CG-MayJun16-ISSUU

Joe Satriani 

2016 G4 Experience 

Signature Guitars 

+ Vintage Gear 

Daryl Stuermer 

Fender 

The Edge 

Strat + Deluxe 

May June 2016 

US $5.95 Canada $6.95

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TECHNOLOGY IS BEAUTIFUL. 

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Time Machine Relic Strat 

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Fender Custom Shop ‘52 

Time Machine Heavy Relic Tele 

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Fender 

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THE LEGACY CONTINUES 

www.esptakamine.com 

4 May June 2016 

CollectibleGuitar.com 

ESP Guitar Company 10913 Vanowen St. North Hollywood, CA 91605 800 423 8838

www.mo-ka.net (House of Blues Las Vegas, photo Wayne Posner) 

www.knaggsguitars.com

CONTENTS 

FROM ONE COLLECTOR TO ANOTHER... 

PIVOTAL… 

ON THE COVER 

20 | JOE SATRIANI 

Satch dishes on the G4 Experience camps, 

signature guitars, and vintage gear 

COLUMNS 

You’ve most likely noticed a different look on 

the cover of this issue of Collectible Guitar 

magazine. Yes, we have a new logo and 

yes, we have a new layout, but the changes 

we’ve made go far beyond the look and feel 

of the magazine. We’ve introduced a range of 

interactive elements that transform the printed 

pages into a digitally enhanced environment 

that is designed to come alive for our readers. 

INTERVIEW 

32 | DARYL STUERMER 

Another Side of Genesis 

FEATURES 

4 | CG MOBILE MARKETPLACE 

powered by Sweetwater 

12 | WHAT’S NEW: Layar + Short URLs 

13 | GEAR GIVEAWAY 

40 | DOS AND DON’TS 

of the International Dallas Guitar Show 2016 

48 | THE TOP 20 (+3) BOOKS FOR AMPLIFIER ENTHUSIASTS 

50 | A BEGINNERS GUIDE TO SHOPPING FOR A LES PAUL 

BUILDER PROFILES 

16 | BROWNBOX 

34 | TODD SHARP AMPLIFIERS 

18 | ASK SKIP 

27 | KEEP IT SIMPLE: FENDER CHAMP AMPS 

38 | PEDAL SNAPSHOT 

42 | QUIRKY VINTAGE 

52 | FRETBOARD LESS TRAVELED 

54 | PAWNSHOP PRIZE 

GEAR REVIEWS 

10 | AMALFITANO PAF PICKUPS 

14 | FENDER THE EDGE GUITAR + AMP 

The Cast 

Layar is a free app for iOS and Android, and 

functions like face recognition software for 

print pages. Once you’ve downloaded the app 

(see Page 12 for details), simply scan pages 

where you see the Layar icon to reveal the 

layers of content that are hidden to the naked 

eye. From product demos, to gear reviews, to 

guitar lessons, Layar turns the traditional print 

experience into a rich media extravaganza– 

thanks to the mobile devices our readers tend 

to have nearby as they read our magazines. 

We’re also excited to announce the Sweetwater 

Mobile Marketplace, which provides an appfree 

digital alternative to connect with the 

second largest MI retailer in America. This 

page features photos and short URLs to the 

respective product pages for all the gear that 

Sweetwater carries in each issue of Collectible 

Guitar. 

What won’t be changing is the enthusiasm and 

commitment of our staff and writers to share 

our passion for the gear and music we get to 

make with it! 

Lord Bless Ya! 

Bruce & Judy 

The Details 

Publisher + Editor: Bruce Adolph 

Vice President: Judy Adolph 

Layout + Production: Matt Kees 

CTO + Art Director: Doug Doppler 

Customer Experience: Brian Felix 

Director of Advertising: Steve Sattler 

Advertising Sales: Drew Adolph 

©2016 Collectible Guitar published by Adolph Agency, Inc. 


AdolphAgency.com 

Subscriptions@CollectibleGuitar.com 

BruceAdolph@Mac.com 

Brian@CollectibleGuitar.com 

Steve@CreativeSalesResource.com 

Drew@CollectibleGuitar.com 


CollectibleGuitar.com May June 2016 


9

REVIEW 

AMALFITANO PAF PICKUPS: NEW NAME, PAFS DONE RIGHT Bob Cianci 

Key Features 

Enameled 42 Gauge Magnetic Wire 

Hardwood Maple Spacer Blocks 

Alnico 2 Magnets 

Nickel/Steel Base Plates 

Single Conductor Shielded Lead Wires 

Today, the field is crowded with contenders 

trying to duplicate the mojo of old Gibson PAFs. 

But what is the definitive PAF sound they’re 

searching for? The sound of a great old PAF 

was one of harmonic complexity and balance; 

strong, bright, chiming highs, solid, beefy mids, 

and well defined lows. It’s an evenly balanced 

would certainly like the tight bottom end and 

rich harmonics. With the tone cranked down, 

one can achieve a very convincing vintage 

Clapton “Woman Tone.” 

The bridge pickup was pure sonic joy; crisp, 

clean and smooth, with plenty of top end 

sparkle and with pleasing harmonic complexity. 

Pickup maker Jerry Amalfitano doesn’t believe 

sound that’s pure, and lacks the muddiness of 

While it certainly didn’t approach Telecaster 

much of the hype and marketing voodoo that 

certain lesser quality humbuckers. 

territory, the Amalfitano PAF was perhaps the 

surrounds the products of some of today’s 

liveliest, brightest PAF style humbucker this 

pickup makers. 

In the way of technical information, Amalfitano 

writer has ever experienced. 

PAFs are comprised of vintage enameled 42 

“There’s no magic to making great guitar 

gauge magnetic wire, hardwood maple spacer 

Kicking on my J. Rockett Archer OD, the bridge 

pickups,” he said from his home in Keller, Texas. 

blocks, Alnico 2 magnets, nickel/steel base 

pickup had sweet, singing sustain, and the neck 

“A pickup is just wire, magnets, wood spacers, 

plates, and single conductor shielded lead 

pickup had the same qualities, but of course, 

bobbins and a base plate. The magic is in the 

wires. If those ingredients sound familiar, they 

with less brightness. Adding compression 

way they are wound. I think most people know 

should; they’re what Seth Lover used on his 

lengthened sustain on both pickups. With my 

that. I scatter wind pickups, which is the way 

original Gibson PAFs. 

Earthquaker Hoof Fuzz, the guitar snarled like 

they were made in the old days. That’s the 

a beast and pinch harmonics were effortless. 

secret.” 

I installed the Amalfitano’s in my recent issue 

Gibson Les Paul Sunburst Standard, and for 

The only downside was a bit of squealing 

Amalfitano began experimenting with pickup 

this test, used an American-made Fender 

feedback produced when sitting close to the 

making several years ago. A jet engine 

Hot Rod Deluxe, along with my pedalboard, 

amp. Both pickups are unpotted, like original 

mechanic and tester by profession and a 

in order to test the pickups with combinations 

PAFs. Fortunately, when I moved away from the 

native of Brooklyn, New York, Jerry had a 

of compression and a variety of overdrives. 

amp, the squealing stopped, and left me with 

’79 SG with a dead neck pickup. Utilizing his 

Played clean, the Amalfitano’s were everything 

nothing but classic PAF goodness. 

technical knowledge, Jerry took on the task 

of finding the problem and fixing it, and was 

happy with the results. Through word of mouth 

and his website, the buzz about Amafitano 

pickups has spread, and now Jerry keeps busy 

in his off hours, winding pickups for boutique 

guitar builders and individual customers alike, 

including Aerosmith’s Joe Perry. It was a 

I expected and then some. The neck pickup 

was muscular, yet clear and full, with bottom 

end that never grew muddy or less than well 

defined. While it’s somewhat doubtful that a jazz 

player would find the Amalfitano neck pickup 

ideal for his or her purposes, a rock guitarist 

No doubt, there are many variations of the 

legendary Gibson PAF on the market by 

manufacturers large and small. Guitarists would 

be well advised to look into Jerry Amalfitano’s 

take on this immortal design. 

Sweetwater Is 

Your Premier One-stop 

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YouTube video demonstration of his PAF style 

pickups that attracted this writer’s attention. 

Amalfitano PAF 

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WHAT’S NEW 

GEAR GIVEAWAY 

In Partnership With DREAMCATCHER EVENTS + 

Layar + Short URLs 

We’ve Gone PRIGITAL! 

Layar is a free app for iOS and Android that reveals 

layers of digital content on the pages in this magazine. 

Once you’ve downloaded the app, view our bonus content 

by simply scanning pages where you see the AR icon. 

Win a Pass to G4 EXPERIENCE 2016 

at Glen Cove Mansion in Glen Cove, NY 

August 8-12 

• Artist Videos 

• Lesson Content 

• Gear Demos 

• Enter Our Gear Giveaways 

Featured Artists Check Out New Gear Learn Songs + Techniques 

SCAN WATCH ENTER 

1. SCAN THIS PAGE WITH THE LAYAR APP 

2. WATCH THE VIDEO FOR DIRECTIONS 

3. ENTER FOR YOUR CHANCE TO WIN 

INTERACTIVE PRINT 

Download the free 

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Scan this page 

Free Download 

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Discover 

interactive content 

TO WIN! 

What’s Included: 

• Accommodations 

• 3 amazing meals a day 

• FULLY LOADED JAM ROOMS!! 

• All workshops, activities + 

entertainment for 4 days and nights 

• Incredible welcome kit from D’Addario! 

• Parking 

• Wi-Fi 

Airfare + Transportation to Glen Cove is NOT included. 

People currently registered are not eligible to win. 


CollectibleGuitar.com May June 2016 


13

REVIEW 

REVIEW 

FENDER THE EDGE GUITAR Doug Doppler 

FENDER THE EDGE DELUXE AMP 

Key Features 

Quartersawn “C”-shaped 

Maple/Maple Neck 

‘70s-style Headstock 

Locking Tuners 

Two-point Trem with Pop-in Bar 

Hardshell Case included 

$1,799.99 

Key Features 

Four Inputs 

12 watts 

1x12” 15-watt Celestion 

Blue Speaker 

2x 12AX7 Preamp Tubes 

2x 6V6 Power Tubes 

$2,399.99 

When done right, signature gear bears more 

than just the artist’s name, it carries the years 

of experience that the artist amassed touring 

the globe instrument in hand. While The Edge 

has used a number of instruments over the 

years, none remains as iconic as the black Strat 

immortalized on songs like Sunday Bloody 

Sunday in the U2 Live at Red Rocks: Under a 

Blood Red Sky film. 

Fender’s The Edge Strat embodies everything 

we’d hoped it would. From the great feel, 

natural acoustics and big sound when 

amplified… this is a sensational guitar. The 

mojo of the ‘70s style headstock, C-shaped 

quartersawn maple/maple neck and contoured 

heel make playing this instrument a dream. This 

is one of those instruments that begs for you to 

keep playing it. 

The five-way pickup selector toggles between 

two Fender Custom Shop Fat ‘50s single coil 

pickups in the neck and middle position, and 

a DiMarzio FS-1 in the bridge. The second 

tone control works when using just the bridge 

pickup which is one of our favorite “mods”. 

The Edge Deluxe amp is equally engaging. 

This 12-watter has all the silkiness you’d 

expect from 6V6s, with all the Tweed growl 

you want when turning it up. While each of the 

four inputs provide a massive sonic range to 

choose from, we preferred using Mic Input 1 

and jumping the channels from Mic Input 2 to 

Instrument Input 1. Blending the single tone 

and dual Volume controls made it easy to craft 

a massive range of classic tones to taste. The 

Standby switch and tightened bass response 

are huge improvements over a number of the 

vintage counterparts we’ve played. While this 

amp sounds great with a Nash Tele, Les Paul 

Junior and various Gretsch guitars, it really 

delivers when paired with the Edge Strat. From 

rock to funk to R&B, this setup delivers the 

goods. At higher volume backing off on the 

volume control cleans things up just right and 

the natural amp compression make this a rig 

that would rock a full range of gigs. 


CollectibleGuitar.com May June 2016 CollectibleGuitar.com 

15

PROFILE 

BROWNBOX Bruce Adolph 

I was interviewing the legendary guitarist Phil me with some great guitar players for us to 

Keaggy about his new electric guitar /vocal interview in the future). I was curious about 

album (burning guitar solos) and he told me his background so I asked him, “I’ve been 

that the BrownBox literally gave his old 1960’s an avid player /amp builder for many years. 

Vox amp new life. In fact, he uses it on all of his And having an electronics/electro-mechanical 

amps now. I said, “What is a Brown Box?” You background with U.S. Navy aircraft missiles, 

may be asking the same question. Let’s find out it wasn’t to difficult for me to take up amp 

together right from the horse’s mouth. 

building as a hobby”. That led to the obvious 

follow up question of how did that lead you 

Pat Geraghty is the inventor and says, “The to the BrownBox? “That took a while actually, 

BrownBox was created to provide a safe range because I (like many others) got caught up 

of voltage reduction levels for vintage tube in the MOD obsession before coming to the 

amplifier designs. The same, era-correct voltage realization… and the underlying fact, that all of 

levels that the amps were designed around. these amp circuits were designed to operate 

The dynamics of a vintage amp supplied with and were voiced by the engineers with specific 

the proper line voltage are optimized and will voltages. So, if you don’t regulate your line 

sound and respond as originally intended, voltage coming in, the MODs are pretty much 

revealing the circuits true harmonic content. an act of futility. Because you’re voicing mods 

This is the starting point, the basis of the signal will change with the variable voltage levels. I 

chain, and where serious musicians begin found through research that so many of todays 

creating a signature tone”. 

(and yesterdays) guitar heroes were all using a 

test bench device called a Variac. I also used 

The gist of it seems to be that most vintage those throughout my career and knew right then 

tube amps respond more harmonically and that there needed to be a safe and professional 

touch sensitive with optimized voltage. Placing grade alternative that anyone could use. 

these circuits back into balance reveals the 

authentic tone fundamental of the amp… tone The BrownBox is not a Variac. Unlike a 

that can truly blossom. 

Variac, BrownBox cannot accidentally harm 

䘀爀漀洀猀琀甀搀椀漀琀漀猀琀愀最攀 Ⰰ 眀攀栀愀瘀攀琀栀攀 

I found Pat to be super friendly (even connecting 

⌀ 瀀漀眀攀爀猀漀氀甀琀椀漀渀昀漀爀礀漀甀 ⸀ 

or destroy your amplifier. The maximum input 

voltage available using BrownBox is your 

regional line wall voltage, in bypass mode. All 

other selections are reduction levels that you 

determine which sound best for your amp. 

Remember tube purist out there… no pedal or 

attenuator can replicate that response of dry, 

purely saturated tubes. Pedals and attenuators 

have their place of course, but keep in mind 

that they color your tone… they do not 

create it. 

The BrownBox sports an easy to read, back 

lit L.C.D. display enabling real-time voltage and 

amperage monitoring which is also useful for 

diagnostics. The big benefit here is that earlier 

tube saturation equals earlier break-up at lower 

usable volume levels. 

Other players, you may be fans of, using the 

BrownBox (in one or more of it’s configurations) 

are Brad Whitford (Aerosmith), Joe Walsh, Brad 

Paisley, Kenny Vaughn and Buddy Miller. 

Pat offers several models – Brown Box, 

Brownie and Backline. BrownBox is completely 

proprietary in design and function and comes 

with a lifetime warranty with normal use. 

Prices range from $219 to $2,100. 

www.BrownBox1.com 

WIPE IT OFF. 

STRINGS. BODY. FRET BOARD. 

Kyser ® guitar care products are now available as convenient wipes. 

At just 5” tall and 2” thick, you can throw 

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CollectibleGuitar.com

ASK SKIP 

are the first thing to go, and your ability to hear 

SKIP’S TIP: Well, all you nice people out there 

a brighter and thinner tone. Let’s turn that thing 

them will be noticeably reduced as a long, loud 

know that I don’t mess with newer amps 

permanently “off” instead! 

VINTAGE TUBE GEAR Skip Simmons 

night rolls on. Finally, the all-important human 

factor; we all tend to turn up when we can’t 

too much, but I have always said that the 

Fender Blues Junior offers amazing sound 

Have your tech open the amp up and look at 

Hello Skip, 

I have two vintage amps, a ‘74 Marshall 50 

watt and a ‘65 Deluxe Reverb, and from time 

to time, something just wasn’t right at certain 

venues. Sometimes the amp would sound 

great at the beginning of the night, then get thin 

and wimpy. Come back from a break, it would 

sound great, then wimp out again. I’d spend 

most of the gig turning knobs and just couldn’t 

figure it out. Then I read an article in which 

Neil Young could guess the voltage of the 

venue by the way his vintage Fender tweed 

amp sounded. His tech would sit there with a 

voltmeter in the receptacle and Neil would say, 

“that’s about 114,” and he was usually within 

a couple of volts, according to his tech. So I 

consulted a guitar picker friend of mine who 

owns a bunch of vintage guitars and amps. 

He told me to buy a voltage regulator, and not 

a cheap one either. I bought FURMAN M8x-AR 

and have been using it faithfully, and I must say, 

I notice a difference in the consistency of my 

amp’s performance and I don’t have to worry 

about voltage spikes destroying my prized 

possessions. Is it in my head or in my ears? 

What’s your take on this subject? 

Thanks, 

Billy J. 

Billy, it is not in your head. One interesting thing 

about old tube gear is that it will work (although 

not as well) even when the wall voltage dips far 

below normal. The amp will sound as if it has 

lost some power, but will basically still function. 

It is a common problem since wall voltage can 

and will fluctuate. For instance, when the club’s 

ice machine kicks on, the wall voltage that your 

amp is using may drop to 110. Another instance 

is the backyard party where the PA, the bass 

amp, and the guitar amp are all plugged in to 

the same 100-foot extension cord. Probably 

the worst are situations where a generator is 

the power source. Count yourself very lucky if 

your rig sounds great in this situation. 

A couple of other factors should be mentioned 

that actually are in your head! First, it is well 

known that our ears “adjust” a bit when 

exposed to loud music for a long period of 

time. After a couple of hours of loud playing, 

your ears just don’t hear things the same way 

they did when you started. High frequencies 

hear ourselves, and it is very easy for a band 

to creep up in volume over time. To our ears, 

both of these factors can sound just like your 

amp is losing power or tone. That low-wattage 

amp that was rocking two hours ago can 

start sounding pretty distorted when everyone 

decides to crank up. 

I don’t think that the average player needs 

to run out and get a voltage regulator, and I 

certainly wouldn’t suggest that a certain wall 

voltage is essential to get “your tone.” Also, it 

is very unlikely that a voltage spike would harm 

a sturdy Fender or Marshall as long as you are 

using a proper fuse in the amp, and I would 

say it’s a non-issue for most players. On the 

other hand, a consistent source of AC will make 

for a more consistent tone, and a regulator 

may make good sense for gigging musicians, 

for the money. Recently a harmonica-playing 

customer brought a Blues Junior, along with a 

vintage amp, and asked me if I had any easy 

suggestions for harp mods. At first I said lowergain 

preamp tubes, or perhaps a different 

speaker would be the only things I would 

suggest. In my world, those fragile printed 

circuitboard amps are no fun to modify! 

I got to thinking about it a little and took a look 

at the schematic. I noticed that the Blues Junior 

has a “bright switch” (as used on most vintage 

Fenders) that is turned permanently “on.” If 

you have ever played through an older Fender 

with a bright switch, you know that it makes 

the amp sound a LOT brighter, especially at 

low volume. How does it work? Basically, the 

switch connects a small capacitor across the 

volume potentiometer, which allows the high 

the circuitboard. Right next to the input jacks 

you will see a small disc capacitor clearly 

labeled “C-3.” Snip one lead at either end of the 

cap and check out the tone. MUCH better for 

harp and, in my opinion, a lot of guitar players 

would agree. The only potential problem in my 

mind would be that the extra fatness could be 

considered too “muddy” by players who use lot 

of distortion and, yes, it can be a royal pain to 

re-solder the cap if you don’t like it because the 

leads are very short. 

I’m sure that others have figured this out before 

me, but I just want to make sure that people 

are aware of this mod. If you play harp or blues/ 

Americana guitar through a Blues Junior, give 

it a try. 

Email your questions to 

especially if you play in wide variety of venues. 

frequencies to by-pass the pot. The effect is 

SkipSimmonsAmps@gmail.com 

18 

May June 2016 


Joe Satriani 

2016 G4 Experience 

Iconic is perhaps the best word to describe Joe Satriani. His recordings have 

sold over ten million copies, he’s toured with Mick Jagger and Deep Purple, 

and taught the likes of Steve Vai and Metallica’s Kirk Hammet. We caught up 

Joe just after the conclusion of his “From Surfing to Shockwave World Tour”… 

Signature Guitars 

+ Vintage Gear 

interview by Doug Doppler 

COLLECTIBLE GUITAR Tell us a bit about the 

G4 Experience and why you started it? 

JOE SATRIANI Clinics can fall a little bit short 

of their intended purpose. The artist comes in, 

they play a truncated performance, they’re put 

on the spot to do things out of their comfort 

zone, they take some questions, then they go. 

I had an opportunity to kind of fix that and sort 

of remold, reconfigure the concept of a clinic. 

Calling it the experience was probably just a 

nod to Jimi Hendrix. Bringing in the G letter 

was just a nod to the love and success of the 

G3 concert series. You want the people who 

show up to really experience something unique 

that they wouldn’t get somewhere else, and I 

wanted to have the camaraderie with other 

guitar players and musicians that you get on 

the G3 concert tours. So we figured out a way 

to put it together, changing the environment 

to something extremely comfortable, casual 

enough so that the artists and the students 

could really hang out together. The environment 

had to be a kind of safe zone, it’s kind of a funny 

thing to say, it’s not like there’s danger out there 

at clinics, but we’re using that in a way to poke 

fun at the fact that sometimes specialists in any 

field are ridiculed for being so obsessed about 

the details of what it is they do, and guitar 

players of course get ridiculed the same way. 

People think that when we want to get technical 

we’re getting too technical, but in fact we deal 

with technicalities all the time. That’s our world, 

what kind of strings do you use, how do you 

hold the pick, what’s that cable made of, how 

often do you warm up, how long do you warm 

up before a show, what kind of music do you 

listen to when you’re not working? All these that 

the average listener or fan is like, “Oh, I don’t 



21

care, just play that song I really like”. Which is 

way cool, but for us musicians, and especially 

us guitar players, these details determine so 

much in our life… and they determine how we 

deliver the goods to our fans. So why wouldn’t 

we be obsessed with them and want to talk 

about them? And why wouldn’t we need a safe 

place to exchange all the information about it, 

where we leave no stone unturned, and no one 

can ever feel embarrassed to ask any technical 

question? Nor would any G4 star feel put out to 

be asked or to reveal such a thing cause that’s 

exactly what we’re there for? We’re there to 

reveal everything and the students are there to 

ask everything as well. These are the things that 

make the G4 Experience so uniquely different. 

In a way, explaining it gives you the reason I did 

it. Once you say it out loud, you go of course, 

why wouldn’t we all want a place like that? 

CG Does the G4 Experience fulfill a need in you 

to teach? 

JS If you go back twenty five years, thirty years, 

being interviewed by a guitar magazine meant 

fielding very serious questions about music and 

non gear-related technique. Today, you never 

get that question about the unusual harmonic 

movement in a chord progression - never. 

This leaves a bit of a disconnect between the 

person who’s doing it and the students who 

want to figure out how to do it like me - or in 

this case Guthrie Govan, Alex Skolnick, Eric 

Johnson or Steve Vai. But these questions 

don’t get answered by the press anymore, and 

that exchange for me I miss–I miss that a lot. 

It’s slightly cathartic in a good way to finally 

get back into an environment where people 

are asking me the heavy, important questions 

about melodic structure, harmonic movement 

and how it is applied on the instrument and 

what kind of gear I use to get it done… without 

framing it in a commercial way. Which is kind 

of like the way the press often does things 

now, because the celebrity has become the 

important thing, not actually the essence of the 

music. 

CG Why do you prefer to call the I and vi- 

Modes Major and 

Minor vs. Ionian 

and Aeolian? 

JS I was taught 

in school that 

those names were 

postulated by a 

Swiss theorist 

hundreds of 

years ago. When 

I made sure that I never 

applied some of those 

weaknesses I accrued 

during periods of being a 

well-behaved professional 

musician, which is to get 

in line with everybody else 

and do what is expected. 

they were created and used 

originally, they weren’t referred 

to by those names, so those 

names were made up at some 

point. When you say Ionian to 

a guitar player, nine times out 

of ten they’re like, “What?” If 

you’re saying, “Major scale” 

they go, “Oh yeah, I know 

that”. So it’s just a question of 

convenience to use the term 

you know is going to be a 

direct hit. 

CG Not of This Earth is kind of a 

quintessential statement about 

pitch axis and interpretation of 

the chords harmonically. Was 

that a pivotal composition for 

you in terms of being able to 

express the theory that you’d been studying 

and teaching for so many years, and being able 

to apply it in a way that was tangible musically? 

JS Absolutely, it starts off bam-bam-bam, 

it says it right there in the first three chords. 

The main shocking message from the chord 

progression hits you right at the top with 

nobody else in there. The arrangement is also 

very stark because I felt that there is so much 

music that is very often weak and cloaked in 

ridiculous amounts of arrangement. Something 

happens when you strip away the idea that 

you’re seeking commercial acceptance, and 

you say to yourself, “What would I do, if I was 

somebody else who wasn’t looking for that hit 

song, how would I go about writing something?” 

This thought process was important after I 

started writing the body 

of music that became 

that album. I made sure 

that I never applied some 

of those weaknesses I 

accrued during periods 

of being a well-behaved 

professional musician, 

which is to get in line 

with everybody else and 

do what is expected. 

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It was rather intoxicating to just say, “No, this 

chord structure is unusual, and it sounds great 

in my mind and I know it’s never been done 

before. I’m not going to use any convention 

of substitute chords or anything. That came 

straight from the heart and then my brain 

came in with this great “I can do whatever I 

want!” attitude because I decided not to seek 

commercial acceptance. As you said, that song 

expresses an introduction into those attitudes 

in a pretty stark and striking way. It’s really fresh 

in my mind now because we played it every 

single night on stage on this last tour. 

CG Your long-time co-producer / engineer 

John Cuniberti was kind enough to provide 

us with some photos of the vintage amps 

you brought in for the Shockwave Supernova 

sessions at 25 th Street Recording. Do you tend 

to buy these amps based an immediate need, 

or do you have them in your arsenal for when 

and if a need arises? 

JS I would say both is the answer to that, and 

maybe there’s a third reason, which is just 

gear neurosis. You walk into a vintage store, 

or you’re looking at eBay or Reverb and you 

see something that for some weird reason 

resonates with you. You say, “I always wanted 

one of those, I never had it, I heard that soand-so 

used this with great success on a 

particular record”. You dive 

in and pick one up. I think 

that Fender Champs are like 

that, we hear all these stories 

“the whole record was done 

with a Fender Champ”. But 

ultimately it’s got to resonate 

with you. A good reason for 

collecting, if you can afford 

it, is to recognize that we 

change from time to time, even day to day 

when you walk in the studio. One day you do 

feel like a Champ, the other day you feel like 

a Marshall stack. I have found that very often 

that’s the case with me, you get in a state when 

I think that Fender 

Champs are like that, 

we hear all these 

stories “the whole 

record was done with 

a Fender Champ”. 

you’re working on a particular song about a 

particular subject, or person, or something and 

all of sudden it comes over you what you really 

need to make your performance work. It may 

not be the thing you use on stage. It might be 

something that is just for this particular part. 

Whatever it might be, if you’ve got fifteen, 

twenty vintage amps out there, there’s a good 

chance that one of them is 

going to do the trick. It’s like 

what you and I were doing 

that day when we were just 

plugging into all of them and 

listening to the differences. 

It’s great to know what they 

do because you might be 

sitting in the control room, 

your hearing a part for a 

bridge or something and you go, “I know what 

this needs, it needs amp number seven I was 

just goofing around with the other day”. Maybe 

because it uses 6L6s and the plate voltage 

is high, you’ve got more headroom and this 



particular part needs headroom. You 

COLUMN 

might say, “I want it to sound small” so 

maybe you reroute the amp to go into 

a smaller cabinet. Who knows, it might 

KEEP IT SIMPLE: FENDER CHAMP AMPS Dave Belzer 

be the opposite? You kind of never know 

until the track is built. But let’s say you’re 

not even making a record, let’s just 

talk about inspiration. I think very often 

switching into an entirely different amp 

that you don’t use, is like taking your 

buddies car for a spin. It’s gonna give 

you a different experience and change 

your attitude a little bit, or improve your 

vision about the world of amplification 

rather than just sticking with what you 

know. That’s really important. 

In 1970, at the ripe old age of eleven, my dad 

took me to the local music store to purchase 

my first electric guitar and amp. That day still 

remains a vivid memory in my over 40 plus 

years of what I like to refer to as GAS (Guitar 

Acquisition Syndrome). I had been taking 

lessons at the store with an inexpensive nylon 

string classical guitar and now, after saving up 

some money and a lot of pleading, the day had 

finally come. 

I knew exactly what guitar I wanted. I had 

an issue, and new amps were as expensive as 

a guitar, the storeowner made a suggestion. 

He had a very good condition used black face 

Fender Champ for $50. Ah, yes! Those were 

the days! 

Now, this is where things got interesting. I only 

had so much money and I was pretty sure, or at 

least had a feeling, that my dad might help me 

out some. How much? I had no idea. 

My dad was not a musician. As far as I know 

they came to an agreement and shook hands. 

Somehow my dad had convinced the owner to 

not only lower the price of the guitar a bit, but 

he also got him to throw in a case, a strap, a 

guitar stand, mic stand, and a discount on the 

mic itself. Needless to say, I was one beaming 

eleven-year-old with guitar, amp, and mic in 

hand. It was many years later that I put two 

and two together and realized the lessons of 

negotiation my father instilled in me that day. 

Those lessons have served me well over 

the years. 

Most of the time my vintage stuff stands 

idle with the covers on. I try every six months to 

turn them all on and play them a little bit. It’s an 

important thing to stay in touch with them so 

you don’t forget why you fell in love with them in 

the first place and you remind yourself how they 

were used. In my case, Mike Manning (Joe’s 

tech) and I write everything down that we use 

in the studio, so I’ve got these books that go 

back to the first record, even before Mike was 

working for me. I’ve got notes about what amp 

I used for what part, how it was used, if we put 

pedals in front of it, or what mics were used. 

It’s kind of mind blowing when you think about 

what we achieved with such a huge variety 

of amps. You’d think sometimes that it was 

just small handful, but in fact it’s quite a large 

continued on page 44 

recently watched a PBS documentary on my 

black and white TV of the final Cream concert 

held at the Royal Albert Hall. For most of the 

concert Eric Clapton played his famous painted 

SG Les Paul, which, even through my TV, 

sounded awesome. At some point, he switch 

to a single pickup Gibson Firebird 1 that really 

he never played a note on anything in his life. 

He did have a great love and appreciation of all 

forms of music and passed that on to me from 

an early age. I did learn that day what my dad 

was good at: the art of negotiation. While I was 

sitting in the store, enthralled with my guitar, my 

dad was talking to the owner. The next thing I 

Of course, the Kent ES 335 didn’t last long. 

It was too big for me to begin with, and then 

there was having to carry it around in, what 

seemed to me, the biggest case of all time. So 

off it went. The first of my trade ups (or downs, 

depending on the trade). The one thing that did 

didn’t sound very good or very much like Eric 

know the owner brings out a guitar case, then 

stay with me for sometime was that mid 60’s 

Clapton. Then, in a flash (or some abrupt film 

a guitar stand, and then a white plastic case 

black face Fender Champ. I used that amp 

edit), he appeared with his famous 1964 cherry 

containing a Shure Unisphere mic with a cable, 

in my very first jams and earliest bands. That 

red ES 335 to finish off the concert. Wow! Not 

mic clip, and a mic stand to go with it. 

is, until it became obvious it was not going to 

only did that guitar look good, but it sounded 

cut through over the drums or rest of the band, 

incredibly good too. It seemed like he and the 

Wow! What was going on and who was going 

even if I did have my blue/orange Univox Super 

guitar were almost one as the documentary 

to pay for all this? 

Fuzz cranked! 

ends with Clapton staring up to heaven, wailing 

away on his red 335. That final scene stuck 

My focus went from the guitar I was playing to 

I can’t remember how many larger amps I went 

with me. 

my Dad and the owner, who were going back 

through in those early teen years, but I always 

and forth talking numbers. All of a sudden 

seemed to hang on to that Champ. I’m not 

Now, I had saved a little money, but nothing 

near what it would take to buy a ES335, or any 

real Gibson for that matter. The little music store 

I went to really didn’t carry expensive guitars 

like Gibson and Fender, but they did carry a lot 

of affordable Japanese copies of those guitars 

which were quite popular and plentiful at the 

time. There, hanging on the wall, was my guitar, 

a red “Kent” (yes, I said Kent) ES 335 copy, 

made in Japan. It didn’t matter to me that the 

guitar was totally inappropriate for an elevenyear-old, 

but we live and learn. What hadn’t 

occurred to me was an amp. I never really 

thought much about that. Since money was 



May June 2016 


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1959 Gibson Les Paul Jr. 

1959 Fender Champ 

JUNE 2016 

SUN MON TUE WED THU FRI SAT 

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sure if it was because it was my first amp, or 

radar are the 1963-64 models that still maintain 

tube amp. 

COLLECTIBLES 

because it always worked and sounded great. 

the 50’s chassis with the controls on the top, 

Then, one day, someone made me an offer I 

but were covered in the new black tolex. They 

The Champs pictured are my personal ones. All 

couldn’t refuse. $100. Wow! That amp cost me 

have a unique look and they sound great. 

narrow panels that range from 1958 to 1964 

50 bucks five years ago, and now someone 

except, of course, the Super Champ. This 

was offering me $100. I was playing a 100-watt 

I do have to mention one later model that I have 

particular Super Champ came from a friend of 

Marshall at the time, so it seemed a no-brainer 

become very fond of over the years: the “Super 

Paul Rivera and I was told was a prototype. It 

to sell the Champ. It was at that moment that 

Champ”. In the early 80’s, Paul Rivera designed 

has a metal mesh grill and an unusual rubber 

something clicked in my small teenage brain: 

a number of new model amps for Fender. One 

covered on/off switch, as well as the standard 

“Maybe there’s something to buying and selling 

model that really shined was the Super Champ; 

Fender 1/4 inch speaker jack input in the back, 

musical gear!” I never seemed to really lose on 

a small, very potent tube amp with reverb and 

as opposed to the hard wired speaker used in 

anything I bought or traded for, and if I hung on 

channel switching. These Super Champs came 

the production ones. 

to it long enough, I could actually make money. 

in a few configurations. It could be ordered 

Wow! What a concept! 

with a 10” EV or the standard Fender specially 

And just for fun, I had to throw in the Selmer 

So, for a number of reasons, the memory 

of that Fender Champ has stuck with me. 

So much so that a while back, after letting a 

number of my larger amps go, I began focusing 

on smaller combos, especially late 50’s, early 

60’s tweed Champs. I love all the various 

Champ configurations and you can find lots of 

info on all of them. My favorite ones (or what 

I consider to be the best sounding ones) are 

the late 50’s thru the early 60’s tweed models 

with the controls on the top. Collectors refer to 

designed speaker, as we’ll as a limited version 

that had a wood cabinet and the EV. 

Over the years I probably had a half dozen of 

these, although I have never come across one 

with the wood cabinet, so I can’t comment 

on how those sound. I can tell you from my 

experience, the ones with the Fender specially 

designed speaker sound the best to me 

and have the most authentic Fender sound. 

Although the EV will give you more power 

and headroom, it will also add a lot of weight 

“Little Giant” in the lower left corner. Not only 

do they look awesome, but they sound like 

a killer tweed Champ, only with that added 

compressed sweetness that comes with 

British amps. 

Writing this article has given me a chance 

to reconnect with my past, as well as an 

opportunity to dust off my Champs and take 

them for a test drive. Each one has its own 

unique tone and vibe. There really is something 

to having just having one knob to turn. I really 

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these as “narrow panel” models. 

and take up every inch of the inside of the 

like the combo of a Les Paul Jr. and a Champ. 

cab. Dollar for dollar, I’m not sure I have ever 

Only 3 knobs to worry about. Just turn it all the 

Some of the models that have gone under the 

come across a more compact or versatile small 

way up and work the volume control on the 

guitar. Need I say more? 

In my eyes and ears no other amp embodies 

the term “keep it simple” quite like the tweed 

Fender Champ does. 

This article is dedicated to Mr. Al Licausi, the 

man my father negotiated with almost fifty 

years ago. 

It recently came to my attention that Mr. Licausi 

passed away in 2014. Mr. Licausi started 

Farmingdale Music Center in 1945 in the 

original house his parents moved to in 1923. 

It is Long Island’s oldest music store and has 

been run by Al’s son Frank since 1982 when 

his dad retired. The store is still in its original 

location, and children who once took lessons 

there now bring their children and grandchildren 

for lessons. Rest in peace, Al. 

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DARYL STUERMER 

Another Side of Genesis 

Collins did a couple of little 

tours called The Phil Collins 

Big Band. It was like a jazz 

band. We backed up Tony 

Les Pauls, and this Godin is 

in the middle. The amps I use 

all the time are two Mesa/ 

Boogie Mark 1’s. I use them 

Bennett. Quincy Jones was 

for a straight sound. I don’t 

the conductor, and we did 

use the distortion channel; 

Making his Tacoma Guitar Festival 

debut, Genesis/Phil Collins guitarist 

Daryl Stuermer will perform with his 

keyboardist, Kostia, and what he 

good-naturedly calls “my Macbook 

Pro band” — bass tracks that he 

recorded and drum tracks that 

he programmed to accompany 

their set. The duo will showcase 

original music, Genesis songs, and 

some of the cover songs that will 

appear on his upcoming album, 

Breaking Cover, which features his 

instrumental renditions of classics 

from The Police, Jeff Beck, Eric 

Clapton, Steely Dan, and others. 

COLLECTIBLE GUITAR: Guitar 

festivals are dangerous territory for 

gearheads. Are you leaving your 

credit card at home? 

DARYL STUERMER: I’m bringing 

one guitar, but I’ll probably end up 

bringing two home. It’s so tempting! 

CG: Which one are you bringing, and 

which pedalboard? 

DARYL: I’m bringing a scaled-down 

pedalboard because I’m flying, and 

I’m bringing my Godin LGXT, but 

I modified it myself. I took out the 

synth and the transducer pickups that are 

usually for acoustic. I changed the tuners and 

knobs and I put on a Strat tremolo. It’s a cross 

between a Les Paul and a Strat, and that’s 

what I like about it as my main guitar. 

CG: What’s left of the original model? 

DARYL: I have one LGXT that has everything. 

This one has the original body, neck, and 

pickups. Also, Godin made me a guitar. They’re 

calling it the DS-1, and it’s based on this guitar 

that I modified. It’s a simpler version of an LGXT. 

No synth, no acoustics, but the same body, the 

same pickups, and the addition of the HDR — 

the High-Definition Revoicer. It enhances the 

sound a little bit. It opens it up more and boosts 

your tone and your level. They are going to do 

a limited edition of it, probably next year. I have 

mine now and it’s the first one. 

CG: Which pedals do you always 

travel with? 

DARYL: I have specific pedals that 

are on all my pedalboards. I use 

the Radial Tonebone Hot British 

Distortion as my main distortion 

pedal. That’s part of my sound 

and the one I’m comfortable with. 

It has a tube in it, and I really like 

that. I have a Fulltone OCD. I like 

the DigiTech Whammy, that specific 

sound, for certain melodies. Delays 

and choruses I can change up very 

easily. So those are the three pedals 

that I have to have that will make 

me happy. I’ve done shows without 

them, of course, but I prefer to have 

them if I can. 

CG: You have quite a few guitars in 

your online gear list. Do you consider 

yourself a collector? 

DARYL: The stuff on my website is 

gear that I use, and I’ll be updating 

the pedalboards soon. Stuff I don’t 

list is stuff I’m not using unless I’m in 

the studio. I might bring an old Nady 

distortion I’ve had since 1975, or a 

TC Electronics chorus. I have a home 

studio with a shelf full of old gear. 

Every once in a while you’re doing a 

record and you think, “That one pedal will sound 

great.” I have stuff I haven’t used since the ’70s. 

It looks cool and retro, but I don’t use it much. 

It’s not gear you want to take on the road. A 

lot of old gear has buzzes and things you can’t 

control in a live situation. The new gear is built 

better for the road, and the grounding is better, 

but there’s a unique sound to the old stuff. 

What’s in the pictures is what I use live. I have 

a really nice Gibson 335. In 1999 or 2000, Phil 

it in Europe with only a few 

dates in the United States 

because it’s not the kind of 

thing that sells well here. It 

was Phil Collins and Genesis 

music done in a big band 

style with legitimate big band 

arrangements. I used my 335 

for that because it’s more 

of a jazz guitar. Otherwise, 

I would not use that guitar. 

I have some old acoustic 

guitars, not super old, but 

older Takamines. There’s a 

lot of stuff back there that I 

should probably sell because 

it accumulates and I’d rather 

have someone use it. There’s 

always the main gear you’ve 

used for the last ten or twenty 

years that you hang on to. 

CG: Is there one that got 

away? 

DARYL: Yes. I was about 

16 and I had 1960 or 1962 

Fender Strat. This was in 1969 and I was in a 

band. I have pictures of me playing it. I sold it 

for $125. Now I wish I had that guitar! It was the 

one with the three-way pickup selector, not the 

five-way that we have now. It sounded great 

and it played great. At the time you think, I want 

to get a new guitar, so I’m going to sell this, 

and $125 meant a lot. Today it would probably 

go for quite a lot more huh? That’s one that 

got away. There are probably other ones, but I 

don’t think about it because I don’t like having 

regrets. That one comes to mind because 

I have pictures and a recording of that band. 

I was playing it through a Super Reverb with 

10-inch speakers. That sounded nice and it got 

away too. I sold all that stuff around the same 

time. I can imagine how these things would 

sound and feel today. 

CG: Could you get by with one guitar and one 

amp, and if so, which ones? 

DARYL: Right now I’m using the Godin guitar 

and I can do it all with that one. But if someone 

said, “From now on, the only guitar you’re 

ever going to play …” I think a Strat would be 

the one. It’s easy to play, it’s a good feel, but 

I would have to have a Strat with single coil 

and humbuckers. That’s what I like about the 

Godin: the humbucker pickups. They’re thickersounding. 

But you can also switch to single coil. 

So I would have to have that. I love Strats, I love 

any distortion or effects are 

done with my pedals. I like 

a warm, clean sound, and 

that’s what I get out of the 

Mesa/Boogie Mark 1. 

CG: Your working relationship 

with Genesis has outlasted 

most personal relationships. 

What makes it work? 

DARYL: I’ve done the job 

they want me to do and I 

have not let them down. I 

think they know that. I’ve 

been a consistent player, 

playing live with them 

especially, and then playing 

in Phil Collins’ band since 

1981. He trusts me and he 

knows I’ll be there for him. Of 

course you have to be there 

musically, but you also have 

to be there personally. I like 

being on time and I come 

prepared. I’ve been married 

since 1978 and have two 

girls, all the guys have two or three kids, our 

families know each other, and we are respectful 

of each other’s lives. We don’t see each other 

often, but when we do it feels like we’ve been 

only apart for a few months. I think we’re all 

on the same page and we have the same 

goal. When I was 16, I had a band, played out, 

had a good time playing with my friends, and 

I’m still doing the same thing. I’ve never had 

another job. I found something I love doing and 

it became my career. I think everybody in the 

band is the same way. This is all they’ve ever 

done, it’s what they love doing, and it’s what 

holds everybody together. 

~ Alison Richter 



33

PROFILE 

TODD SHARP AMPLIFIERS - A NEW DIRECTION IN TONE? Eric Dahl 

Key Features 

JOAT - Jack-of-All-Tones 

Input 1 for Single Coil & Input 2 for 

Humbuckers 

Attitude Adjustment for Gain 

Bite Switch for Hi-Mid 

Low Cut & High Cut 

Reverb & Tremolo 

“After a 40+ year playing career, and 20 of those 

years with my nose pretty deep into just about 

every guitar amp there is, it’s just the natural 

progression. It’s also another form of creative 

expression for me.” Discussing why his amps 

are different Todd says, “I think my experience 

as a guitarist and as a confirmed amp nut 

combine to bring a unique perspective and 

through a five-position selector, while the Bite 

switch provides first stage hi-mid frequency 

edge. Low cut has 6 positions to choose from, 

and a high cut with a 6-position output stage. 

The Reverb unit has three controls: Drive, Tone, 

and Level, while the Tremolo has two controls: 

Speed and Depth. 

ability. Also, my approach to the circuit design 

When I asked him why he altered the amp 

Todd Sharp became interested in electronics 

is definitely outside of the norm. My pursuit as 

controls on the JOAT, Sharp said, “Why not? 

when he was a young child, but it wasn’t 

a designer/builder is about what allows me to 

The tone stack is a loss circuit, so you are 

music gear, it was Ham Radios. He got his first 

get this sound that I get with minimal struggle.” 

trading touch sensitivity under your fingertips 

radio operators license at age 7 and built his 

for a bass and treble pot that you never touch. 

first transmitter with the help of his father, jazz 

His first flagship amp is named the “JOAT” 

I think my EQ is more guitar friendly. Guitar 

guitarist Fred Sharp. By age 11 he “lost interest 

which stands for Jack-of-All-Tones. The current 

players don’t want to fight their amp, they want 

in electronics” and was then bit by the guitar 

amplifier line will offer three amp wattages: 

to play guitar!” 

bug. Sharp has forty plus years under his belt 

20RT (currently available), 30RT (available June 

as an award winning guitarist for Rod Stewart, 

1) and 45RT (due at the end of this year). The 

The current configuration comes as a head 

Fleetwood Mac, Bob Welch, Carlene Carter, 

JOAT 20RT (20 watts with reverb & tremolo) 

with a 2x12” cabinet and you have two choices 

and Delbert McClinton. 

deviates from typical amplifiers in numerous 

of dialed-in speakers. The Todd Sharp JOAT 

He launched Nashville Amplifier Service in 

ways, but especially in its approach to controls 

and lack of a tone stack, meaning the usual 

20RT amp head sells for $3,849, and matching 

2x12” cab goes for $1,449. Production levels 

䨀漀攀䠀漀琀琀椀渀最攀爀 

1994, as he had already started repairing amps 

bass, mid, and treble controls that you have on 

are currently at one amplifier per week, and 

for players around town a few years before 

that. When asked why he started Todd Sharp 

Amplifiers in February of this year, he stated, 

a conventional amp. Input one is for single coil 

guitars, and input two is for humbuckers. The 

attitude adjustment handles gain and response 

Todd maintains one full time employee and 

a part staff member to help. Since he has 

combined companies into one central location, 

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Nashville Amplifier Service and Todd 

Sharp Amps, he has stopped touring 

for the moment, but he does still gig 

locally. 

Major artists currently playing Todd 

Sharp amps include Vince Gill, 

Steve Wariner, John Oates, and 

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Mick Fleetwood. If you’re tired of the 

traditional amplifier offerings on the 

market and want to try something 

that makes you rethink your 

approach to guitar tone, this could 

be the rig for you. 

Todd Sharp Amplifiers are available 

direct at ToddSharpAmps.com. 

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Visit us at NAMM Booth #1301 

Come visit our booth at Summer NAMM 2016 

www.republicguitars.com 

facebook.com/republicguitars

COLUMN 

PEDAL SNAPSHOT Phil Traina 

GoodMark 

Chase Tone Secret Preamp 

Street $178.00 

I was recently turned on to Chase Tone by a 

Sometimes simple is just better. I plugged my 

MERCHANTS 

OF TONE 

few of my tone hound friends. I am glad they 

Iconic Custom Guitars Strat style guitar into the 

did. I reached out to Kyle (Owner/Builder) 

Secret Preamp, and then into a Morgan CM50 

and he said I had to check out the Vintage 

(blackface tones). Right out of the gate you 

Secret Preamp. What is the secret preamp 

will notice how the Secret Preamp sweetens 

you ask? In a nutshell it is possibly the most 

your tone, adding complex harmonics and 

faithful reproduction of the Echoplex preamp 

touch sensitivity. Turn the knob clockwise and 

circuit available in a pedal. Some of the 

it gooses your signal nicely. It’s not over the top, 

features of the secret preamp are NOS (New 

but adds the perfect amount. My favorite way 

Old Stock) components. All of the capacitors 

to run it is how it was probably intended, at 

and resistors are the same components as 

the end of my effects chain. It took my already 

the original Echoplexes. The Secret Preamp 

good base tone and made it better. With the 

jumps the voltage internally from 9v to 22v, 

S-style guitar I preferred the darker setting, but 

Key Features 

just as the vintage units did, which adds to the 

response and attack. My favorite feature is the 

with humbuckers the switch made it an easy 

transition. Chase Tone nailed this effect, and I 

Reproduction of the 

Echoplex preamp 

New Old Stock Components 

switch on the side of the box that can go from 

brighter, earlier, EP tones to darker, later, EP 

tones. The one knob adds to the ease of use. 

am looking forward to trying more in the future. 

ChaseTone.com 

Tone Switch 

Gurus Optivalve Tube Optical Compressor 

Price $384.50 

If you have been reading my column over the 

squishy effected tones. Optical compressors 

past couple of issues you will know that I am 

even out your tone and help give you the 

a huge Gurus fan. Chicco is building some of 

polished studio sound. With simple controls: 

the coolest pedals out there. They are a bit 

input, output, tone, and ratio, you are able 

larger than most of their contemporaries, but 

to dial in the perfect amount of compression 

well worth the extra space. I met with Chicco at 

quickly. The tube adds nice warmth as well. 

the Gurus booth at NAMM, and we went over 

Placing the Optivalve before my drive pedals 

the whole line of offerings. The newest pedal to 

gave me a flavor that most might be familiar 

the line is the Optivalve compressor. Being the 

with, typically that’s where most players stick 

Key Features 

Simple Controls: Input, Output, 

Tone + Ratio 

Use as a Compressor or a 

Limiter 

Use the “See thru Magic EYE” 

to view the Compression 

reduction level 

compressor junkie that I am, I was drawn to this 

box. The tones I was getting out of the Optivalve 

are very familiar. It hits on many of my favorite 

famous outboard compressors, such as the 

Teletronix LA2A. These styles of compressors 

are not supposed to give you the super overly 

the compressor. The Optivalve also excelled 

when placing it after my drives, and even at the 

end of my chain. I felt like my tone was super 

tight and, like I said before, polished. This was 

definitely a NAMM highlight for me. 

www.GurusAmps.com 

BOUTIQUE AMPS 

GoodMark “Classic” 

GoodMark “Rat Rod” 

BOUTIQUE GUITARS 

B&G “Little Sister” 

B&G “Big Sister” 

GoodMarkGuitars.com 



Lonnie Good 509.422.1400 | Mark Coulter 360.661.6823 | goodmarkguitars@gmail.com

DOs & Don’tS 

THE DOs AND DON’Ts OF THE INTERNATIONAL DALLAS GUITAR SHOW 2016 Bruce Adolph 

 

DO... 

Describe 

your clean 

1956 Fender 

Telecaster as 

“Minty” 

DO... 

Price your guitars appropriately... 

DO... 

Look for unusually cool items from the 1950’s 

to buy… 

DON’T... 

Well, the sign says it all. Ha! We love you Neal! 

the Straight Truth About Pickups by Jason Lollar 

The “magic” found in some (but not all) classic vintage pickups 

was created by accident. Don’t let anyone tell you different. And 

over time, some pretty stellar accidents happened. The only way 

to recreate that magic is to study more than a few exceptional 

examples of all the classic pickup types, while acquiring a 

thorough understanding of exactly what materials were used 

and precisely how each pickup was constructed and wound. Only 

then is the “magic” repeatable, if you are willing to spend the time 

and money required to chase the dragon. I am. 

I personally design and wind over 30 different pickup models, 

including all the vintage classics, many obscure works of art 

known only to lap and pedal steel players like Robert Randolph, 

and even a few of my own designs that never existed in the past. 

DON’T... 

Engrave your name on the top of your very old 

Gold Top Les Paul. Bill, really? 

DON’T... 

Cut a very large and clean hole in your 

1957 Fender Strat. The “What Were They 

Thinking” Award goes to… 

I invite you to visit our website for sound clips, videos and 

current product information, or feel free to give us a call. 

Lollar Pickups,Tacoma, WA. (206) 463-9838 www.lollarguitars.com 

® 



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CastleCreekGuitars@gmail.com · 970/641-2747

COLUMN 

QUIRKY VINTAGE: AMERICAN SHOWSTER NAMM PROTOTYPE #1 Bob Cianci 

 

This month’s installment of Quirky Vintage 

spotlights a really rare bird, the NAMM 

prototype of what is apparently the first reissue 

of the American Showster AS-57. As any 

vintage car buff will see, the body design is 

based upon a ’57 Chevy tailfin, making it, in 

this author’s opinion, one of the coolest pointy 

guitars ever produced. Before we go into the 

actual features, let’s look at the convoluted 

history of the American Showster Company 

that took place right here in my home state of 

New Jersey. 

Guitarist and entrepreneur Rick Excellente 

designed and formulated the AS-57 sometime 

in the early 1980’s and was granted a license 

by General Motors to produce a guitar based 

upon Chevy’s tailfin design in 1983. The details 

as to who actually built the initial guitars are a 

bit murky, but most likely they were assembled 

by David Schwab, a northern Jersey luthier. 

Supposedly, a woodcrafter in southern New 

Jersey carved the first bodies, but his name is 

lost in the mists of time. 

American Showster was originally based in 

Maplewood, NJ, but moved to Palisades Park 

shortly thereafter. The first examples utilized 

one EMG-81 pickup, but later models, such as 

the one you see here, employed a Strat style 

pickup layout. Excellente was enamored of the 

use of metal in his guitars, a trend continued on 

this example. 

Rick Excellente was friends with Bill Meeker 

and David Haines of the Kramer company (their 

twisted history is a story unto itself), and it was 

Kramer who reportedly painted the bodies 

and entered into a distribution agreement 

with Excellente. The guitars were shown at 

the NAMM show around 1984, but not long 

afterwards, the business deal between Kramer 

and Excellente went sour, and the rights to the 

design wound up solely in the possession of 

Kramer in 1986. 

The AS-57 apparently sat dormant for a few 

years until making an appearance at the 2008 

NAMM show in Anaheim, California. And that’s 

where this guitar was displayed. Written on the 

back of the guitar was the following: American 

Showster, Chris Hoffschneider & Billy Meeker, 

Prototype #1, 10-1-07. My guess is, this 

particular guitar was built from leftover Kramer 

stock, given Meeker’s involvement with that 

company. 

The guitar itself retains the classic ’57 Chevy 

tailfin appearance, and is painted in a flip/flop 

purple and green finish that changes color, 

depending upon your eyes or movement of 

the guitar itself. It has a C-shaped maple neck 

and rosewood fretboard, twenty-two medium 

jumbo frets, Hipshot tuners, a retainer bar that 

holds the strings in place over the nut, and 

a bolt-on neck with six screws. The scale is 

25.5”with a 12” radius. The body is made of 

alder and features active electronics, chrome 

strips, and a simulated tail light used on the 

original guitar, which is non-operational, unlike 

the original AS-57s, which featured a working 

red tail light. 

A Fender-style bridge with vibrato is utilized, 

with three proprietary Strat-type pickups, and a 

five position switch, along with one volume and 

one tone control. The input jack is located at 

the bottom of the tail light assembly. 

So, how did it play? Quite well, actually, but it 

needed a setup and neck adjustment to play 

at its best, an easy fix for any qualified guitar 

tech. Outside of one minor scratch on the 

top, this axe was in near pristine condition. It’s 

obvious that the AS-57 really excels as a visual 

statement. As you can see from the photo, it 

looks absolutely stunning from a horizontal 

viewpoint. Any guitarist brave enough to strap 

one on would make a distinct impression and 

attract attention playing this instrument on a live 

gig. I can almost guarantee you’re not going to 

see anyone on your local bar circuit playing 

one. 

Why didn’t the AS-57 catch on? Most likely, 

it was never marketed correctly and fell victim 

to inept business dealings, the demise of the 

Kramer Company, and also by the fact that 

a large majority of guitarists are inherently 

conservative by nature and want instruments 

that look, feel, and sound like they were 

produced during the 1950’s and ‘60’s. 

#iplay 

EASTMAN 

#handcrafted 



So, there you have it; the American Showster 

AS-57: a sharp looking guitar styled after an 

iconic American automobile that never took off 

and has now been relegated to the world of six 

string oddities. 

www.eastmanguitars.com

just know there’s gotta be something wrong 

hits and misses? That is something that you 

in the mid-60s, what would be prevalent even 

because somebody decided to get rid of it. It 

grapple with every time you sit down and try 

to this day. The way that a modern guitar player 

goes against logic as to why you’re interested 

to design a guitar to minimize that and focus 

would use an amplifier on stage, would totally 

in buying it. The attitude of how you want to 

more on the hits part of it. But that’s what I think 

blow their minds. If you told Leo Fender, “This is 

use a tool is just about everything. When you’re 

modern designers keep trying to do, which is 

how people are going to use your guitar. You’re 

selling gear, you have to remember you just 

so cool, and thank God we have people who 

gonna have Keith Urban, Prince, John 5, and 

can’t keep everything. If you’re not using it – 

really want to pioneer that. 

Bruce Springsteen, they’re all gonna be playing 

if it’s not a tool that resonates with you then 

your Telecaster by the way”. 

you should just move it on cause someone else 

We love the designs from the late 40s through 

could really enjoy it. 

the 50s. Those designs were absolutely 

The things you learn are the obvious ones. You 

amazing. They had no idea what was coming 

learn about wood, the different tones you get 

CG My friend also owns a Blackface Vibrolux 

Reverb you sold. After trying a couple of vintage 

Strats, the guitar that sounded best through it 

was a JS1200. How much have the various 

vintage instruments you’ve played and owned 

influenced the JS line? 

刀䔀䄀䐀夀吀伀唀倀䜀刀䄀䐀䔀㼀 

JS A lot. I remember owning several 50’s Strats 

and always coming face to face with the fact 

that they have serious road blocks in them for 

performing songs in my catalog, that stop me 

from using them on stage. But they have these 

other qualities - all guitars should be this simple 

and have such a big, ambient sound to them. 

That’s always been the cool thing about Strat’s 

continued from page 26 

collection. 

CG Do you still own your Echoplex EP-2? 

JS That thing is held together by love at this 

point - and some mojo. I remember being in the 

studio with John and we wanted to get some 

really crazy tape echo magic. We sent the 

already-recorded guitar part back out into this 

Echoplex so I could manually work it. We had 

this old tape that was wonderfully saturated 

with thousands of hours of guitar playing. It 

was the coolest sound of effects you could 

ever imagine, it just sounded so beautiful. 

There isn’t a plug-in or digital effect that 

would ever be as complex or wonderful. It 

always puts a smile on my face when I hear 

that part of the song. 

Sometimes the vintage stuff is just old, and 

other times it has the secret sauce flowing 

in it. With old vintage stuff, it’s very much 

like brand new guitars. You go into any music 

store, find a popular brand, they’ve got three 

of them hanging on the wall and you play all 

three and go, “This is the good one”. Vintage 

gear is the same way, I don’t know what the hit 

or miss number is, but let’s say it’s one in ten 

items is the thing when it comes to something 

where human hands did most of the fashioning 

of it - that’s electric and acoustic guitars. That 

means that most of the old stuff is simply old 

When you’re selling gear, you 

have to remember you just can’t 

keep everything. If you’re not 

using it – if it’s not a tool that 

resonates with you then you 

should just move it on cause 

someone else could really 

enjoy it. 

and it never got good. But the stuff that was 

good, just got better. That gray Echoplex was 

one of the winners. Even though that’s a highly 

manufactured product; it’s not something you’d 

consider hand crafted. But that thing always 

has a tone. 

CG A friend of mine picked up a bunch of 

vintage gear you’ve sold through Bananas At 

Large in Marin County. How do you decide it’s 

time to let something go? 

JS Their clientele is very intelligent, they 

understand that these tools formerly used 

by professionals show up from time to 

time and they’ve got scars - they’ve been 

through some Rock ‘n Roll battles. For me, 

it’s like a tool I don’t want to use any more. 

But for somebody else, it’s exactly what 

they’ve been waiting for. When I pick up a 

used guitar or something like that, I always 

think, “Why is someone selling it”? You 

and Teles - they pass on this ambience that 

translates into excitement for the audience. We 

know the pickups are weak and they’re almost 

always single coil so there’s noise involved, 

there’s issues right? At the same time there’s 

an intrinsic excitement, the voodoo part of the 

simple design of those guitars. They can be 

screwed together and unscrewed in less than 

twenty minutes and sound perfect every time 

you put them back together. That’s a hallmark 

of brilliant design; you just can’t get around it. 

Thinking about it that way and then looking at 

the JS guitars and you go, “Well OK, the scale 

length is the same and yes it is a bolt-on neck” 

so there are things about the guitars that are 

pretty similar. I’ve learned about the things that 

can happen with a classic design. If you’ve 

owned a hundred Strats, you’ve owned a 

hundred Strats that sound totally different from 

each other and you’ve scratched your head 

like, “How’s that even possible?” If that first 

statement I said, where this design is so classic 

is true, why does it provide such a variety of 

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45

out of it, and all the different combinations. You 

wood. If you’re making guitars for the 

sometimes I want people to be confused as to 

bridge you’ve got, what are the value of your 

can try to narrow it down and say, “I always like 

marketplace and you’re aiming for vintage or 

what instrument it is that’s making that sound. 

pots, how much wiring is in the guitar, is the 

ash over alder”, but once you really get into it 

blues purists, it would be silly not to understand 

Other times I want them to be bathed in some 

wood really old, what’s the finish on the guitar? 

you realize it’s just something that grows out of 

wood and pickup strength because you’d be 

beautiful vintage quality of the guitar. How do I 

All those things become much more noticeable 

the ground and there’s no way of telling which 

missing your core audience. If you’re looking to 

get that and how do we pass that along? 

because your not playing, when your not trying 

plank of ash is going to sound exactly the way 

sell guitars to people who are into Metalcore, 

to dominate the instrument in real time with 

you want. There’s such a varying degree in 

why would you even bother with all that vintage 

When John Cuniberti and I started making 

your musicianship. 

tonal response in every plank of wood that gets 

stuff? They have other things that they need in 

records, we’d had some experience in the 

fashioned into a body, it’ll keep you guessing 

that style of music. Those guitar players place 

studio when we were recording The Squares, 

This kind of goes off on a tangent, but this really 

for the rest of your life. But the whole idea 

demands on the instrument that make sense 

my band in the early 80s. As we learned about 

goes back to the idea of what you learn from 

about tone woods is a good generalization to 

to address before you think of making an 

recording, amps and studios together, we 

owning and playing vintage guitars and how 

an extent of how you want the instrument to be 

instrument for them. One of them though, is not 

arrived at a point where we wanted to plug the 

you put that into designing new gear. All the 

used. I learned how much of what I do is based 

the thing about the wood because you’re never 

guitar directly into a DI, that would go directly 

stuff I mentioned is part of the experience. If 

on the sound of the pickup and the interaction 

gonna hear it. Their style of the music does not 

into a vintage mic pre, and then right to tape. 

I had to wrap it up into one thing I’d say you 

of the electronics - minimal as they are coming 

take those elements of the instrument and put 

We were so interested in what the guitar 

gain experience. If you have a good memory 

out of the guitar, and how they interface with the 

them in the forefront of the recording. Those 

actually sounded like without any amplifier and 

you keep that in mind every time somebody 

amps. If you’re playing without distortion, you’re 

things are important to know if you’re thinking 

with the shortest cable. For most of the clean 

says, “Well, we can just cut this big piece of 

going to pass on more of the elements of the 

about designing guitars. I’ve always liked both - 

guitar sounds you hear on those early records, 

wood out”, you might go, “Well you know, if 

that’s exactly how they were recorded. It was 

you take three inches of wood out you might 

fascinating to take a guitar you always plugged 

lose something. You put three more inches of 

into your Marshall turned to eight, and hear it 

wood on there and you gain something”. It can 

into a mic pre with nothing on it. With no guitar 

be that simple. I love playing my vintage gear, 

amps scripts all over it, and we’d go, “Wow 

then picking a brand new JS guitar and seeing 

that’s what the guitar sounds like”. We could 

where there are similarities, where there are 

mold it any way we wanted it. 

differences… how we solved issues with older 

designs that don’t interface well with modern 

Years later, John Cuniberti invented the 

music. 

Reamp so we could take those DI-recorded 

performances and put them back into a variety 

of amps in the studio. That was a very interesting 

step in capturing the true essence of the guitar 

and seeing really what is was and how it was 

ultimately morphed into something entirely 

different simply by putting it into the front end 

of an amplifier. People tend to forget that when 

they’re playing, because they’re getting so 

much visceral feedback as they play the guitar. 

It’s a very narrowly focused experience you’re 

having with your gear. But take a piece of music 

that you recorded with a DI and keep running 

that out into different amplifiers, you remove 

yourself viscerally from the equation. It’s almost 

like you hearing the guitar speak for itself. 

Then you start manipulating the amplifier in a 

way you wouldn’t if you were actually standing 

in front of it playing. This also shines a lot of 

light on the intrinsic qualities of the instrument 

coming from its design - the wood, the kind 

of frets you’re using, the strings, what kind of 



May June 2016 


47

FEATURE 

The Tube Amp Book (Aspen Pittman). Although 

published in several versions, the best is 

worthy of my collection, but the line had to be 

drawn somewhere. A great book and highly 

collector this book has B&W pictures and 

specifications. There is a nice color section 

THE TOP 20 (+3) BOOKS FOR AMPLIFIER ENTHUSIASTS Robert Gearhart 

the later oversized hardback spiral bound 

edition. A great write-up on major brands is 

recommended. (208 pages) 

of beautiful mint examples. It also includes a 

CD-ROM containing the entire 1960s Master 

I have the moniker of AMPGUY, which describes 

my OCD tendencies towards collecting 

amplifiers and everything related to amplifiers. 

This includes mint examples of amplifiers, 

miniature 9v editions, retail amplifier signs, 

amplifier logos and pins, and amplifier catalogs, 

etc. I view an amplifier as an engineering marvel, 

as well as a work of art. To me, it is amazing 

that a radio repairman in California (Leo Fender) 

would go on to create legendary guitar and 

bass amplifiers in almost every iteration in size, 

wattage, and speaker complement, influencing 

all later designs. I personally am most partial 

to the big three Fender, Marshall, and Mesa- 

Boogie, but love them all. 

What this article will describe, in my humble 

opinion, are the greatest amplifier books ever 

written, all of which reside in my collection. 

There are others, but these books stand out. 

Since no one can own an example of every 

great amplifier, you can own a copy of all the 

great amplifier books that describe them and 

help you understand how they work. Although I 

have collected some of the special editions that 

were published, standard and more affordable 

editions are readily available. As a plea to the 

future, someone needs to write a history of 

Mesa-Boogie! 

The Amp Book (Donald Brosnac). This book 

deserves special mention, as it was my first 

book on amplifiers. I bought this in 1989 and 

that is when I got hooked. The obsession was 

created. It discusses how amplifiers work, 

speaker choices, and information on the 

amplifier manufacturers. Printed only in B&W. 

One can only guess how many times that I read 

it cover to cover. Only 64 pages. 

The Soul of Tone: Celebrating 60 Years of Fender 

Amps (Tom Wheeler). This is the new bible for 

Fender Amp collectors, and is an amazing read 

with beautiful pictures. It simply is a must have, 

and includes two CDs that have recordings of 

many of the amps with both single coil and 

humbucker equipped guitars. Unfortunately, 

it was published in 2007 and sorely needs 

an update for the newer Fender Amplifiers 

that have been created. Mine is a slipcovered 

hardbound limited edition, #1000 out of 1000. 

(592 pages). 

Fender Amps: The First Fifty Years (Teagle and 

Sprung). This was one of the first bibles for 

Fender Amplifier collectors and still remains 

viable. It is well written and has a lot of 

information not found in the book above. Mine 

is a limited edition that was published as a 

hardbound, slipcovered book that sports a 

tweed cloth cover and is #901 of 1000. Highly 

recommended. (256 pages). 

A Dumble Book (Schwartz). For the most of 

us that will never own or even play through a 

Dumble Amplifier, touted as the greatest and 

certainly the most expensive amplifier ever 

made (+$90K), this book may be as close 

as you can get. It describes the history, with 

pictures of many great Dumbles, and includes 

interviews with Howard Dumble. Mine is a 

slipcovered hardbound example, #969 of 

1000. (332 pages). 

Ampeg: The Story Behind the Sound (Hopkins and 

Moore). For those that appreciate the beauty 

and great sound of Ampeg Amplifiers, this is 

a great book tracing the history and model 

features through the years. For those that 

remember, Ken Fischer worked here before 

he started Trainwreck Amplifiers. My copy is a 

slipcovered special edition #969 of 2000. The 

slipcover is covered with Ampeg blue check 

amplifier covering and has an actual Ampeg 

metal logo. (297 pages). 

Blue Book of Guitar Amplifiers (Zachery R. 

Fjestad) This book is essentially a price guide 

for amplifiers in various levels of condition. 

It features brief histories of most amplifier 

companies and depicts details including 

wattage, tube complement, and speaker size 

for all models listed. A great reference, and 

perhaps the only bound reference for many 

smaller amp companies. Mostly B&W, it has a 

16-page color section with many nice pictures. 

Another must have! My 3 rd edition has 608 

pages. 

The Fender Amp Book (John Morrish). Almost a 

pocket guide, this book has a lot of detail and 

is a good reference to carry to guitar shows. 

Excellent historical content. (96 pages) 

complemented by high quality circuit diagrams. 

A CD included features 800 circuit diagrams. 

(187 pages) 

The History of Marshall: The First 50 Years (Doyle 

and Bowcott). This is another beautiful book 

with super pictures of the greatest Marshall 

Amplifiers, showing the interior circuits of many. 

A book to drool on, to say the least. Definitely 

recommended. (392 pages) 

The VOX Story: A Complete History of the Legend 

(David Petersen and Dick Denney). The history 

is covered in detail in this early 90’s B&W tome. 

This is an interesting read, but does not have 

the unbelievable detail, by model, of the next 

book on the list. (168 pages) 

VOX Amplifiers (Jim Elyea). This is a massive 

(2.5” thick, 9.8 lb.) oversized hardbound book 

describing all things VOX, and depicts many 

of the amps in Jim’s collection, perhaps the 

largest collection in the world. His attention 

to detail is phenomenal. He has even tracked 

down the manufacturers of screws for these 

amps. This is another must-have for the owner 

of a VOX Amp, or one that just yearns for one. 

(682 pages). 

Amped: The Illustrated History of the World’s 

Greatest Amps (Dave Hunter). This is really a 

beautiful book describing and picturing each 

of Hunter’s favorite amps. You see amplifiers 

that most have never heard of. In my opinion, 

he overlooked a few that I thought was 

The Guitar Amp Handbook: Understanding Tube 

Amplifiers and Getting Great Sounds (Dave 

Hunter). This is a very interesting book that 

I have re-read countless times. He has 

described some of his favorite amplifiers and 

their circuits. Interestingly, he has included 

extensive interviews with some of the greatest 

amplifier designers. (295 pages) 

The Book of Orange and Building the Brand (Cliff 

Cooper). This is two books in one and is an 

oversized hardcover describing the history of 

Orange Amplifiers. It is printed in a novel style 

called Flipbook, where half way through you flip 

the book over to read the second book. There 

are great pictures of the amplifiers and the 

bands that used Orange Amps. (202 pages) 

A Desktop Reference of Hip Vintage Guitar Amps. 

Tube Amp Talk for the Guitarist and Tech. Tube 

Guitar Amplifier Essentials. All About Vacuum Tube 

Guitar Amplifiers (Gerald Weber). I combined 

these four books by Gerald because they 

are similar in layout either written in a chapter 

style or a Q&A format. The first book has a 

large collection of schematics that have been 

cleaned up for easy reading. All are easy to read 

and written in a style that is easy to understand. 

A lot of Gerald’s vast experience working with 

and repairing amplifiers is in there in print. All of 

his books are highly recommended. (507, 529, 

537, and 513 pages, respectively). 

Gibson Amplifiers 1933-2008: 75 Years of the Gold 

Tone (Wallace Marx Jr.) For the Gibson Amp 

Service Book in PDF. (192 pages) 

Music Man 1978-1982 (and Then Some): The 

Other Side of the Story (Frank W/M Green). An 

interesting read, but perhaps not as detailed 

with specs as many would expect. But other 

than original catalogs, the only reference out 

there. (111pages) 

Amps! (Richie Fliegler). This is a cool book about 

a lot of famous brands with a great color picture 

section to drool over. One of the first early 

picture books on amps, which is well worth 

owning. (120 pages) 

The Art of The Amplifier (Michael Doyle). A picture 

book for the most part, with just amazing shots 

of beautiful amplifiers. (80 pages) 

The Peavey Revolution, Hartley Peavey, The Gear, 

The Company, and the All-American Success Story 

(Ken Achard). Although not specifically an 

amplifier book, as it also reviews guitars and PA 

Systems, it does a pretty good job concerning 

the amplifiers. Most of us have owned a Peavey 

in our lifetime because of their affordability, 

good sound, and dependability. (184 Pages) 

Robert Gearhart 

After earning an MBA from Northern Iowa, 

I worked as a Manufacturers Rep for an 

engineered products company for 32 years and 

retired at 57 to pursue my passions, including 

guitar and amplifier collecting. 



49

FEATURE 

1980’s have produced models with a less than 

hotter cousin the ‘57 Classic Plus, or the 490T 

guitar is not weight-relieved, and it comes with 

stellar reputation. 

and R models, which allow for split coil tonal 

the ‘57 Classic and ‘57 Classic Plus pickups 

A BEGINNERS GUIDE TO SHOPPING FOR A LES PAUL Rich Murdocco 

Weight Relief 

variety via a push/pull knob. 

that pair well with the Marshall JCM 2000 DSL 

head it was to be played through. In contrast to 

For the uninitiated, navigating Gibson’s 

encyclopedic product history and today’s 

modern variants of the Les Paul can be a 

herculean task. While the variety presented 

ensures that there is a Les Paul to meet every 

player’s needs, it can be intimidating for those 

entering the labyrinth for the first time. 

Being a first time Gibson shopper, I discovered 

this fact first hand. As a longtime player of 

Jackson and Ibanez guitars, I decided to 

broaden my horizons by going outside the 

Super Strat realm. The newest target for 

acquisition was to be a Gibson Les Paul – a 

bonafide American-made classic that conjures 

up images of Jimmy Page cutting bluesdriven 

riffs through an overdriven Marshall. 

Accustomed to the relatively straightforward 

offerings from the likes of Jackson, Ibanez, and 

ESP, the product variants of the Les Paul was 

byzantine in comparison. I was surprised to 

learn there were so many variants of the model 

– the Less Plus, Studio, Classic, Traditional, 

Custom, all of which have differing weights, 

electronics, pickups, and neck profiles. 

What follows is a casual shoppers guide to 

buying a Les Paul, written for those without 

the time (or patience!) to dive into the different 

models available today. By providing a casual 

guide that will introduce what to look for, you, 

the buyer, find the right guitar for the right price. 

Choosing the Model 

By choosing a Gibson Les Paul, you’re already 

committing to spend anywhere from $799 for a 

relatively sparse faded series Les Paul Studio to 

upwards of $6,000 for custom shop Les Paul 

adorned with an ebony fretboard, mother-ofpearl 

accents, and built to artist specifications. 

Typically, most shoppers opt for the Studio 

models in the $1000 range, while the traditional 

Les Pauls with neck binding, mother of pearl 

inlays, and the classic looking burst finishes sell 

for $2,000 on up. 

The used market for the Les Paul is robust, 

thanks to the widespread popularity of the 

instrument. Pricing is relatively stable, since this 

popularity that makes them so plentiful on the 

secondary market also happens to keep them 

desirable. When shopping for a used Les Paul, 

be sure to note the instrument’s build quality, 

which has seen its ups and downs throughout 

the decades. In recent years, quality control 

has been standardized, with 2016 being one 

of the strongest years for the brand, while the 

By design, a Gibson Les Paul is a heavy guitar 

– mostly thanks to their solid Mahogany bodies 

and necks. Gibson’s luthiers offer a variety of 

weight relieved models that cut down on the 

heft, with seemingly nominal impact to the 

instrument’s much-sought after tone. 

Today, the brand offers different degrees of 

weight relief: traditional relief, modern relief, 

chambered relief, as well as variants of the 

guitar with no weight relief whatsoever that 

weigh over 10 pounds. Gibson describes the 

middle of the road “modern” weight relief as 

somewhere between full on chambering of the 

body, which players claimed was too resonant, 

and traditional weight relief, which consists of 

a series of small circular holes bored into the 

body to remove mass. Les Paul Ultra models 

are slimmer. When shopping for your first Les 

Paul – take note of which variant you like the 

While pickups can always be swapped out at 

a later date – most on the used market would 

never swap out vintage Gibson pickups on a 

Les Paul. Ace Frehley, who through much of 

KISS’ early career favored DiMarzio Super 

Distortions, made it a point of saying that he 

wouldn’t touch the electronics on a classic 

Les Paul. An unaltered vintage Les Paul is 

extremely valuable, and the prices climb into 

the stratosphere with each rarer model. 

Choosing Which Model Works For You 

In the end, Gibson’s offerings have evolved 

to the point where they pretty much offer 

something for everyone. Depending on the 

flexibility of your budget, if you want a Les Paul, 

Gibson has a model for you. 

In my own hunt for a Les Paul, I opted for a 

simple Les Paul Traditional. At 10 pounds, the 

the super thin Ibanez necks I was accustomed 

to, the 50’s neck profile of the Les Paul that I 

bought is a welcome addition to my collection. 

I’ve always read that when designing the 

Soloist, Jackson Guitars sought to blend a 

Fender body with a Gibson neck, and I was 

surprised to see that the similarities between 

the two are striking (at least at the lower frets). 

As with any large purchase, doing your research 

will help guide you in the right direction – but 

playing the instrument (or something similar) is 

key. Assess your playing needs, budget, and 

proceed from there. Don’t need all the aesthetic 

frills, but still want the Les Paul sound? Opt for 

a Studio model, which was created for just that 

purpose. Want an ebony fretboard? Expect 

to pay, but there is a custom waiting for you. 

Either way, Gibson has created a Les Paul that 

seems tailor-made to meet your needs. 

feel and sound of. 

Neck Profile 

Once you’ve decided on the weight of your 

Les Paul, next is choosing from a variety of 

Gibson’s neck profiles. From the chunky profile 

of the 1950’s models to the slimmer, more 

modern necks, which are more aligned with 

variants from the 1960’s. Each player has their 

own preference, so always try a similar profile 

before buying. The Les Paul Studio, Classic, 

and Standard models offer a slimmer neck, 

while the Traditional models have the chunkier 

vintage profile. 

Pickups 

While the heart of the Les Paul’s sound is found 

in the Mahogany, the character lies within the 

pickups. Les Paul’s offer anything from classic 

P90 soap bars, PAFs modeled off of some of 

Gibson’s most famous vintage guitars, to the 

hotter Burstbucker Pros with some extra sizzle 

as needed. Other options offered include the 

‘57 Classic, which models the famous “patent 

applied for” humbuckers of yesterday, to its 



51

FRETBOARD 

LESS TRAVELED 

COMPING MINOR BLUES Rich Severson 

Blues in a minor key is a music forum that both 

blues/rock and jazz players enjoy. In this article 

I’m going to show the difference in how those 

two groups approach this song form. For our 

example we are using blues in C Minor. Let’s make 

some comparisons between the two versions. 

Right off the bat the rock version has half as 

many chords as the jazz, and uses full voicings 

for strumming the groove with the other players. 

The jazz version uses 4 note chords, is more 

for the harmonic content than the rhythmic feel, 

and might be played with the fingers instead of 

with a pick. 

Let’s talk about the chords in the jazz version, 

which are all initially based on the rock version. 

Measure 1, a minor 9 th is substituted for the 

Cmin chord. This is called a direct substitution, 

adding richer chord tones to the basic chord. 

Measure 2, we have ll-V of the home key of C 

minor. This is reaffirming the tonal center of 

C minor, setting up Measure 3. Measure 4, the 

Gm7b5 to C7#9 is ll V of F minor, setting up 

Measure 5, the tonality of Fm9. Measure 6, again 

points our ears to the C minor tonality coming 

up in Measure 7. The Ddim is the same chord 

as G7b9, as the bass would probably play a 

G here. Measure 8, the Am7b5 is a common 

diatonic substitution for the Cmin. Just like an 

Amin might be used for a Cmaj chord. Measure 

9, the Ab7 appears in both versions; the Ab13 

is used as a direct substitution. Measure 10, 

G7#5#9 another direct substitution; this one 

for the G7. Measures 11 & 12, in jazz terms 

this is called a turnaround. The l,Vl, ll V chord 

progression is the most common turnaround. 

& bb b 

& bb b 

&b b b 

&b b b 

&b b b 

&b b b 

4 

. 

C Minor Blues, Rock Version 

C‹ 

2 3 4 

8fr 

5 6 7 8 

A¨7 

G7 

C‹ 

9 10 11 

. 

1 

F‹ 

F‹9 

Cm9 

9fr 

C‹ 

3fr 

? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 

? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 

8fr 

? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 

6fr 

C Minor Blues, Jazz Version 

Dm7b5 

9 10 11 

5fr 

3fr 

C‹ 

8fr 

3fr 

G&7 Cm9 Gm7b5 C7(#9) 

? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 

2 3 4 

Dm7b5 

4fr 

Ddim7 C‹11 

4fr 

? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 

5 

A¨13 

6 

G&7(#9) 

7 C‹7 A‹7(b5) 8 Dm7b5 

4fr 

3fr 

? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 

8fr 

Copyright © 2016 by Guitar College, Inc. 

4fr 

12 

12 

G7 

Am7b5 

8fr 

5fr 

5fr 

G&7 

3fr 

. 

. 

I hope this whets your appetite for more jazz 

sounds. I have many video lessons on this 

subject. Till next time. 

www.GuitarCollege.com 



COLUMN 

PAWNSHOP PRIZE Roger Zimish 

1968 SUPRO S700: 

The Country and Western Flat Top 

This time around in the pawnshop we found a 

rare Supro acoustic guitar. Supro is probably 

more widely known for their cool vintage amps, 

lap steel guitars, and those funky fiberglass 

guitars from the 60’s. There are not too many 

acoustic guitars out there with the Supro name 

on them. In the 1968 Supro catalog the S700 

was called, “An exciting new country and 

western model flat top guitar with a special 

shape that accentuates the round, full bass 

tones that makes it ideal for rhythm work.” 

Now, this Supro guitar is far from being pristine, 

it has been played quite a lot over its many years 

and has some scars to prove it, but boy does 

she have a sound all her own and a bag full of 

that mojo to go with it! The S700 Flat Top has 

a solid spruce top 15 1/2” wide dreadnought 

shape, mahogany back and sides with wide 

top and back binding, the “deluxe western” 

large bridge with 3 points at each end that 

accentuates the stunning look of the 4 point 4 

ply celluloid tortoise shell guard, and is just cool 

to look at. It also has an adjustable 

mahogany 3- bolt-on neck with a 

bound rosewood fingerboard with 

pearloid block inlays and nickel-silver 

frets, asymmetrical peghead (longer 

on bass side), and it has the original 

Kluson Deluxe tuning machines. It 

even has the silver foil serial number 

sticker on the back of the headstock. 

After finding this Supro acoustic 

guitar and seeing the new Supro 

amp line out in the big box retail 

music stores I did some research on 

the brand. 

“The Supro trademark was the 

budget brand for the National Dobro 

Company, who supplied what 

was known as “House Brands” 

to Montgomery Ward, with Supro 

models under the Airline trademark. 

National offered budget versions of 

their designs under the Supro brand 

name beginning in 1935. National 

moved to Chicago in 1936. The 

Supro name was on wood bodied 

lap steels, amplifiers, and electric 

Spanish arch top guitars. The first 

solid body Supro electrics were 

introduced in 1952, and the fiberglass 



models began in 1962. Valco Manufacturing 

Company name was changed to Valco Guitars, 

Inc. (the same year that their fiberglass models 

debuted). Kay purchased Valco in 1967, so 

there are some Kay-built guitars under the 

Supro brand name. Kay went bankrupt in 1968, 

and both the Supro and National trademarks 

were acquired by Chicago´s Strum N’ Drum 

Company. The National name was used on 

a number of Japanese built imports, but not 

the Supro name. Archer´s Music of Fresno, 

California bought the rights to the Supro name 

in the early 1980s. They marketed a number of 

Supro guitars constructed from new old stock 

(N.O.S.) parts for a limited period of time.” 

(source: Vintage Guitar Magazine). 

The Supro S700 is National/Valco made. The 

Supro peghead shape was used from ’62 – 

‘68, with the plastic logo longer on the bass 

side (1955 - ‘62 earlier pegheads are narrower). 

National pegheads from 1958 – ‘68 are longer 

on the treble side. Foil serial number stickers 

were used on Valco-made instruments from 

1964 to 1968, and the “2” prefix means it was 

made early-mid ‘68. So that’s the story that 

dates the guitar in the pictures. 

As I said, this guitar has some mojo to it and 

is full of dynamics, from soft finger picking to 

full body strumming, reminiscent to a full body 

Gibson. Its zero fret, thin, bolt on neck, and 

the adjustable trussrod both help to make this 

guitar easy to play. The body does show its 

age with some nicks and scratches, along with 

some spider cracking in the thin nitrocellouse 

finish. With all that said, this is the best sounding 

acoustic guitar with a bolt on neck that I have 

ever played. I have seen similar guitars from 

the late 60’s going for up to $1500, this one 

is selling for around $400 without a case. So 

check out those pawnshops . . . you never 

know what you might find! 

VINTAGE GUITARS & 

MUSICAL INSTRUMENTS AUCTION 

July 23, 2016 | Dallas | Live & Online 

INQUIRIES: 

Seeking Quality Consignments, Delivering Results 

1963 Fender 

Stratocaster Sonic 

Blue Solid Body 

Electric Guitar. 

Sold For: $65,625 

1952 Fender 

Telecaster Blonde 

Solid Body Electric Guitar. 

Sold For: $32,500 

1953 Fender 

Precision Bass Blonde 

Electric Bass Guitar. 

Sold For: $13,125 

Paul R. Minshull #16591. BP 12-25%; see HA.com. 41721 

1941 Martin D-45 

Natural Acoustic Guitar. 

Sold For: $110,500 

Isaiah Evans 

214-409-1201 

IsaiahE@HA.com 

Consignment Deadline: June 1 

DALLAS | NEW YORK | BEVERLY HILLS | SAN FRANCISCO | CHICAGO | PALM BEACH 

PARIS | GENEVA | AMSTERDAM | HONG KONG 

Always Accepting Quality Consignments in 40 Categories 

Immediate Cash Advances Available 

950,000+ Online Bidder-Members 

1964 Gibson 

Thunderbird IV Sunburst 

Electric Bass Guitar. 

Sold For: $10,625 

1938 Gibson 

Advanced 

Jumbo Sunburst 

Acoustic Guitar. 

Sold For: $53,775 

Mike Gutierrez 

214-409-1183 

MikeG@HA.com

CG-MayJun16-ISSUU

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