, and even act as a computer
direct recording, and the cool thing is you can
recording interface. The amp itself looks great
record both your amp tone and your direct
on a desktop, pumps 40 watts of power
tone into your DAW simultaneously, making it
through its two custom-designed speakers,
easy to re-amp if you decide later that you
and boasts a three-band EQ, effects, tap
want to change the tone. If you’re thinking of
tempo, selectable tube amp models, a
reducing the heft, the lightweight Nextone
built-in tuner, presets and more. The Spark
Stage is a good way to go. And wow, is it
app gives you access to a growing library of
feature packed! $499. boss.info —AT
additional guitar and bass tones and effects
20 POSITIVE GRID SPARK
44
presets (currently numbering more than 10,000) from guitarists, session players,
Spark combines a desktop-size smart guitar
studio engineers and producers. $299.
amp with an app that displays and scrolls
positivegrid.com —CS
chords alongside audio playback from
22
Spotify, YouTube, Apple Music and other
21 REVV G20
incorporates the guts of Revv’s G3 distortion
streaming services, allowing you to learn,
Essentially a higher-gain version of the D20,
pedal for more aggressive and fire-breathing
practice and play along with just about any
the G20 is similarly a two-channel 20-watt/4-
distortion tones, and that’s what makes this
song you desire. You can even slow down and
watt tube head powered by two 6V6s that
portable, lightweight bruiser so attractive for
loop difficult passages to help you master
features the excellent Two Notes Torpedo
players who want a no-compromises amp
them. Prefer to make your own music? Spark
Captor reactive load box and programmable
that derives its sonic glory from tube- and
can sense chords, tempo and feel to create a
cab sims. The big difference here is the G20
solid-state circuitry used in the time-honored
APR IL
20 20
G U I T A R P L A Y E R . C O M
PLAYERS
PLAYERS
What Does ERIC
O N E J VO L . I I, TH E V IRTUOSO DOUB L ES DOW N E L EC T R I C GUITAR WO R K IN TO B O L D, N EW B Y
50
APR IL
20 20
J I M M Y
L E S L I E
G U I T A R P L A Y E R . C O M
JOHNSON Want? O N H I S ACOUST I C P L AY I N G WH IL E H E TAK ES H IS TER R I TO RY. CA N H E H AVE IT B OTH WAYS? P H O T O G R A P H Y
G U I T A R P L A Y E R . C O M
B Y
N E I L
Z L O Z O W E R / A T L A S
I C O N S
AP R I L
2 020
51
PLAYERS
A
re you an electric or acoustic guitar player? The majority of our readers are both, but there’s no denying that the acoustic side resonates more robustly in the culture these days. Electric shredders simply aren’t generating as many streams, sales and tour tickets as rootsy singer-songwriters and country pluckers. One cat who bridges the gap first graced our cover in May 1986 with the infamous headline “Who is Eric Johnson and why is he on our cover?” Nearly 35 years later, there’s no need to ask why Eric Johnson is on our cover again. He was, and still is, a unique breed of guitar hero. Although he’s from the shredder era, and even sported an impressive spiked mullet, Johnson didn’t surrender to every tapper trapping in Van Halen’s wake, so he doesn’t suffer the deadly levels of contempt attached to many of his contemporaries. His style reflects his deep affection for roots music, owing as much to Chet Atkins as Jimi Hendrix. With Americana and country music ruling the day, Johnson’s technique and more traditional take on tone are as relevant as ever. Over time, he turned his focus toward the acoustic, touring with Andy McKee and Peppino D’Agostino on the Acoustic Masters tour in 2010. In 2016, he went all acoustic on the EJ solo album and tour [see the Frets feature “Hushed Tones” in the Holiday 2016 issue]. The album was a blend of song-oriented originals and choice cover arrangements that also showcased Johnson’s piano skills, most notably on his stellar arrangement of Hendrix’s “One Rainy Wish.” He continues down a similar path on EJ Vol. II (Provogue), an album with an acoustic heart, colored by his signature violin-toned Stratocaster, which sings more melodically than ever in select spots. Several tracks, including the opener, “Waterwheel,” feature Johnson on acoustic and electric guitars, piano, and vocals. When Guitar Player presented Johnson’s sold-out show at the SFJAZZ Center in San Francisco during a week that also saw him perform at Anaheim’s
52
APR IL
20 20
G U I T A R P L A Y E R . C O M
City National Grove during the Winter NAMM Show, we wondered how the man who’d never toured with a second guitarist would cover all the bases live. Add Dave Scher to your list of names to know. The multiinstrumentalist played a bit of everything, including the requisite Johnson-style Strat licks when Johnson focused on piano. But the proof of Scher’s true grit came when he stood toe to toe with the maestro to trade lead breaks. Kudos to Johnson for having the guts to truly serve the songs and for bringing the up-and-comer along. It’s particularly fascinating to witness Johnson — who still totes around his infamous triple half-stack electric rig — maintain his signature style during the acoustic portion of the show. On any guitar, Johnson’s chords are his chords. The kick is that he transforms from a pick-wielding electric guitarist with awesome hybrid technique into a full-blown acoustic fingerstylist. Still evolving after decades in the spotlight, the always humble and hardworking guitarist is ever inspirational. He took some time to talk with us about everything from Tommy Emmanuel’s indelible acoustic influence to his new signature Virginia Stratocaster from Fender’s Stories Collection.
W
hy are more players and fans today appreciating the acoustic guitar?
“THE ACOUSTIC GUITAR SUMMONS PLAYERS TO BRING EXPRESSION TO THE TABLE WITHOUT USING FIVE MILLION EFFECTS”
The acoustic guitar summons players to bring expression to the table without a lot of sonic sidestepping, such as using five million effects that mask what’s truly going on musically. There’s less in the way between the idea of making music and actually making it. Playing straightforward acoustic is a pretty honest palette, and I believe people appreciate that, whatever the player has to offer.
Why do you go way down the right-hand rabbit hole to full-on fingerpicking?
I feel like I have to in order to serve the G U I T A R P L A Y E R . C O M
acoustic properly, because I want to incorporate the bass line and everything else. There’s a place for simply sitting and strumming, but I try to use the acoustic orchestrally. Certainly, there are other players taking it further by using all sorts of fancy techniques, but fingerpicking well is challenging enough and opens up plenty of possibilities for me to feel like I’m delivering more of a full musical expression. What are your thoughts on two-hand percussive fingerstyle?
When done well, it’s awesome. If it’s not done musically, it can be a bit of a novelty, and the same is potentially true for other techniques. To a certain extent, you have to decide on a direction. My plate is full trying to get better at a whole sea of fingerpicking styles, from bluegrass flatpicking to Travis-style and classical-style fingerpicking. I’ll throw in a tiny bit of the two-hand thing every once in a while just for effect, but I think I’d have to go back to being 12 years old again to really commit myself to get two-handed together. [laughs] Do you pay attention to new acoustic tech, and did you have a chance to check out much at NAMM?
Not really. I wish I had more time at NAMM to see the new gear, because I never close the door on anything that has to do with acoustic electrification. I’m always on the search for ways to make it sound more realistic. I don’t use acoustic effects onstage, other than the reverb onboard the AER Compact XL. Once I saw Tommy Emmanuel, I figured I might as well go that direction as well. Your setup is noticeably similar, with a Maton acoustic-electric running into an AP R I L
2 020
53
PLAYERS
BACK to the GARDEN B Y
R I C H A R D
P H O T O G R A P H R O B E R T
58
B I E N S T O C K B Y
K N I G H T
A R C H I V E
/
G E T T Y
(from left) John Paul Jones, Robert Plant and Jimmy Page onstage at the Honolulu Civic, September 1971
I N 1970, JI M M Y PAG E A N D CO. FUS E D HARD RO C K W I T H FOL K TO FORG E A N E W SOUN D FOR T H E N E W D ECA D E . THE RESULT WAS LED ZEPPELIN III . SAYS PAGE , “We were on a mission.”
Zeppelin pose for a photo in 1970
M IC HAEL OC HS ARC HIVES /GET T Y IM AGES
PLAYERS
THIRD TIME’S A CHARM A track-by-track look at LZIII’s spellbinding songs. “IMMIGRANT SONG”
Driven by a thundering Jimmy Page F# octave riff and Bonham’s propulsive beat, “The Immigrant Song” kicks off Led Zeppelin III — the so-called acoustic album — with even more force than “Whole Lotta Love” launched Led Zeppelin II. And were Led Zeppelin ever more over the top than when Plant let loose with his chest-beating Viking wails on the song’s intro? (One need only witness Jack Black’s wild-eyed re-creation in the 2003 comedy School of Rock to confirm that, yes, this is quite possibly the most Zeppelin-y of all Zeppelin moments.) It’s a standout opener, as Page knew it would be. “With that hypnotic riff and Robert’s bloodcurdling scream, I thought, That’s the way to open an album,’” he once noted.
“FRIENDS” “Friends” features one of Page’s most intriguing alternate tunings: C6 (low to high, C A C G C E). His right-hand rhythm work and fret-hand pull-offs suggest a ragtime feel, but with its exotic chord shadings and John Paul Jones’ expert string arrangement, the song sounds decidedly more Eastern in nature. In addition to re-recording the tune in Mumbai in 1972, Page and Plant pulled it out again for 1994’s UnLedded project (a version appears on their album, No Quarter), where they were accompanied by an orchestra that included numerous Middle Eastern musicians.
“CELEBRATION DAY” With its jaunty rhythm and slippery guitar riff, “Celebration Day” sounds as freewheeling and lighthearted as its title suggests. While it’s not one of the band’s heavier electric songs, famed producer Rick Rubin once correctly noted that it “feels like a freight train.” Adding to the
rollicking nature is the fact that the song seems to stumble in at the intro, a result of the original beginning having been accidentally erased by an engineer. Rather than re-record the part, Page extended the synth line from the end of “Friends” into the top of “Celebration Day,” filling the space until his guitar part came in. “That’s called ‘salvaging,’” he remarked.
“SINCE I’VE BEEN LOVING YOU” This Zeppelin original is quite possibly their greatest blues composition. Some critics and fans have pointed out similarities to Moby Grape’s “Never,” but the power of the song — Plant’s rafters-shaking wail, Page’s frenzied guitar solo and unique chord work, Jones’ warmly glowing organ and Bonham’s thunderous drums (squeaky bass-drum pedal and all) — is 100 percent Zeppelin. Page once called the song “sophisticated,” and it is, but the furious climax is also as primal and cathartic as any Zep moment recorded before or after.
G U I T A R P L A Y E R . C O M
“ OUT ON THE TILES” The title — British slang for a night out drinking — came from Bonham, who received a writing credit in return. His tightbut-loose drumming holds the whole thing together, not an easy task given the knotty riffing and herky-jerky chorus syncopations. And while Zeppelin performed the entire song onstage just twice in their career, its opening salvo was later reassigned as the live intro to another heavily syncopated hard rocker, “Black Dog.”
“ GALLOWS POLE” This side-two opener has its roots in a centuries-old European folk number, “The Maid Freed From the Gallows,” though its most famous form before Zeppelin’s was the 1939 version, “The Gallis Pole,” by 12-string bluesman Huddie Ledbetter, a.k.a. Lead Belly. However, Page said he first heard the song “on an old Folkways” album as recorded by white American folksinger Fred Gerlach. While Zeppelin’s rendition is clearly rooted in folk-blues, Page and Jones’ expert layering of acoustic and electric instrumentation — including six-string guitars, banjos and mandolins — is practically symphonic in nature.
“ TANGERINE” With hushed minor-key verses that give way to soaring major-key choruses and Plant’s yearning vocal, “Tangerine” demonstrates Led Zeppelin’s range as skilled pop balladeers. The song’s origins stretch back to a tune Page wrote while in the Yardbirds, “Knowing That I’m Losing You,” although “Tangerine” was also among the pieces he and Plant worked on at Bron-Yr-Aur. Like several of the acoustic-based tunes on III, the power of the song stems largely from the thoughtful arrangement, with Page on six- and 12-string acoustic, electric guitar and pedal steel, and Jones adding mandolin.
“ THAT ’S THE WAY” In a sense, “That’s the Way” is the most conventional of Led Zeppelin III’s acoustic numbers, carried along by little more than a strummed acoustic in open-G tuning and Plant’s poignant, affecting vocal and lyrics (which seem to address a relationship gone south but have also been said to be
G U I T A R P L A Y E R . C O M
about Zeppelin’s ambivalent feelings toward America). Despite its simple arrangement — which includes pedal steel, dulcimer and mandolin — “That’s the Way” is one of the band’s most beloved songs and the acoustic track that critics and fans often single out for praise. A truly beautiful composition, it’s seemingly the essence of Bron-Yr-Aur brought to life.
“BRON-Y-AUR STOMP” Despite its unplugged arrangement, “Bron-Y-Aur Stomp” has its roots in a full-band jam called “Jennings Farm Blues” (included on the 2014 deluxe reissue of III), which featured several of the song’s riffs in heavy, electrified form. For whatever reason, Zeppelin chose to rework the tune in a wholly acoustic arrangement for the record and onstage, where it was usually performed with Jones on upright bass. The title appears to incorporate both a reference to Bonham’s thumping rhythmic pulse and Plant’s Welsh cottage, whose name is, intentionally or not, misspelled.
“HATS OFF TO (ROY) HARPER” Featuring Page on acoustic guitar and Plant singing lines culled from old blues songs (most notably Bukka White’s “Shake ’em on Down”), “Hats Off to (Roy) Harper” is less a song and more a sound collage. Page frequently punctuates his rapid strumming with what appear to be random slashes of slide work, while Plant’s voice is fed through the tremolo channel of, according to Page, an old Vox amp. The song is psychedelic, spellbinding, perplexing and inscrutable. One thing it most certainly is not — critics take note — is a CSN&Y imitation. “We did a whole set of country blues and traditional blues numbers [see the Page/Plant acoustic jam “Key to the Highway/Trouble In Mind,” included on the 2014 deluxe reissue of III] that Robert suggested,” Page said. “But that was the only one we put on the record.” In a last bit of abstruseness, “Hats Off” was credited on Led Zeppelin III to Charles Obscura, a pseudonym for Page. —RB
it introduced a sort of progressive blues built from a complex chord structure and movement, and used a slow build that erupted in a furious crescendo. Plant described it as “a bit more classy than a 12-bar.” “It was meant to push the envelope,” Page said. “We were playing in the spirit of blues but trying to take it into new dimensions dictated by the mass consciousness of the four players involved. The same thing goes for the folk stuff, as well.” Indeed it did. And all of that “folk stuff,” save for the previously mentioned “Friends,” was found on side two of the record, which kicks off with one of Zeppelin’s most stunning interpretations: “Gallows Pole,” which is based on the traditional tune “The Maid Freed From the Gallows.” According to Page, the song emerged suddenly, after he grabbed Jones’ Vega PS-5 Long Neck banjo, an instrument he claimed to have never played before. “I just picked it up and started moving my fingers around until the chords sounded right, which is the same way I work on compositions when the guitar’s in different tunings.” On the recording, Page played banjo as well as acoustic and electric guitar, with Jones adding electric bass and mandolin. “What happened with Zeppelin was very organic,” Jones recalled. “You find yourself with a bit more time and you sit down with some acoustic instruments, and you start exploring.” Jones also played mandolin on “Hey, Hey What Can I Do,” a country-inflected acoustic number from the III sessions that didn’t make the final album. He recalled that he had purchased his first mandolin while on tour in America, and said that he probably learned his first tunes for the instrument from the 1969 Fairport Convention album Liege and Lief. “Literally, it was sitting around a fire at Headley and picking things up and trying things out,” he explained. As for the remainder of side two, “That’s the Way” featured Page on the Harmony acoustic in open-G tuning, as well as on dulcimer and pedal steel — believed to be a Fender 800 model — and Jones on mandolin. There was AP R I L
2 020
65
AFICIONADO
74
APR IL
20 20
G U I T A R P L A Y E R . C O M
AFICIONADO
Single Minded RAISED FROM THE ASHES OF ITS NEW YORK AND PHILADELPHIA FACTORIES, AND BORN IN GIBSON’S KALAMAZOO PLANT, EPIPHONE’S LATE-’50S CORONET IS THE EMBODIMENT OF A TRANSITIONAL GUITAR. B Y R O D P H O T O G R A P H Y
I
N TH E L AT E 1950s, Gibson’s Kalamazoo factory experienced an unprecedented increase in its range and production of solid-body and semi-acoustic electric guitars. The company had first begun manufacturing solid-body instruments in 1952, when it introduced the Les Paul Model alongside its traditional archtops and flat-tops, and in the years afterward Gibson became increasingly experimental with regard to guitar form. By 1957, the Les Paul range was well established and included the Standard, Custom, Special, TV and Junior models. Some fairly radical Gibson designs, such as the ES-335, Explorer and Flying V, had also just commenced production. Gibson’s owner at the time, the Chicago Musical Instrument Company, acquired the Epiphone brand in 1957 G U I T A R P L A Y E R . C O M
B R A K E S B Y
O L L Y
C U R T I S
and began producing a new range of Epiphone solid-bodies at its factory in Kalamazoo, Michigan. It began in 1958 with the Coronet and Crestwood, and continued in 1959 with the Wilshire. Early examples of these guitars represent a unique moment in time, as the musical landscape shifted into a colorful new era and a creative explosion of ideas and designs took shape. They also tell a story about a sharp transition in Epiphone’s history, one of today’s most successful stringed-instrument brands, whose legacy stretches back to 1873. Early solid-body Epiphones from the late ’50s are rare. It’s difficult to find them in clean and original condition, so it was with great interest that we dropped in to visit Phil Harris, a vintage guitar specialist, whose prior collection of more than 800 guitars has been
carefully whittled down to a handful of choice specimens, including this 1959 Epiphone Coronet. As favorite guitars go, the Coronet is off the radar for most people. But that may have as much to do with the fact that relatively few players have heard much about the model, let alone had an opportunity to play one. “I’ve had it for 20 years and I’ve never had it set up,” Harris says. “It’s totally stock, down to every last screw. There’s no re-fret, no refinish; it’s as it came brand-new. The cases that these came in were just a grey-colored piece of cardboard.” The Coronet’s body is a single piece of Honduran mahogany, as is the neck with the added headstock wings. “The neck shape is bonkers,” Harris says. “It’s got a really strong V, a ’57 Fender–like triangulated profile. That was one of the things that sold me on it. AP R I L
2 020
75
FRETS
Taylor
BUILDER’S EDITION 912ce AND 652ce T ESTED BY A RT T H O M PSO N TAY LOR I N T RO DUC E D FOU R new
Taylor’s ability to manufacture high-end
Builder’s Edition models at NAMM 2020 that
guitars on a grand scale. But it’s a player’s
include the 324ce, 816ce, and the two models
guitar through and through, and a big part of
on review here: the 912ce and 12-string 652ce.
the experience is the way it feels. The beveled
Designed by Andy Powers, these impeccably
cutaway and armrest boost playing comfort,
made guitars are the first Grand Concert
while the Silent Satin finish feels silky and
models to be introduced to the Builder’s
minimizes handling noise. Everything is about
Edition series, and both draw their inspiration
smoothness and comfort here, and it reveals
from the electric guitar world in order to — as
itself almost everywhere — in the curve-wing
Taylor says — “bring the comfort, precision
bridge and rolled fretboard edges, and even in
and utility that electric players love in an
the “butterbean” Gotoh tuners, with their
acoustic experience.”
radiused surfaces and aged gold plating.
9 12 ce
thanks to a nearly perfect neck shape, expertly
As the first Builder’s Edition guitar from the
worked frets and a great setup. It sounds
900 series, the 912ce is a compact instrument
solidly in tune in all positions, and it sustains
that looks seductive with its natural Lutz
wonderfully. That’s all part of what V-Class
spruce top (also available in Wild Honey
bracing brings, including exceptionally
Burst), dark Indian rosewood back and sides,
well-balanced sound and abundant
and extensive shell inlays on the peghead,
sustain. Strum a chord and hear how
fretboard, rosette and top/back bindings. This
even and consistent it is from top to
is a showpiece, for sure, and a testament to
bottom. Frequencies don’t jump out
The 912ce is nimble and easy to play,
S P E C I F I C AT I O N S
or reveal any peaks, even when picking hard. Rather, they coalesce
Builder’s Edition 912ce
into lively and full-bodied tones that
CONTACT taylorguitars.com
breathe in response to playing
PRICE $5,299, hardshell case included
dynamics. I’m not sure anything is lost in perceived volume from having such
NUT WIDTH 1 3/4”
an even response curve, but the
NECK Tropical mahogany
912ce is loud enough acoustically
FRETBOARD West African ebony, 24 7/8” scale
to cut it with singers and other
FRETS 20 (14 frets clear of body)
instruments, and the
TUNERS Gotoh
Expression 2 electronics are
BODY Grand Concert shape. Indian rosewood back
certainly great to have when
and sides, Lutz spruce top
the going gets louder. This is
BRIDGE West African ebony with micarta saddle
where the 912ce shows what
ELECTRONICS Expression System 2
a good “electric” guitar it is
CONTROLS Volume, bass, treble
when pushed into higher-
FACTORY STRINGS Elixir Phosphor Bronze Light
volume realms through a P.A.
WEIGHT 4.72 lbs.
or even standard guitar amps
BUILT USA
like a Fender Deluxe Reverb.
KUDOS A beauty with the playability and
a chord-melody player, a singer-
performance to back it up
songwriter or a lead player who loves
CONCERNS None
mixing it up with solidbody and semi-hollow
So whether you’re a fingerstylist,
96
APR IL
20 20
G U I T A R P L A Y E R . C O M
9000
guitars, the 912ce is both a thing of beauty and
double-crossing string anchoring system (i.e.
a high-performance machine that does
one bridge pin per string pair) goes a step
anything you ask of it.
further by allowing each string to cross the bridge saddle at the same point, enhancing
6 52ce
intonation and tuning stability. Of course, the
As noted earlier, the 652ce is not only the first
ce in the model’s name also refers to the
Grand Concert introduced to the Builder’s
cutaway and Taylor’s own Expression 2
Edition series but also the first 12-string Taylor
system, which makes it a snap to get
has ever made that takes advantage of
natural-sounding amplified tones that take
reverse stringing. It’s an old setup trick used by
advantage of the pickup’s unique ability to
Rickenbacker and others to place the
capture the motion of the top, instead of just
fundamental on top of the E, A, D and G pairs
the pressure of the strings pushing downward
to produce more punch and low-end girth.
on the bridge saddle.
While it’s most evident when strumming or
Playability is awesome, thanks to a
picking in a downward direction, you can feel
mahogany neck with a fairly shallow profile
and hear it in this guitar’s meaty response.
that sits beautifully in the hand, and an ebony
The 652ce is also aimed toward electric
fingerboard with rolled edges, immaculate
players via a distinctive set of ingredients. It
frets and low, buzz-free action. I hate to say
has a fairly slim neck measuring 1 7/8 inches
things like “guaranteed to win you over,” but
wide at the nut, with a scale length of 24 7/8
the 652ce plays so well that it may blow away
inches, and it joins the body at the 12th fret, a
any preconceived notions that 12-string
configuration that puts the bridge closer to the
acoustics are demanding to play. Not this one,
center of the lower bout for enhanced mids
which feels so slinky and effortless.
and a more relaxed playing feel. As for the
As to the visual and ergonomic aspects of
woods, Taylor uses maple for the back and
the 652ce, it wears a Wild Honey Burst finish
sides and pairs it with a torrified (or roasted)
that brings out the lovely grain patterns in the
Sitka spruce top to provide a forward-leaning
maple, and again, it’s all about smoothness,
tone that has great presence as well as
with the beveled armrest and cutaway,
abundant clarity and sweetness.
curve-wing bridge and rounded body
The V-Class bracing enables it to sound exceptionally tuneful in all positions, and the
edges. Cosmetics consist of black/ maple/black purfling lines and burst shading to create the effect of
S P E C I F I C AT I O N S
binding, a multi-ring rosette, and mother-of-pearl inlays on the
Builder’s Edition 652ce
fretboard and headstock. The twin
CONTACT taylorguitars.com
rows of gold-plated Gotoh tuners make
PRICE $4,199, hardshell case included
it a bit nose heavy, but it’s a small price to pay for the majestic sound of 12 strings
NUT WIDTH 1 7/8” NECK Tropical mahogany
working in harmony. The 652ce has great low-end
FRETBOARD West African ebony, 24 7/8” scale
presence and beautiful shimmer,
FRETS 18 (12 frets clear of body)
complexity and chime. It sounds
TUNERS Gotoh
rich and full-bodied, yet it’s also
BODY Grand Concert shape. Maple back and sides.
very precise and articulate,
Torrified Sitka spruce top.
making for a guitar that
BRIDGE West African ebony. Double mounted string
dazzles whether you’re
anchoring system
strumming big rhythm parts,
ELECTRONICS Expression System 2
arpeggiating chords or picking
CONTROLS Volume, bass, treble
rapid-fire lead lines. The 652ce
FACTORY STRINGS Elixir Phosphor Bronze Light
is perhaps the most welcoming
WEIGHT 4.94 lbs.
12-string I’ve ever played and
BUILT USA
hard to put down once it’s in your hands. Bottom line: If you can swing
KUDOS Excellent playability. Gorgeous sound
the price and want a truly exceptional
CONCERNS None
instrument, the 652ce is a guitar to own.
G U I T A R P L A Y E R . C O M
AP R I L
2 020
97