A new volume of Martin | The Journal of Acoustic Guitars has arrived!
The latest volume features a new Word From CEO & Chairman Chris Martin IV focusing on sustainability, more about the #FollowTheFrog campaign and Martin Ambassador James Valentine of Maroon 5's involvement, an in-depth interview with Martin Ambassador Jason Isbell on his new signature edition D-18, and more.
Now put an hour or two aside and completely lose yourself in Martin | The Journal of Acoustic Guitars here.
Aah, how cool is this! Reverend Guitars has just unleashed the Reeves Gabrels Dirtbike, a stripped-back, ready-to-get-down-and-dirty guitar inspired by Reeves’ personal history. In his own words:
“What I think is cool about this guitar is the fact that I have a whole ongoing story/reason/explanation of always having a no frills simple, fast and blue thing to zip around on that threads thru my whole life. This guitar is a continuation of that sense of freedom in the form of speed and power stripped down to its essentials. And Reverend Guitars matched the light metallic blue color of both of its two wheeled predecessors. To me a single pickup guitar with a trem is just like my 1966 Schwinn Stingray with the extension spring on the front wheel or my 1971 Honda dirtbike with the raised front fender and slightly extended fork. It’s a guitar with enough agility that it will let you grab air and do wheelies and the power to leave some rubber on the asphalt in front of the neighbor’s house. And, really, that’s all you need. Did I mention it’s blue?” – Reeves Gabrels.
It has a custom Railhammer pickup, solid Korina body, Wilkinson WVS50 IIK tremolo, passive bass contour knob and a 22 jumbo fret Rosewood fingerboard on a three-piece Korina neck. It comes in three colours: Reeves Blue, Violin Brown and Cream. More info here.
The Martin Custom Shop is always on point with the NAMM Show Special guitars. And this new guitar is no exception!
The unique 14 Fret Slope shoulder 00L guitar, is limited to a run of 30 guitars with a custom paper label signed by Chairman & CEO C.F. Martin IV. The show special is the same size and shape as the popular CEO-7 model.
The SS-00L Art Deco 2017 features a design motif in collaboration with luthier Bruce Petros in the form of wood purfling that extends around the top, back, and fingerboard. The purfling is laser cut from beautiful flamed maple. The top is Adirondack spruce with an antique toner and the guitar is further complimented with open gear Schaller Grandtune vintage copper tuners.
You can learn even more about the gorgeous SS-00L Art Deco-2017 here.
|Bill Collings in the 1970's|
By 1975 he was working as an engineer with a pipeline
and oil field company. At night he continued building guitars.
|Lyle Lovett with a Collings Guitar|
By the early 1980’s Bill decided to move to California, but he never got farther than Austin Texas.
It was there he met fellow luthiers, Mike Stevens, and Tom Ellis. Ellis built handcrafted mandolins. Collings began working with them, but after a few years before he moved into his own shop which was in his garage.
|Bill Collings in his shop|
It was in 1987 when Nashville based vintage guitar collector/seller George Gruhn hired Bill Collings to make 25 guitars for his shop. This had a wonderful impact on Collings reputation.
|1989 Collings made for Gruhn|
By 1989 Bill Collings was able to hire his first employee. Since then Collings guitars have become one of the most recognized and respected instrument manufacturers in the business.
Their forte is acoustic guitars, but they also build archtop guitars, mandolins, and ukuleles.
|2006 Collings City Limit|
In 2006 the company moved into the electric guitar market and were featured at that years Summer NAMM, National Association of Music Merchants convention.
|2006 Collings OM|
As of 2012 the company employees 85 people and manufactures six acoustic guitar, three electric guitars, two mandolins, and two ukuleles per day. In fact Collings Mandolins are highly regarded in the Bluegrass community.
|2014 Waterloo WL-14L|
By 2014 it was announced that the company would be making a guitar based on a currently popular Depression-era design and resemble Kalamazoo guitars of that era. These guitars are sold under the "Waterloo" brand and are based on an old guitar that Collings had sitting in his office.
|Colling WL -14 - Kalamazoo Sport|
He decided to repair the instrument by removing the back and put new bracing in it. After reassembling it, he realized these old guitars had a much different sound than that of today’s instruments due to their construction and size. The brand has become a success with Blues and Country players looking for that old tyme sound.
|Bill Collings 1948-2017|
”We lost our dear friend and mentor Bill Collings yesterday. He was the amazingly creative force behind Collings Guitars for over 40 years. Through his unique and innate understanding of how things work, and how to make things work better, he set the bar in our industry and touched many lives in the process. His skill and incredible sense of design were not just limited to working with wood, but were also obvious in his passion for building hot rods.
To Bill, the design and execution of elegant form and function were what mattered most. Perhaps even more exceptional than his ability to craft some of the finest instruments in the world, was his ability to teach and inspire. He created a quality-centered culture that will carry on to honor his life's work and legacy. He was loved by many and will be sadly missed. Our hearts are with his family.”
William R. Collings 8/9/1948 – 7/14/2017.
Click the links under the pictures for the sources. Click the links in the text for further information.
©UniqueGuitar Publications (text only)
|The Seldom Scene on Jubilee|
|'53 Martin D-28 - '23 Gibson F5|
Traditionally Bluegrass music is played on an old Gibson F-5 mandolin and a Martin guitar, preferably a D-28 or a D-18. But in the past few years I’ve noticed a change. Players are now using Asian made guitars and mandolins.
Perhaps it is because the price of Martin and Gibson instruments are beyond the reach of many working class players, or possibly it is because the value of a well made instrument is not worth the risk of taking on the road only to have it stolen. In any event the quality of some of these guitars currently being made in Asia is excellent.
|1957 Guyatone LG-50H|
Going back historically we know Japanese musical instrument builders that began building guitars back in the 1920’s and 1930’s for domestic use. In the late 1950’s some of these companies started building electric guitars, not just for domestic use but for import.
By the 1960’s, due to the popularity of Folk music, then the music of the British Invasion, importation of cheaply made, Asian imported guitars skyrocketed. In doing so they gained a negative reputation, since the quality of those instruments were inferior to the Fender, Gibson, Gretsch, Guild guitars, and even Harmony and Kay guitars that were produced at the time.
|1978 Ibanez Iceman JC 210|
In 1977 a lawsuit ensued that was instigated by Gibson guitars against a company called Elger Music, who was the US agent of Ibanez guitars. The suit was brought about partly due to the much improved quality of these copy guitars. The parties settled the suit before it went to trial and the results caused a great change in the way Asian made guitars were to be made in the future. Though these instruments now had similar features to Martin, Gibson, and/or Fender guitars, there needed to be some originality added.
|Gibson v Elger Co.|
The results have ostensibly put their instruments on par with guitars made in Western countries.
|Qian Ni |
Founder Easman Music Company
As stated at the onset Eastman Musical Instruments are building high quality musical instruments. The company is a relative newcomer to the musical instrument manufacturing business. They began in 1992, when a man named Qian Ni visited to the United States to study violin making. At that time, the Chinese were using the factory line way method of manufacturing musical instruments. Ni discovered that a different approach was needed to build violins.
He implemented a handcrafting method of building violins and bows in a manner similar to that of 19th century European violin workshops. This change resulted in a much improved tonal quality.
After this Mr. Ni established workshops to further this art. He states that early on, “I would load up his car with instruments that his workers made and drive from city to city selling them to violin shops and music stores. Those shops that did not buy his instruments gave me excellent advice.” This is almost verbatim the same story I have read about Robert Godin during his early days of building his instruments.
By the early 2000’s, Mr. Ni applied similar principles to crafting the guitar, and by 2004 his company, Eastman, had started a line of archtop electric guitars.
|Eastman E20D guitar |
and MD515 mandolin
Eastman guitars and other Eastman musical instruments are made in China.
Some of the intermediate models with a suggested price in the $650 ranges are made using a solid Sitka spruce top and solid sapele back and sides, while others have laminated rosewood back and sides. I find that outstanding since most
These models come in Dreadnought, Orchestra, Grand Auditorium, Grand Concert, Double O, and Parlor guitar sizes.
Where Eastman Guitars really excels is in their Archtop Jazz line of guitars.
|Eastman solid carved archtop guitars|
There fifteen electric models to choose from and one acoustic archtop guitar. They all have a solid hand carved top and back. Most feature a Kent Armstrong floating pickup. These guitars have a suggested retail price of $2050 to $3750 USD which includes a hard shell case.
|Eastman solid carved top archtop guitars|
There is also a line of six "Solid Carved Top" guitars, that have laminate back and sides that sell in the range of $1450 to $2300 USD. Most come with Kent Armstrong pickups, however two models have TV Jones Filtertron pickups.
Eastman Guitars also makes ten all laminate models. All laminate sounds bad, but consider the Gibson ES-175 has always been a guitar made of maple/poplar/maple laminate.
|Eastman laminate models|
Six Eastman models are based on the Gibson ES-175. Three models have a similar body shape to the Gibson ES-350, but have a single Kent Armstrong pickup. Two models are similar to the Gibson ES-125 and have a single Kent Armstrong P-90 pickup.
Eastman also offers a line of four unique archtops designed by two of the world's cutting edge luthiers and one series of guitars designed by jazz guitarist John Pisano.
|John Pisano Line-up|
Pisano's line includes four models ranging in price from $1600 to $3750 USD.
|Eastman Pagelli models|
Eastman also has two models designed by luthiers Claudio and Claudia Pagelli. The Pagelli's have been building amazing guitars in their own unique style since 1982. Eastman offers two models that were designed by the couple.
Otto D'Ambrosio began working at the Mandolin Brothers music store located on Staten Island New York when he was only 13 years old. He learned the craft of repairing and restoring fine musical instruments, and then began building his own guitars.
|Eastman El Rey models|
|Frank Vignola model|
Other features include an ebony fretboard with no position markers, a very unusual sound hole on the lower bout, a sound port on the guitars upper side, and a slotted headstock. This guitar also features a beautiful ebony pickguard.
|Ryan Thorell FV Studio guitar|
You can order the Eastman FV guitar direct from Frank Vignola and Ryan Thorell, for $2495 and Ryan will set it up for free. Click on this link for the phone number.
Most all Eastman guitars come with either a hard-shell case or a gig bag.
There are currently only a handful of stores in the United States that stock Eastman guitars
Click on the links under the pictures for the source. Click on the links in the text for further information.
©UniqueGuitar Publications (text only)
MXR has updated and expanded their popular Carbon Copy delay to create the Carbon Copy Deluxe:
The Carbon Copy Deluxe Analog Delay features extended delay time with tap tempo functionality, optional modulation, a switch to toggle between the warm sound of the original pedal and vibrant sound of the Bright version, and much more.
A few of the high points:
- Delay times extended to up to 1.2 seconds
- Select between original Carbon Copy and Carbon Copy Bright delays
- Modulation controls on top of the pedal
- Tap Tempo
- Expression jack
- Programmable presets
This looks like a great upgrade to a very popular delay pedal. And, at a street price of around $230, it seems like it should be fairly accessible to delay fans.
JHS Pedals has also updated their popular Double Barrel pedal:
This is our “Everything low-to-medium gain” pedal and it just got better!
The Double Barrel V4 is for the player who needs a versatile but transparent overdrive at medium and light gain levels. You won’t find face melting distortion here, but you will find overdrive with the character and stacking abilities to cover almost any tonal need.
The right side is our brand new Moonshine V2 which is a highly unique and massively tweaked version of the most famous overdrive ever created housed in a little green enclosure. The Moonshine V2 has the classic mid-heavy tones that you’d expect but with more gain, volume, and tones available than you ever thought possible. The Moonshine V2 has the same core tone as the Version 1 but we have added a new “Clean” knob to blend in the perfect amount of clean signal with your overdrive signal.
The left side of the Double Barrel is our best-selling Morning Glory V4 overdrive. Transparent and open tones are what lurk inside this circuit as well as the new hi-gain toggle with Red Remote capability. Just plug in the JHS Pedals Red Remote into the “Remote Gain” jack with a standard patch cable and you can switch the “Gain” toggle on the fly for even more tonal options. You now have five on-the-fly overdrive options to choose from in the Double Barrel V4!
When these two circuits are stacked, something magic happens. Tones that are original and fresh come with ease, as well as added exibility, due to the “order switching” toggle that lets you decide what pedal comes rst in the signal chain.
We are convinced that this is one of the greatest 2-in-1 pedals ever made… seriously. If you’re having problems getting the tones you want, just grab the Double Barrel V4 and you’ll find out how easy it is to hit the target!
Like on the Sweet Tea, it looks like the 808 circuit has been replaced by the Moonshine circuit. The 808 was discontinued several years ago, so this isn’t a big surprise. The left side of the pedal is still the Morning Glory circuit.
Another new entry into Fender’s artist line of guitars is the Ed O’Brien Sustainer Stratocaster:
Ed O’Brien’s ambient, ethereal and orchestral guitar style is an essential part of the sonic identity of Radiohead. Fender partnered with the groundbreaking player to create the EOB Sustainer Stratocaster — an instrument as unique as his sound. The EOB Sustainer Stratocaster offers a wide palette of tones thanks to its Seymour Duncan® JB Jr. humbucking bridge pickup, Texas Special™ single-coil middle pickup and Fernandes® SustainerTM unit in the neck position. The Sustainer works some technical magic to create near-infinite sustain on one or more strings, making it easy to achieve thick, textured sounds. The Sustainer’s controls include an on/off switch, intensity control and three-position switch to select the mode: Fundamental-only, Harmonic-only or Blend. A mix of modern and classic, this Stratocaster features a 6-saddle vintage-style synchronized tremolo bridge, vintage-style tuning machines, a “10/56 V” neck profile, 21 narrow-jumbo frets, a synthetic bone nut and a special neck plate engraved with a custom “Flower of Life” emblem.
I never got into Radiohead that much so I’m not very familiar with Ed O’Brien, but this looks like an interesting and versatile Strat.
KMC Music is introducing the Supro 1699R Statesman:
“The Supro 1699R is a stunning combination of vintage tone and state-of-the-art technology that delivers sound quality that is worthy of the largest arenas and stages,” Hart said today. “David Koltai and designer Thomas Elliott have created a new modern masterpiece that is going to set the industry on its ear. We are thrilled to bring this remarkable new amp to our customers. We are fully stocked and ready to ship!”
The 1699R Statesman is a two-channel, 50W amplifier that unites vintage Supro tone with modern channel switching functionality, tube-driven reverb and a multi-purpose, all-tube effects loop. The red channel found in the Statesman uses the two-knob preamp from the legendary Supro Thunderbolt amplifier for high-headroom rock & roll power. The Statesman’s blue channel contains the high-gain preamp, 2-band EQ and all-tube reverb section of Supro’s acclaimed Comet model.
The Statesman provides A/B/Both channel switching operation, allowing the two channels to be run in parallel, creating a massive, dual-preamp sound where each channel contributes part of the overall texture. In addition to the tube-driven spring reverb, the Statesman’s blue channel contains an all-tube, switchable effects loop that provides a set of useful functions — including wet only reverb effects, which can be independently dialed in and blended with the dry sound from the red channel. The variable send-and-return levels allow the effects loop to function as a level and/or gain boost when engaged, even when nothing is plugged into the loop. The effects loop can also act as a master volume for the blue channel when bedroom levels are desired.
As a final touch, both the effects loop and the reverb on the Statesman feature a relay-controlled spill-over effect, allowing reverb and delay trails to decay naturally when switching between channels. The 50-watt power amp in the Statesman is switchable between Class A and Class AB operation. The Class-A (cathode bias) setting provides the distinctive midrange growl that has been the cornerstone of the Supro sound since the company was founded in 1935. The Class AB (grid bias) configuration presents less compression along with additional headroom, more punch and faster attack. The Statesman comes loaded with military-grade Sovtek power tubes that are precision-matched at the Supro factory in Port Jefferson, New York.
The Supro Statesman is available in a 1×12 combo format or as a compact head, covered in black rhino hide tolex and sized to sit perfectly atop the 1×12 and 1×15 Black Magick speaker cabinets, as well as the new, 2×12 Statesman speaker cabinet. Designed by Thomas Elliott, this all-tube masterpiece is equipped with 16-ohm, 8-ohm, and 4-ohm speaker outputs with enough power to drive up to four 2×12 cabs simultaneously for a look and sound worthy of the biggest stadiums and arena stages.
Here’s a video of Mark Lettieri playing through the amp:
Peavey has announced that it is re-entering the American-made guitar market with their new release, the HP2:
Building upon the legacy of its award-winning, USA made guitars, Peavey Electronics® proudly introduces the HP™2 Guitar at the 2017 Summer NAMM Show in Nashville. The HP2 is constructed with leading-edge technology, traditional handcrafted methods, professional-quality upgrades, and customizations. When a USA-made guitar bears the initials of Peavey founder and CEO Hartley Peavey, players can expect an iconic design with its own unique flair.
While the esthetic is classic, the HP2 undoubtedly stands out with its carved top and offset, asymmetrical body design that offers comfort, proper balance, and maximum playing ease. Maple was chosen for the top and basswood for the back; solid basswood construction is also available. Peavey selected these hardwoods not only for their natural beauty and weight characteristics, but also for their specific tonal qualities. Cream or black-edge binding accents the body.
At the select birdseye maple neck and fingerboard, players will find unmatched stability and playability. Dual graphite reinforcement bars and an easy-access, adjustable steel torsion rod provide additional strength, as does the bolt-on construction with contoured neck heel. The oil-finished fingerboard is cut from the same piece of wood as the single-piece neck, keeping the color and grain patterns consistent. The stress-relieved lamination also adds increased stability. The HP2 has a 25 ½’’ scale length, 22 jumbo frets and 15’’ fingerboard radius. The 10-degree tilt-back headstock has a 3+3 tuning machine configuration featuring Schaller® tuning machines with pearloid or cream buttons. The chrome-plated hardware finish completes the look.
The HP2’s construction and electronics work in harmony. Two custom-wound Peavey humbucking pickups supply optimal output and tonal response. They’re made using a two-step wax-dipping process that provides ultra-low noise operation and resistance to microphonic feedback. The pickups are mounted directly to the body, further reducing feedback at high volume levels and enhancing response. A Switchcraft® 3-way toggle switch allows selection of pickups in up, center and down configurations. Players will also find either a Peavey/Floyd Rose® licensed, double-locking tremolo assembly or tune-o-matic/stop tailpiece fixed-bridge to complete the guitar. Finishing off the guitar are two push-pull knobs for volume and tone, with the ability to split the pickups individually.
Given that EVH took this design with him to his own company, it will be interesting to see how well Peavey is able to compete with such a similar design. I’ve heard good things about the old Peavey Wolfgangs, though. I’m curious how these will be received.
Charvel continues its long-held partnerships with Warren DeMartini and Jake E Lee with the upcoming release of brand-new signature models. The Warren DeMartini USA Signature Frenchie and the Jake E Lee USA Signature Blue Burst will be unveiled this week at the Summer NAMM Show in Nashville, Tenn., and available to consumers in October 2017.
Warren DeMartini USA Signature Frenchie
Fans have long clamored for a replica of Warren DeMartini’s famed and beloved “Frenchie” guitar, as seen live on tour and on a slew of magazine covers throughout Ratt’s reign in the 1980s. Charvel has responded with the Warren DeMartini USA Signature Frenchie, available in a Snow White and a Gloss Black finish. Both are detailed with cross decals and a tribute quote to James Dean in French that translates “too fast to live, too young to die.”
The Frenchie also offers premium features such as a Dinky™ alder body, one-piece bolt-on quartersawn maple neck and a 12″- 16″ compound radius maple fingerboard with 22 jumbo stainless steel frets and black dot inlays.
Custom-made for the legendary lead guitarist, the Seymour Duncan® Warren DeMartini RTM (“Rattus Tonus Maximus”) bridge pickup is a powerful high-output humbucker that naturally compresses for a well-balanced and even tone, perfect for complex chording and precision soloing. The RTM is boosted by an SSL-4 Quarter Pound neck pickup, adding fat, supercharged punch and extra sustain.
The Frenchie also features a single volume control knob, three-way toggle switching, a Floyd Rose Original locking bridge and Gotoh® tuning machines.
Jake E Lee USA Signature Blue Burst
Jake E Lee’s original Blue Burst guitar gained notoriety during his stint with Ozzy Osbourne, as he recorded and performed live with the famous instrument throughout the band’s pivotal Bark at the Moon and Ultimate Sin years. Charvel® has recreated an unmistakable replica of Lee’s original model down to the very last detail.
The Jake E Lee USA Signature Blue Burst features a poplar body, one-piece bolt-on quartersawn maple neck and a 12” radius rosewood fingerboard with 22 medium jumbo frets and white dot inlays.
Equipped with a versatile customized Seymour Duncan® JB Alnico II humbucking bridge pickup, this model can handle a diverse range of tones from sweet and warm to aggressive and distorted. It’s also supercharged with two powerful single-coil DiMarzio® SDS-1 pickups in the middle and neck for extra gain with a deeper, darker tone. The pickups are controlled with a five-way blade switch and single volume knob.
Available in a mesmerizing Blue Burst, this signature axe also features a brass Charvel hardtail bridge and output jack plate, and black Gotoh® tuning machines.
JHS Pedals have announced an update to their Sweet Tea pedal:
The Sweet Tea V3 is JHS Pedals’ “Everything medium-to-high gain 2-in-1” pedal and it covers all the bases from light breakup, blues, rock, heavy grind and more.
The Sweet Tea V3 is for anyone who wants a versatile overdrive/distortion that covers all the bases you need plus more. You’ll find medium-to-high gain tones and the ability to stack for the perfect way to melt faces.
The right side is the brand new Moonshine V2 which is a unique and massively tweaked version of the most famous overdrive ever created housed in a little green enclosure. The Moonshine V2 has the classic mid-heavy tones that you’d expect but with more gain, volume, and tones available than you ever thought possible. The Moonshine V2 has the same core tone as the Moonshine Version 1 but we have added a new “Clean” knob to blend in the perfect amount of clean signal with your overdrive signal.
On the left side is the newest version of the Angry Charlie which is the Angry Charlie V3, one of JHS Pedals’ most popular pedals of the last few years. High gain JCM 800 type “Brown” sound tone that we believe is the most accurate Marshall tone ever put in a stomp box! It has volume, drive, and the full bass, mid, treble tone stack like you’d find on the amp. With the full tone stack and the amazingly accurate amp tones in this circuit you’ll be begging for more!
The Sweet Tea V3 features JHS Pedals’ classic order switching toggle so that you can choose which circuit is first in the chain for the perfect stacking tones you’ve been searching for.
With these tones combined or used separately, the Sweet Tea V3 is a gallon-and-a-half of overdrive that goes down easy on a summer night!
I’ve owned a Sweet Tea v2 for quite a while, and it’s one of my favorite Marshall-style overdrives. The Angry Charlie circuit can go from medium-to-high gain and it sounds good all the way along the spectrum. I suspect the new version will be even better since it has expanded tone shaping capabilities.
I also really like the JHS 808 circuit used in the previous version, so I’m curious how different the Moonshine circuit will sound in comparison. The “Clean” knob should also add some interesting new sounds.
It looks like the Sweet Tea v3 will start shipping in August with a retail price of $315.
The first units sold out almost immediately from Pro Guitar Shop, so it looks like they’re still backordered at the moment. Here’s PGS’s description of the pedal:
The original Belle Epoch was, to put it bluntly, a triumph. It was an all-digital recreation of the Maestro Echoplex that sounded, by and large, like the original unit. But it was digital! Gasp! How can that be? Well, noted tone snob Eric Johnson had not one, but two on his board, set slightly differently. If it’s good enough for EJ, it’s good enough for just about anybody, and so it was.
However, there’s still some room for improvement: How about that legendary preamp that exists within the Echoplex? How about the original’s odd operating voltage of 22 volts? What about an expression pedal? Well, friends, your prayers have been answered in the form of the Belle Epoch Deluxe.
Starting with the Echo Program control, you’re presented with six individual modes. Mode 1 is the stock EP-3 setting, but there’s so much more. Modes 2 through 6 give you a dark analog delay, rotary-speaker affected repeats, resonant filtered repeats, and two separate Deluxe Memory Man settings with different modulation effects on each mode. Each mode has a specific function that is controlled by the Depth knob, as well as one that is controlled by expression pedal when the toggle is set to the left.
The Delay Time ranges from 80 to 800 milliseconds, just like a real EP-3. And in the quest for EP-3 authenticity, not a detail was spared. The preamp of the Belle Epoch Deluxe is no slouch. Everyone knows that the Echoplex preamp makes up half the magic, and it’s all here, using high-quality parts and the original 22-volt operating voltage for real EP-3 preamp tones with no corners cut. The Record Level control on the front adjusts the heat of this preamp.
No special adapters are needed to convert the voltage to 22, it’s all taken care of by the internal circuitry. Just plug in your standard nine volts and away you go. Have an expression pedal? The V/D toggle on the front changes whether or not it controls the Delay Time control, or the special function outlined on each mode. Want true bypass or trails? How about both? A special slide switch on the inside lets you choose.
An internal trimpot lets you set the oscillation rate, for use with the Echo Osc[illation] footswitch on the front. Holding this switch down lets the repeats run away for some expressive blasts of feedback that really show off the tone of the Belle Epoch Deluxe.
Catalinbread Belle Epoch Deluxe features:
- Ultra-realistic recreation of the Maestro EP-3 with 5 other modes
- Original preamp operating voltage of 22 volts with period-correct parts
- Expression jack and toggle let you change between hands-free parameters
- Made in USA
- Standard 9v center-negative power operation (adapter not included)
I owned the original Belle Epoch and really liked it. I don’t use much delay, so I sold it, but this has piqued my interest.
The pedal retails for $329.99 and hopefully a second batch will be produced soon.
Fender is introducing the George Harrison Rosewood Telecaster today:
To honor Harrison’s venerable career, Fender has created the George Harrison Rosewood Telecaster, a limited edition commemoration that embodies Harrison’s elegantly restrained playing style and sound. Based on the original Telecaster created for Harrison by guitar luthier, Roger Rossmeisl, this model remains true to its heritage with a classic look and the unique tone only an all-rosewood guitar can produce. The body is chambered for reduced weight and increased resonance. Other features include a rosewood neck with a laminated 9.5″ radius rosewood fingerboard and a custom neck plate engraved with an Om symbol. A classic in every way, this refined instrument was born in the era that defined rock n’ roll. George Harrison’s legacy is one of innovation and creativity, and the rosewood Telecaster became one of his primary instruments of choice. Only 1,000 units will be available worldwide.
The Harrison Telecaster will be available on August 22, 2017 and will retail for $2499.99.
Way Huge have announced a new pedal based on the Overrated Special. This one was also created in conjunction with Joe Bonamassa and is called the Doubleland Special. (Note: it’s not on Way Huge’s site yet, so I linked to Sweetwater’s site.)
Here are some of the details:
The only thing better than getting Joe Bonamassa’s signature tone in a pedal is getting twice as much of it. And that’s just what the engineers at Way Huge give you with the limited-edition Doubleland Special dual overdrive. Onboard you’ll find two of Bonamassa’s signature Overrated Special overdrive circuits that you can use individually or for blending to taste. Joe prefers to have one set for humbuckers and one for single-coils. However you choose to push your Doubleland Special, you’ll want to make sure you grab this limited-edition pedal from Sweetwater.
Designed for Joe Bonamassa, the Way Huge Overrated Special overdrive pedal sounded bold and punchy. A 500Hz control allows you to beef up your midrange tone, while Volume, Tone, and Drive controls give you a wide sonic range to explore. Use it to add some boost and grit to a clean amplifier, or put it in front of an already overdriven amp for epic lead tones. And Way Huge crammed two of these sweet-sounding overdrives into the Doubleland Special, giving you instant access to a variety of gain levels.
The Overrated Special was $199, so getting two of them in one container with additional tweak-ability for $299 isn’t a bad deal. No official release date yet, but I suspect they’ll be available soon.
Friedman Amplication have recently introduced a new powered monitor to their lineup, the ASC-12:
The Friedman ASC-12 powered monitor was designed and voiced for use with today’s guitar amp modelers and profilers including Fractal Audio Axe-Fx, Kemper Profiler, Line 6 HD Series and others. The ASC-12 delivers rich authentic tones, allowing you get the most out of these systems in live use and playback applications. The ASC-12 is identical to the ASM-12 electronically, the only difference being that the ASC-12’s shape makes it more useable as a regular rectangular speaker cabinet (IE: with your amp modeler on top the cabinet it looks like any other amp head/speaker cab set-up), whereas the ASM-12 functions more like an angled floor monitor or mounts to a pole.
The ASC-12 features a Celestion 12″ loudspeaker with a 2.5″ edge wound voce coil and a premium Celestion high frequency compression driver. At the heart of the ASC-12 is a robust 500w Bi-Amp Class-G amplifier that is anything but digital. This proprietary amplifier design delivers rich, full tone and a wide frequency response making it suited for backline, stage monitoring or even as your main PA speaker.
Key features include: Bi-Amp power module with high efficiency Class G low frequency amplification with a high current output stage and custom signal processing; clip/limit, thermal, and short circuit protection; line level output for linking multiple speakers ; optimized acoustic designs using a PETP film compression driver diaphragm; heat vented low frequency drivers; and a hand crafted in the USA, sturdy Baltic birch construction. Controls include level knob, low-cut filter switch, ground lift and power switches.
The Friedman ASC-12 powered loudspeaker was designed using advanced acoustic and audio techniques with premium components, comprehensive protection circuitry, and robust construction to provide years of consistent, reliable performance.
I haven’t delved that much into amp modeling yet, but I’m getting more curious about it. This looks like a nice way to use a modeler, but still get a great sound from a monitor.
Per Music Radar, Fender is announcing a hand-wired ’64 Custom Deluxe Reverb amp:
As per the original, the ’64 Custom Deluxe Reverb offers Bright and Normal channels (with tube-driven spring reverb and tremolo on both), hand-wired AB763 circuitry and 20 watts of output.
The amp’s pine cabinet boasts an extra-heavy textured vinyl covering and lightly aged silver grille cloth, and houses a 12” Jensen C-12Q speaker.
Also included are Fender Vintage Blue tone capacitors, four 12AX7 and two 12AT7 preamp tubes, a 5AR4/GZ34 rectifier tube, a matched pair of 6V6 output tubes, as well as a footswitch and amp cover.
This isn’t much other information available about this amp yet, but it looks like it will retail for around $2500.
Another Summer NAMM introduction by Fender is the new Jimi Hendrix Monterey Stratocaster:
It’s been 50 years since Jimi Hendrix took the world by storm with his incredible Monterey Pop Festival performance, which he concluded with the sacrificial burning of his now-iconic hand-painted Stratocaster. Destroyed during the fiery culmination of his set, this one-of-a-kind guitar survived only in photos and film. To celebrate the 50th anniversary of this milestone in music history, Fender created the limited-edition Jimi Hendrix Monterey Stratocaster. A trio of vintage-style single-coil Stratocaster pickups give this Strat® its classic Fender sound. Bell-like and articulate, it has plenty of singing sustain for soloing. The “C”-shaped maple neck bears a vintage-style 7.25”-radius pau ferro fingerboard with 21 vintage-sized frets for a playing feel just like the original. The six-screw synchronized tremolo is perfect for unleashing dive-bombs and other sonic expression. An homage to Hendrix’s spectacular Strat, right down to the hand-painted nail-polish artwork that burned its way into our memories, the Jimi Hendrix Monterey Stratocaster also features an exclusive etched Hendrix neck plate.
Like the regular Hendrix Strat, this model will be made in Mexico and will have a street price of $899.99. Not bad for an artist guitar these days. The guitar will debut on August 15, 2017.
DigiTech has announced a new drum machine pedal for guitarists and bassists called SDRUM:
SDRUM is the world’s first intelligent drum machine for guitarists and bassists. By simply scratching across your guitar strings, you teach the SDRUM a kick and snare pattern that forms the foundation of the beat you want to hear. Based on this pattern, the SDRUM supplies a professional sounding drum beat with different embellishments and variations to perfectly complement your beat. Gone are the days of having your creative flow disrupted by searching through lists in a frustrating attempt to find the beat you want.
The SDRUM stores up to 36 different songs. Beats are played from a choice of 5 different kits covering a wide range of genres. The pedal also supports three different parts (e.g. verse/chorus/bridge) for each song that can be switched on the fly for enhancing live performances and exploring song ideas.
SDRUM is the fastest way to go from a beat idea to a working drum track.
- BeatScratch™ Technology creates drum patterns by strumming your strings
- 5 kits and studio quality samples for professional sounding drums
- 36 song memoriesVerse/Chorus/Bridge parts
- 12 different hats/rides styles
- Alternate instruments/voicings
- Dedicated Amp and stereo Mixer outputs
- Kick/Snare pads for tapping in a beat
- External FS3X support
- JamSync™ connectivity for interfacing with JamMan loopers
Here’s a video of how it works:
Peterson has announced an upgraded version of their StroboClip tuner, which they’re calling the StroboClip HD:
This summer, Peterson Strobe Tuners will roll out its latest innovation, the StroboClip HD – a powerful, upgraded version of its revolutionary StroboClip clip-on tuner, released in 2009. The StroboClip HD features an ultra high-definition, real-time tuning display that sports nearly twice the pixel resolution of its predecessor. The SC-HD features the same .01 cent (1/1000th of a semitone or fret) tuning accuracy and comes complete with alternate temperaments for a vast array of string, brass, and wind instruments. Over 50 exclusive, preset Sweetened Tunings are onboard to help correct inherent tuning issues exhibited by many instruments. Soft, rubber lined jaws protect an instrument’s finish while offering a firm grip for maximum signal tracking. The wide viewing angle of the display is enhanced by the SC-HD’s three points of rotation that permits comfortable monitoring of your instrument’s tuning from a multitude of angles. Greatly increased battery life using a standard CR2032 battery makes sure you are always ready to enjoy pro-level grade tuning anywhere. A “stealthy” matte black finish blends in with many instruments finishes and doesn’t detract from your instruments beauty. The StroboClip HD will also support Peterson’s exclusive Peterson Connect online utility where users can connect via USB to update the latest firmware or create a custom configuration if desired.
At a street price of about $60 it’s not a cheap headstock tuner, but it is comparable in price to the TC Electronic Polytune Clip. Additionally, Peterson has a great reputation and this looks like a nice upgrade.