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|Download Example 1
Clean - Each pickup through all positions, single-coil, P-90, then humbucker. Pickup order: neck, neck/middle, neck/bridge, middle, bridge/middle, bridge.
|Download Example 2
Dirty - (rhythm) single-coil neck and middle (solo) bridge pickup, first in single-coil, then in P-90
Although he recently became a member of the Premier Builders Guild—which has no relation to this publication and also includes builders like Gene Baker, Mark Bartel, Dennis Fano, Roger Giffin, Johan Gustavsson, and Saul Koll—Schroeder continues to build custom instruments at his shop in Redding, California, in addition to the three standard models he has built at PBG under the supervision of master builder Gene Baker. “My purpose in joining PBG was to give customers the option to play some of my guitars at a dealership before they buy,” says Schroeder. PBG also enables interested buyers to avoid the wait associated with a custom guitar.
For this review, Schroeder sent us one of his custom instruments that is near and dear to his heart. As a guitarist in the band Clear Cut, he plays around 10 gigs a month, which gives him an ideal testing ground for his guitars. Clear Cut performs a wide range of music, and this requires Schroeder to deliver a variety of sounds. Tired of taking a carload of instruments to each gig, he decided to design an electronics package that could handle it all. The result became the pickup combination you see here in our review version of the Edge Doublecut.
Unpacking the Schroeder from its shipping box, I had to eschew my usual method of pulling it straight up out of the end, as the weight made it more than my decidedly un-Schwarzenegger physique could handle. Instead I placed the box lengthwise on the floor and extracted the guitar sideways. That’s when I discovered that a significant part of the hefty load stemmed from an extremely sturdy hardshell case. Removing the guitar, I discovered that, while no lightweight, it proved no heavier than many Les Pauls. Strapped on, the instrument balanced beautifully. The burden felt comfortable enough for a two-hour show—if a little heavy for a four-set club gig.
Aside from the three unusual-looking pickups (more on them in a moment), the first thing I noticed about this model was the stark contrast of the dark-brown cocobolo neck and fretboard against the body’s mattewhite finish. Matching cocobolo pickup rings, knobs, and even strap buttons are features that will appeal to exotic wood fans. Those fans might have preferred that the one-piece black limba (korina) body remained unpainted or at least coated with a translucent finish. Still, it adds up to a striking instrument. (Schroeder responds, “Visually, the pair of ridge lines running down the body get completely lost on a piece of wood like black limba that has contrasting grain. The limba was used strictly for tone.”)
Schroeder has modestly left his name off of the headstock, inlaying instead a stylized “S.” The only inlay on the fretboard is an “S” that consists of two arcs and is folded over in a manner that recalls a yin-yang.