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Sponsored by PRS Guitars
NOVEMBERHIGHLIGHTSTHE PEDAL ISSUE
THE STOMPINGGROUNDSOur pedal experts offer up 25+reviews in eight categories of must-have stompboxes for your board.
PEDAL BY NUMBERS:THREE DIY KITS
Interested in getting in on the DIY craze? We didthe work for you, and its easier than you think...
Fenders Sonic Youth Signature Jazzmasters
65Amps Lil Elvis L.R. Baggs Venue DI Fishman Aura
Spectrum DI VanAmps Reverbamate ASR-1 andole-MateSchroeder Guitars Radio LaneAcoustic Image Ten2 ComboKragenbrink OM
ngerstylistJarrett Zaffiro XJHanson ChicagoanTomasZewicZ Amplifiers TZZ-15112REVIEWS:
PIMP YOUR PEDALBOARDSeven pedalboard add-ons to help
you trick out your stomps
THE STATE OF THE STOMPTom Hughes examines the currentstate of the effects pedal market
BRAD PAISLEY:ROUD GEARHEAD
The country superstar talksabout equipment, tone, his
influences, and his wifestolerance of that peculiaraffliction known as G.A.S.
BUDDY GUY:KEEPIN THEBLUES ALIVE!The legend talks abouthis legacy and the futureof the Blues.
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NOVEMBER 2009
DIs from Fishman &L.R. Baggs,Fender Sonic Youth Jazzmasters,
65Amps Lil Elvis and MORE
6 NEW LESSONS SNEak PEEk: LiNE 6 SPidEr VaLVE Mkii 112
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THE
PEDALISSUE
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25+Reviews
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Designed and Manufactured in the U.S.A. -www.tech21nyc.com
Each tempting SansAmp Character Series pedal is a time capsule of distinctive amplifer
styles taken from decades of tone born in the UK and the USA. You can explore these
iconic tones, then tweak them your way with the amp-like knobs and the unique Character
control, which delivers tones from classic vintage to red hot mod. Every pedal features
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a complete stage and recording solution. Go on, take a bite.
BRITISHThe legendary crunch of British steel
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CALIFORNIAFrom chiming, woody cleans, gnarly wicker-
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BLONDEThis Blonde dishes out pure American tone
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wild ride through history.
VT BASSLegendary bass tone for players who enjoy
being heard. Bask in thick, articulated tones,
from chunky funk to the high gain growl of
indie rock. Clean focused punch to dirty
earthquaking rump, you dial it in.
LIVERPOOLThat distinctive diamond grille tone is yours
for the tweaking. This smokin amp style
has a voice that shook generations. Push it
to the limit and it will, it will, rock you.
FIVE WICKED LITTLE PEDALS WITH KILLER STACKS OF TONE.
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The original G-System set the world of guitarprocessing on fire with its state-of-the-art effects,
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6 P R E M I E R G U I T A R N O V E M B E R 2 0 0 9 w w w . p r e m i e r g u i t a r . c o m
EDITORIALEditorial Director Joe Coffey [email protected]
Editor in Chief Chris Burgess [email protected]
Managing Editor Gabriel J. Hernandez [email protected]
Senior Art Editor Sara Legore [email protected]
Art Editor Meghan Molumby [email protected]
Web Content Editor Rebecca Dirks [email protected]
Associate Editor Chris Kies [email protected]
Staff Writer Jordan Wagner [email protected]
Assistant Editor Theresa Sherwood [email protected]
Assistant Editor Ian McClintock [email protected]
PRODUCTION & OPERATIONSOperations Manager Shannon Britcher [email protected]
Circulation Manager Lois Stodola [email protected]
Production Coordinator Haylee Zlatohlavek [email protected]
SALES/MARKETINGVice-President, Sales Matt Charles [email protected]
718-634-1977
Director of Retail Sales Dave Westin [email protected]
Marketing Manager Nick Ireland [email protected]
Multimedia Communications Specialist Brandon Brinson [email protected]
WEBSITES
Our Portal:
www.premierguitar.comOur Online Magazine
http://digital.premierguitar.com
The information and advertising set forth herein has been obtained from sources believed to be reliable andcompiled with great care. Gearhead Communications, L.L.C., however, does not warrant complete accuracy ofsuch information and assumes no responsibility for any consequences arising from the use thereof or reliancethereon. Publisher reserves the right to reject or cancel any advertisement or space reservation at any timewithout notice. Publisher shall not be liable for any costs or damages if for any reason it fails to publish anadvertisement. This publication may not be reproduced, in whole or in part, stored in a retrieval system, ortransmitted, in any form or by any means, electronic, mechanical, photocopied, recorded, or otherwise, withoutthe prior written permission of the publisher.
Copyright 2009. All Rights Reserved. Reproduction in whole or in part without written permission is prohibited.Premier Guitar is a publication of Gearhead Communications, L.L.C.
Premier Guitar [ISSN 1945-077X (print) ISSN 1945-0788 (online)] is published monthly. Subscription rates: $24.95 (12issues), $39.95 (24 issues) Call for Canada, Mexico and foreign subscription rates 877-704-4327; email address for
customer [email protected] GUITAR (USPS 025017)
Volume 14, Issue 11
Published monthly by:
Gearhead Communications, LLC
Three Research Center
Marion, IA 52302
Phone number 877-704-4327 Fax 319-447-5599
Periodical Postage Rate paid at Marion, IA 52302 and at Additional Mailing Offices
POSTMASTER: Please send address changes to:
Gearhead Communications, LLC, Three Research Center, Marion, IA 52302
A Gearhead Communications, L.L.C. Publication
Three Research Center Marion, IA 52302
Phone: 877-704-GEAR (4327) 319-447-5550 319-447-5599 Fax
Web:www.premierguitar.com
E-mail:[email protected]
Distributed to the music trade by Hal Leonard Corporation.
Peter F. SpragueCEO
Gary CiocciManaging Director
Patricia A. SpragueCOO
Jon LevyManaging Director
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8 P R E M I E R G U I T A R N O V E M B E R 2 0 0 9 w w w . p r e m i e r g u i t a r . c o m
Greetings gear-
heads and wel-
come to another
jam-packed edi-
tion of Premier
Guitar. Were
proud to bring
you more of the
same this month again. As ho-hum as
that may sound, keep in mind that for us,
the same means churning out another
gear-obsessed issue of the thickest andbest-priced guitar mag on the rack. We
go overboard again. This time, with an
emphasis on pedals and effects.
We round up 25+ stomps for you, many of
them being reviewed for the first time here,
and take you through some DIY pedals that
are almost as fun to build as they are to
play. (Actually, one kind of kicked our ass,
but man does it sound good.) We examine
the state of the stompbox and show you
some cool add-ons thatll pimp your board
out in style. Also, a man known to stepon a boutique pedal or two, Brad Paisley,
takes us through his equipment. The man
who first harnessed feedback, Buddy Guy,
sits down with us, too. He talks about his
career and his gear, and why theres only
one effect on the floor when he hits the
stage. Of course, the usual suspects have
another round of gear-focused columns for
you, Hal Leonard brings us another batch
of lessons and our reviewers dig into a
smorgasbord of G.A.S.-inducing guitars,
amps, etc again.
One thing that makes this issue different
is the fact that this is my last go-round
with these cowboys. After 15 of the best
years of my life, Im taking a hard turn off
my current path to go another direction.
As founding publisher of this magazine,
this is a tough decision, for sure. I can
hardly begin to express my gratitude and
appreciation for what Ive experienced
in the last decade and a half. In case you
didnt know, this shindig started out as
Midwest Musicians Hotlinein June of
1995on a wing and a prayer. Back thenit was a 24-page newsprint publication
that was distributed to 3500 gearheads
in five Midwestern states. Weve come a
long way, baby.
I am constantly honored and humbled by
the support that you, the readers, have
provided over the years. Many of you have
followed this publication since the very first
issue, and Ive received notes from readers
all over the world who have read this col-
umn and felt it touched their lives in some
way. Many have been inspired to sharetheir own personal musical journeys with
me, whether its connecting to Old Dudes
Rock or The Sanctuary of Soul, or sim-
ply discovering the serenity of passing the
gift of music on to your kidsIve always
attempted to reinforce the importance of
sharing music, and of understanding the
unconditional happiness that playing guitar
and creating music brings into your life. Its
been an incredibly rewarding experience
and I thank you for being a part of it.
My new day gig involves an outdoors-focused media company called Sticks &
Stones but, as Im sure youve guessed by
now, my musical journey will continue. My
passion for guitars and music flows in my
veins as it flows in yours; that journey will
be a lifelong pursuit. I am very fortunate at
my age to be able to perform 60 shows per
year, run a successful sound and produc-
tion company and look forward to what my
musical future holds.
I leave you in good hands, so you should
definitely expect more of the same. The
brain trust that shifted this operation into
high gear as Premier Guitar since February
07 is still in place and the editorial team
that is responsible for the articles, builder
profiles, reviews, etc. that make this
magazine what it is today is gonna keep
on keepin on. In fact, that team and therest of the Premier Guitar and Guitar Edge
staffs are expanding. Thats rightyou
can expect even morefrom your favorite
gearhead-friendly media company. Be sure
to get acquainted with PGs newest editor,
Gabe J. Hernandez, on the next page.
It has been my honor to work with the
members of this dedicated crew and to
have had the chance to share my passion
with you. I look forward to an exciting
rebirth, and Ill see you all somewhere
down the road. Rememberlife is short;you can always live the Dream again.
Nuff Sed,
Trent Salter, Publisher
TUNING UP
More of the Same
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"American Pie" by Don McLean 1971, renewed 1999 by Songs of Universal, Inc. on behalf of itself and Benny Bird Co., Inc./BMI. Used by permission. International Copyright Secured. All Rights Reserved. 2005 C.F. Martin & Co . martinguitar.com
I cant remember if I cried
When I read about his widowed bride
But something touched me deep inside
The day the music died
an eight-minute twenty-seven-second farewell, written on a D-28, 1971
AMERICAS GUITAR
Music history. Martin history.
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10 P R E M I E R G U I T A R N O V E M B E R 2 0 0 9 w w w . p r e m i e r g u i t a r . c o m
Have you ever felt
like you died and
went to heaven?
For us gearheads,
that dream sce-
nario might involve
teaming up with a
bunch of fellow gearheads and spending all day,
every day, checking out gearamps, pedals,
guitars, strings, picks, pickups, speakers, cables,
etc. Wouldnt that be cool?
Well folks, Im happy to report that there
is hope, because my name is Gabriel
Hernandez, and Im the newest editor here at
Premier Guitar. Ive just joined a magnificent
team of fellow gear junkies that congregate
at the same office five days a week to put
together the finest guitar magazine under the
sun. Ive long enjoyed this thing that Trent
Salter created 15 years ago and have a new
appreciation for what goes into each issue
and each days lineup of new online content
now that Ive been here for a few issues. Yes,
its as fun as you imagined. Just imagine hav-
ing gear in your office and noodling away all
day as you write and edit stories about, you
guessed itmore gear.
As you may have noticed over the past year,
this Front of House column is a page where
editorial staffers occasionally jump into the
fray with our own voice and address some
things of possible interest to fellow gear-
heads. Ive been asked to do a sound check
in this space this month in order to give
you an idea of who I am and how I roll. As
you might expect, there are many common
threads among the staff members at Premier
Guitar and Guitar Edge and you, our fellow
gearheads, not the least of which is an out-
right passion for all things guitar.
I bet many of you can recall the moment when
music took your heart. I can trace my love of
melody and rhythm to the day my grandmoth-
er bought me my first radio. I was six years
old, and it was a cheap hand-held AM radio
with an even cheaper set of small earphones.
But that cheap little radio picked up the signal
to the only AM radio station in West Palm
Beach (at the time)WPOM 1600which
broadcast a combined rock/R&B format.
That unforgettable station introduced me to
the likes of Stevie Wonder, the Edgar Winter
Group, Marvin Gaye, The Jackson 5, Steely
Dan, and Smokey Robinson, among many oth-
ers. My life hasnt been the same ever since.
About the same time, I began to develop this
incredible fascination with guitars, and start-
ed devoting a huge chunk of my free time
away from school and baseball practice to
using my dads spare pieces of plywood and
his jigsaw to carve out facsimiles of my favor-
ite models. Id look at the photographs of
guitarists and their guitars in Hit Paraderand
Creemand then draw their shapes (usually a
Les Paul) on the wood and attack it with the
jigsaw. Once the shape was cut out, Id take
some paint and illustrate all the essential gui-
tar details pickups, knobs, strings, logos,
tuners, etc. Suffice to say I ruined quite a few
pieces of plywood, jigsaw blades and paint
brushes trying to get these creations to look
as authentic as possible.
My very first guitar was a basic Spanish classi-
cal guitar given to me by my ever-perceptive
grandmother, who then directed me to stop
using my dads tools. I absolutely fell in love
with that guitar, and my mom and dad eventu-
ally sprang for guitar lessons so I could learn
how to at least tune the thing up. Once I
started the lessons, though, it became pain-
fully obvious that a classical guitar was not the
proper instrument to produce the sounds of
Black Sabbaths War Pigs or Deep Purples
Smoke On The Water. So, next up was a
Marlboro amp and a Hondo II Les Paul-copy
electric guitar. Around that same time, a cous-
in in New York (you know who you are) turned
me on to the one album that turned my world
completely upside downLed Zeppelins
Houses of the Holy. It wasnt long before I was
listening to everything Zeppelin had put on
vinyl. Of course, the first rock song I ever mas-
tered was Stairway To Heaven.
From there, the rest is pretty much history.
I started playing in cover bands with friends
and eventually began a quasi career as a
starving, semi-professional musician that I
managed to sustain for the better part of
the next 20 years.
Somewhere along the way, I picked up a
journalism degree (go Gators!) and honed
my writing chops. Ive covered a number of
communities, sports and industries but I must
say guitars are my first choice of subject mat-
ter. Perhaps its no surprise that my journey
involved moving to Nashville for a gig at
Gibson that involved writing and editing all
sorts of material about guitars and artists.
Fast forward to today. Im now literally sur-
rounded by gear. I couldnt ask for a better
bunch of like-minded people to work with,
either. There is no middle ground here. And
there is no room for half-assed coverage of
an industry that is so dear to our hearts. This
is truly a labor of lovehow many people can
actually say that they love what they do for
a living? Well, count me and my colleagues
among the few that can. There is a heaven on
earth, I just found it.
FRONT OF HOUSE
Welcome to Paradise!
Gabriel J. [email protected]
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2009 FMIC. Fender, Stratocaster, Strat, and the distinctive headstock designs of this guitar are
trademarks of Fender Musical Instruments Corporation. All rights reserved.Photos: John Pedenand Neil Zlozower
Legendary guitarist Ritchie Blackmore has been creating
memorable guitar riffs for decades. His deft phrasing and
unmistakable tone have helped make the phrase guitar solo
a household term. Blackmore and Fender are now proud to
introduce the Ritchie Blackmore Stratocaster. Based on hisfavorite '70s Stratocaster, the guitar features a maple neck with
a graduated scalloped rosewood fretboard, Seymour Duncan
Quarter Pound Flatpickups and '70s-style F tuners. Play
one today at an authorized Fender dealer near you.
Ritchie Blackmore
Stratocaster
www.blackmoresnight.com
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12 P R E M I E R G U I T A R N O V E M B E R 2 0 0 9 w w w . p r e m i e r g u i t a r . c o m
FEATURES + REVIEWSwww.premierguitar.com
156 Schroeder Guitars Radio Lane
159 Acoustic Image Ten2 Combo
164 Jarrett Zaffiro XJ
169 Kragenbrink OM Fingerstylist
174 TomasZewicZ Amplifiers TZZ-15112
177 L.R. Baggs Venue DI
180 Fishman Aura Spectrum DI
184 65Amps Lil Elvis
187 VanAmps Reverbamate ASR-1
and Sole-Mate
191 Fenders Sonic Youth Signature
Jazzmasters
196 Hanson Chicagoan
REVIEWS
FEATURESBuddy Guy: Keepin the
Blues Alive!
87Buddy Guy: Keepin the Blues Alive!The legend talks about his legacy,and the future of the Blues.
98Premier ClinicThe months Blues, Rock, Acoustic and Jazz Lessons,presented by Hal Leonard.
108Brad Paisley: Proud GearheadThe country superstar talks about equipment, tone,his influences, and his wifes tolerance of that peculiaraffliction known as G.A.S.
117The State of the StompTom Hughes examines the current state
of the effects pedal market.
124The Stomping GroundsOur pedal experts offer up their reviews of 25+must-have stompboxes for your board.
142Pedal by Numbers: Three DIY KitsWe did the work for you, and its easier than you think check it out.
152Pimp Your PedalboardSeven pedalboard add-ons to help you trick out your stomps.
87Martins JC Buddy Guy Blues Guitar, being played by the man himself.
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NEWS
32 Gibson Does Fender, New PRSGuitars, New iPhone Apps
On TheCover:
NEWS + DEPARTMENTSwww.premierguitar.com
19Opening NotesGibson Does Fender, New PRS Guitars, NewiPhone Apps
30Reader Feedback
38 November Media PreviewChet Atkins, B.B. King, Bob Seger, Canyon of
Dreams, Red Hot Chili Peppers, Moody Blues
46Hot LinksThe Public Record with Tommy Lee
200New Products
216Hightlights fromThe Gear Page
DEPARTMENTS
Gigging + Recording
48Tone TipsPeter StroudPedalzzzz
50On TrackRich TozzoliMixing in the Box
52Shifting GearRich EckhardtSharing the Stage with Mark Gillespie
54On BassDan BerkowitzGet to Know Your Bass Amp, Part 1
56Guitar TracksJeff HollmanToo Many Pedals?
Tech Tips
58Acoustic SoundboardDick BoakThe Soul of a Guitar
60Ask Amp ManJeff Bober
Making a Supro Super
64Speaker Tone CenterKurt PrangeAlnico, The Miracle Alloy
66Stomp SchoolTom HughesStompbox Classic: Tone Bender, Part 2
Vintage + Upkeep
68Trash or TreasureZach FjestadFender Princeton Reverb
70Restoring an OriginalJohn Brown1956 Gretsch Corsair Truss Rod Rescue
72The Low EndKevin BordenUnsung Heroes of Tone: The End of an Era
74Vintage VaultTim Mullally1959 Fender Twin with 1958 Fender Strat
And Dont Miss ...
78Jazz BoxJane MillerThe Repertoire List
80Fierce GuitarRusty CooleyLegato
82Signal ChainDean FarleyTreble in Mind
84Eclectic GuitarPat SmithOpen String Fling
224Last CallJohn BolingerMy Name is John, and I Have a Pedal Problem
Eye Candy
204 Gear Search GalleryPedalboard, Circa 1981
209 Guitar of the Month1978 Gibson The Paul (Standard)
212 Modern Builder VaultEric Joseph Electric Guitars
Cover Photo by: Sara Legore and
Meghan Molumby
741958 Fender Strat leaningagainst 1959 Fender Twin
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2009TaylorGuitars
S lof o rr tra itioni defying c tsf ann hip,,inci ludin th e patnte NTNe y tematTa oyl ur taitars..com
Always to our own tune.
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OPENING NOTES
Steve StrongmanJuly 5, 2009
Angle de President-Kennedy et De Maisonneuve
Montreal, QC Canada
Photo by Joe Coffey
Canadian Steve Strongman coaxes the blues out
of his Hipshot Xtender-equipped 335 59 Dot
reissue at the Montreal Jazz Festival. Strongman
tours with two DeVille 2x12s, a Marshall JCM
2000 DSL 50 and a pedalboard that includes a
TS9, a Fulltone Clyde Wah (Standard), a Line
6 DL4 and his favorite pedala Voodoo LabSparkle Drive, which he uses as a clean boost.
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Aug. 29, 2009
Golden Gate Park
San Francisco, CA
Photo by Jerome Brunet
Omar Rodrguez-Lpez of The Mars Volta
rips into his signature Ibanez ORM at the
Outside Lands Music and Arts Festival.
The 24"-scale guitar features a single
ACH humbucker and an adjustable
Gibraltar III bridge.
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Jerry CantrellSept. 20, 2009
Eagles Ballroom
Milwaukee, WI
Photo by Chris Kies
Jerry Cantrell of Alice in Chains uses his trademark 84G&L Rampage during the song Rain When I Die.
The beaten, battered and burnt Rampage features
some Cantrell-approved mods: a Seymour Duncan JB
humbucker, a Kahler trem chosen for what he calls his
heavy-handed trem-clamping style and a Floyd Rose
locking nut for improved intonation. Watch Cantrell
walk you through his current touring gear in a video Rig
Rundown online atpremierguitar.com
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Billy Zoom
July 24, 2009
Pacific Amphitheater
Costa Mesa, CA
Photo by Harmony Gerber
Billy Zooms look of surprise seems to
mimic that of the gearheads who go to his
X shows and assume that he is playing one
of his mid-50s Gretsch Silver Jets. Here,
he is playing the original prototype of his
G6129BZ Custom Shop Tribute model;
it was built in 2007. The tribute models
are painstakingly accurate recreations of
his 1955 Silver Jet, barring the special
Seymour Duncan pickups that
were designed to recreate the
tone of his 50s DeArmonds.
The Gretsch Custom Shop
used a CAT scan to
analyze his prized 1955
Silver Jetit found
that the guitar was
95% hollow.
OPENING NOTES
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Mike OBrienJuly 4, 2009
The Palais des Congrs de Montral
Montreal, QC Canada
Photo by Joe Coffey
Newcomer Mike OBrien plays a Bischoff AE-
BR-090 Baritone Acoustelectric at the Montreal
Guitar Show. The semi-hollowbody guitar has
a walnut body and a maple neck with splitable
Seymour Duncans and a Fishman Matrix bridge
pickup that can run separately or blended.
OPENING NOTES
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