Blackstar LT Drive and LT Metal (January)
Blackstar’s LT pedals were built to be accessibly priced. But it’s their combination of value and sonic potency that made the LT Drive and LT Metal pedals award winners. Reviewer Joe Charupakorn said of the LT Drive, “there’s not much it can’t do short of extreme metal. It’s a great all-purpose dirt pedal that can rise to many occasions.” And of the LT Metal he said, “it can cover everything on the gain spectrum from classic rock to fusion to ’80s metal to djent.”
LT Drive $79 street, LT Metal $99 street, blackstaramps.com
Matchless Thunderman (January)
Few manufacturers did more to usher in the boutique amp than Matchless. They quickly became the stuff of legend, but they also managed a bass amp masterpiece—the Thunderman. This award-winning re-imagining of the original Thunderman is no less formidable. At 45 watts, the EL34-powered head isn’t the most powerful bass amp in the world, but it’s round, responsive, loud, proud, and adaptable.
$2,200 street, matchlessamplifiers.com
Reverend Pete Anderson PA-1 RT (January)
You’d expect a guitar with Pete Anderson’s name on it to be as versatile as ol’ Pete himself. And on that count, this archtop semi-hollow did not disappoint. The bracing enables use of a Tune-o-matic bridge, which enhances tuning stability and sustain. And the two pickups and bass contour knob make it equally adept at toasty, smoky jazz tones and blistering rockabilly lines. And speaking of lines, this Reverend has some of the handsomest curves among this year’s award winners.
$1,499 street, reverendguitars.com
Skreddy Little Miss Sunshine (January)
They aren’t everyone’s basket of biscuits, but few things recast a riff quite like a rich, musical phaser. Skreddy’s Little Miss Sunshine is about as rich and musical a specimen as you’ll find—at least if you gravitate toward Phase 90-like shades of swirl. What separates the Skreddy from lesser phasers is a beautiful clarity, pick responsiveness, soft contours, and amazing depth. It may not change the minds of phaser haters, but it’s a heaping feast of creamy swirl for players who savor the effect.
$229 street, skreddypedals.com
Larrivée D-40R (February)
Luthier Jean Larrivée has always been willing to twist tradition to unique ends, as evidenced by the new D-40R. From twenty paces, it looks like any one of a gazillion square-shoulder dreads. But Larrivée’s Scalloped Parabolic Hybrid bracing helps make it an especially sensitive and harmonically complex dread that excels at both fingerstyle and flatpicking—which makes this beautiful guitar a standout in the crowded $1,000–$1,500 dreadnought marketplace.
$1,425 street, larrivee.com
Lindy Fralin P-92 Set and P-90 in a Humbucker Cover Set (February)
No longtime PG reader will be surprised to see Lindy Fralin among this year’s award winners. Fralins have been among the Cadillacs of aftermarket pickups since the ’90s. In the form of these humbucker-sized neck and bridge pickups, though, Joe Gore heard an extraordinarily dynamic and harmonically rich P-90 tone that excelled even by Fralin standards. The Fralin P-92 also earned a Premier Gear award, largely for a rich, larger-than-life tone with super-strong fundamentals that gave Gore the sensation he was playing a long-scale Les Paul.
P-90 in a Humbucker Cover $130 street (each), P-92 $140 street (each), fralinpickups.com
Lollar Single-Coil for Humbucker Set (February)
Even when it comes to pickups, pretty counts for a lot—and Lollar’s subtly lovely humbucker-sized P-90 left us mighty impressed with Jason Lollar’s design sense. But it was the sounds—sophisticated, warm, complex, smooth, and smoky—that found Joe Gore mesmerized and ready to dish a Premier Gear award in our humbucker-sized P-90 roundup.
$135 street, lollarguitars.com
ToneVille Beale St. (February)
With a look that mates Danish furniture craft and retro-future whimsy, ToneVille’s 15-watt, 6V6-powered Beale St. 1x12 isn’t hung up on paying homage to the classics. Though the circuit and sound are in some measure indebted to Fender classics, the Beale St. excels, in its own special way, at being a great blank slate. Reviewer Joe Gore remarked, “no matter where I set the knobs, something inspiring leapt from the speaker.”
$2,495 street, tonevilleamps.com
Fender ’68 Custom Princeton (March)
As a best friend to studio hounds and club and arena giggers alike, the Fender Princeton is one of the most easy-to-use, adaptable, and sweet-sounding amps ever. That’s why we were so pleased that this newest take on the underappreciated silverface version was such a winner. Reviewer Teja Gerken found the dynamics superb and the reverb excellent. And at just under $850, it’s not much to pay for so much vintage vibe, either.
$849 street, fender.com
G&L LB-100 (March)
This reissue of a relatively unheralded G&L classic left reviewer Steve Cook impressed with its solid construction and a varied personality that he estimated would suit almost any gig. Cook particularly enjoyed the wide EQ possibilities and comfortable playability, likening the instrument’s vibe to whisky from a master distiller. Intoxicating!
$1,313 street, glguitars.com
Taylor 814ce (March)
Though Bob Taylor and his company have been around long enough to properly be regarded as an acoustic guitar institution, the man loves to tinker. In the case of the 814ce, we’re talking tinkering with a twist: This revisiting of a signature Taylor Grand Auditorium design with bracing redesigned by master designer Andy Powers floored us with its balance and projection. Reviewer Scott Nygaard was impressed enough with its versatility to remark, “you’ll rarely wish you had another guitar instead.”
$3,199 street, taylorguitars.com
Fender Kingman Pro (April)
It’s interesting that Fender’s decision to reinvent its acoustic presence involved revisiting a past that some considered a blight on the company’s history. But in reinventing the Kingman, which debuted somewhat controversially in the mid ’60s, they retained the beauty and visual impact of the legendary Roger Rossmeisel’s designs while adapting top-flight lutherie techniques. The result is an idiosyncratic dreadnought that’s resonant, complex, and downright gorgeous.
$2,600 street, fender.com
Lowden 32 SE (April)
It would be hard to find an acoustic connoisseur who’s been anything but knocked out by a Lowden. George Lowden’s subdued and immaculately crafted designs tend to lend a focus to the sound, which in the case of the 32 SE is a delightfully varied palette. The rosewood-and-spruce construction and near-OM dimensions make the guitar fantastically dynamic and surprisingly loud. And with its uncannily well-suited L.R. Baggs Anthem system, this Lowden is a positively exquisite stage acoustic.
$5,295 street, georgelowden.com
Eastwood Airline Map Baritone (April)
One thing we can’t quite figure out here at PG is why so few players (and manufacturers) have caught on to the fascinating sonic possibilities of baritone guitars. So we were ecstatic when Eastwood came along with the Airline Baritone Map. When reviewer Teja Gerken wasn’t just getting a kick out of gawking at this gloriously odd bird, he marveled at the broad spectrum of tones he could extract from the chambered body and humbuckers. He was also struck by the “pro vibe” of the instrument—an especially remarkable quality given the accessible price.
$779 street, eastwoodguitars.com
SolidGoldFX Zeta Drive (April)
A lot of players like their overdrive to be civilized and reckless in equal measure. SolidGoldFX’s Zeta Drive walks that line as deftly as any OD we can recall. Reviewer Matt Holliman discovered that the “Zeta adds heat without loss of definition or detail,” and is “great for creating tones that cut through, even at high-gain settings.” Holliman also found that the Zeta integrates seamlessly with fuzz and other effects and added a cool responsiveness to his setup.
$165 street, solidgoldfx.com
MXR Micro Amp+ (April)
Few effects are as unassuming as an original MXR Micro Amp, but it’s the simplicity of the circuit that makes it a staple for thousands of players. The small enhancements (essentially a bass and treble control) on the Micro Amp+ make this new version extraordinarily flexible. Whether adding zing and kick to a compressed Fender amp, adding body and taming treble on a Marshall, or thickening a vintage fuzz, the Micro Amp+ delivers big without much hassle.
$120 street, jimdunlop.com
Paul Reed Smith Archon (May)
It’s rare that an amp can level a small city with gain yet also deliver clear clean tones and touch-sensitive nuance. But that’s what PRS achieved with the Archon, an amp so varied and cooperative that reviewer Jordan Wagner couldn’t decide if playing Jerry Reed licks or Metallica thrash was more fun. Loud, bursting with low end, and fantastically responsive, Archon is a magic bullet for high-gain players who like it clean sometimes, too.
$1,899 street (head), prsguitars.com
Black Cat OD-Boost (May)
Though the old-school prescription for various shades of gain is creative use of the volume control on your guitar, there are also in-between colors that boosts and overdrives can coax out of your amp. Black Cat’s OD-Boost is a beautifully conceived, well-executed two-switch overdrive and boost with two very distinct voices that can expand your tone vocabulary exponentially. The boost has miles of headroom. The OD tends toward dirty and aggressive. Together, they give you almost endless shades of oomph.
$195 street, blackcatpedals.com
Electro-Harmonix Soul Food (June)
Whether it’s a radical sound that inspires you when your muse has flown the coop, or a timeless sound you just can’t do without, EHX has a way of saving the day. In this case, they’ve delivered a damn-close-to-perfect approximation of the feel and sound of the impossibly out-of-reach Klon Centaur—all in a pedal that won’t ding your wallet much worse than a set of sneakers.
$66 street, ehx.com
ZVEX Fuzzolo (July)
We have to tip our hats to ZVEX for managing to stuff so much, well, ZVEX-ness into this little guy. There may be just two controls, but one is a dedicated pulse-width knob that enables you to transform the Fuzzolo from a rich, muscular, desert-rock dream fuzz to a spitting, lo-fi monster. And at just 129 bucks, it’s an easy-on-the-pocketbook way to introduce some ZVEX mayhem to your board.
$129 street, zvex.com
Mooer LoFi Machine (July)
Whether you’re trying to cover for the keyboard player you never could recruit or looking to enhance your guitar tone palette with more demented and synthy textures, the LoFi Machine delivers a whole lot—especially for its size. Reviewer Shawn Hammond got a kick out of everything from simulating electric pianos to generating quasi-Nintendo video-game textures, and the wee size and price means it won’t break the bank or crowd your pedalboard.
$98 street, mooeraudio.com
Hermida Audio Dover Drive (July)
The original Chandler Tube Driver shaped legendary tones from David Gilmour to Eric Johnson. Given that Hermida’s homage to that unit lacks an actual tube, the Dover Drive seemed to promise the impossible. But reviewer Joe Charupakorn found it to be superbly flexible—“a touch-responsive, dynamic, and wide-ranging overdrive suitable for any player who loves transitioning from ‘smooth’ to ‘growl.’”
$199 street, lovepedal.com
Planet Waves NS Artist Capo (July)
Plainly said, using the Planet Waves NS Artist Capo is a joy. It’s smooth, and it’s fast and easy to adjust. But as Rich Osweiler found, it’s the capo’s knack for even intonation and tension that makes it a real stage asset—and a Premier Gear winner.
$16 street, planetwaves.com
Born Guitars OG Carve (August)
We love Born’s commitment to building guitars using eco-friendly, sustainable materials. But the effort is doubly meaningful when guitars as good as the OG carve are the result. Our review guitar was crafted from reclaimed cedar and redwood, and—unsurprisingly—the guitar sounded like it had an old soul, singing in a voice Joe Charupakorn called “balanced, smooth, and contoured.”
$2,995 street, bornguitars.com
Gibson J-15 (August)
Gibson’s slope-shouldered dreadnought shape, which has been around since before the Second World War, is the foundation of a few legendary guitars. But the J-15 is certainly one of the most unique-sounding incarnations of this beautiful form. Alternately dry, husky, and airy, it’s super rich in overtones and a breeze to record in the studio—especially if you’ve ever struggled with recording strummed parts. And this version is priced to make it a relatively affordable way to get a slice of Gibson’s ineffable slope-shoulder magic.
$1,500 street, gibson.com
Reverend Meshell Ndegeocello Fellowship (August)
Meshell Ndegeocello’s abilities as a bassist know few bounds, so it’s no surprise that her signature Reverend Fellowship bass earned a Premier Gear award. Reviewer Jonathan Herrera called the response “balanced and subtle,” while praising the massive lows and airy top end. Articulate, powerful, and impressively built, the Fellowship is remarkably flexible for such a streamlined instrument.
$1,199 street, reverendguitars.com
Rivera Venus Deux (August)
The 25-watt, 6V6-driven Venus Deux will inevitably draw comparisons to the legendary Fender Deluxe. But as Shawn Hammond found out, it’s packed with secret weapons like the focus function and notch control that can transform the amp profoundly. Hammond also discovered that the Venus Deux has a way of sounding larger than life, observing that with “presence and focus cranked, the Venus can blaze so hard you’ll have other guitarists rubbing their eyes in disbelief.”
$1,499 street, rivera.com
Visual Sound V3 H2O (September)
While it would have been easy enough for Visual Sound to stick a delay and a chorus in a single box and ratchet up the price in the name of some imagined utility, the V3 H2O emerged as an award winner, in part, for how beautifully it integrated the two effects. Joe Charupakorn found the digital delay section warm and clear, and the chorus capable of thick Leslie sounds and gentle shimmers alike. Given that he also found the sum of the two greater than the individual parts, it’s no surprise that V3 H20 got top marks for value, as well.
$179 street, visualsound.net
Bradford Sterling (September)
An amp that so seamlessly fuses the sounds of an AC30 and a Marshall plexi would be impressive if you made it out of burlap sacks and bubble gum wrappers, but stick that circuit in a head and cabinet with an heirloom-furniture vibe and you’re talking about magic. The 18-watt, EL84-powered Sterling is really two amps in one. But because you the can blend the Vox-like and Marshall-style channels, the Sterling becomes an amp of uncommon, even spectacular depth, complexity, and downright explosive potential.
$1,895 street (head), $600 street (1x12 cab with Weber Legacy or Silver Bell speaker), bradfordamps.net
Stomp Under Foot Hellephant (September)
Messing with the classic silicon Fuzz Face circuit is tricky business. It’s flawed, less than user-friendly, and demands a certain patient curiosity—but it yields spectacular results when used right. We gave Stomp Under Foot’s Hellephant a Premier Gear award for all the ways that it tames some of the silicon Fuzz Face’s most unruly characteristics while retaining the classic’s touch and volume sensitivity—and for how it adds a cholesterol-rich dollop of extra gain. It may be a touch too contemporary for hardcore Fuzz Face purists, but more open-minded players will revel in its abundant fuzzy potential.
$155 street, stompunderfoot.com
Universal Audio Apollo Twin (September)
The Apollo Twin audio interface looks too dang simple to do all that it does. But whether you’re powering a Mac-driven stage rig or recording on the go, it has a way of rendering listeners flabbergasted with its wildly authentic-sounding analog modeling. The included plug-ins (UA 1176 and LA-2A compressor and 610-B tube preamp modelers among them) make this a formidable little desktop-studio asset—especially with the Console virtual mixing board app. And this combination of power and portability make the Apollo Twin an easy Premier Gear winner.
$699 (single processor), $899 street (dual processor), uaudio.com
Greer Amps Lightspeed Organic Overdrive (October)
With the Lightspeed, Greer Amps has crafted a touch-sensitive stomp that covers everything from transparent boost to tough-and-gritty, cranked-amp tones with aplomb. With a super-sensitive and beautifully voiced freq control that adds a very natural presence, the Greer is a shining star in a crowded overdrive market.
$190 street, greeramps.com
Marshall 1958X (October)
Senior Editor Joe Gore reviewed the 1958X fresh off a project building two Marshall 18-watt clones. So to say Gore’s assessment benefits from deeper insight is an understatement. He found the build impeccable. And though many players savor the grittiness of this model, Gore was also knocked out by the warm, pretty clean tones lurking within. Dynamic, alive, and uniquely adept at walking the line between clean and crunch, the 1958X was a runaway Premier Gear winner.
$2,699 street, marshallamps.com
MXR Bass Preamp (October)
In his review of this little low-end powerhouse, reviewer Dave Abdo apologetically used the Swiss Army-knife metaphor to describe its tone-shaping potential. But as over-used as that comparison can be, in this case it was apt: Whether employed as a DI, a boost, or an EQ solution for odd and unexpected bass-and-backline pairings, the Bass Preamp just seemed to make everything sound sweeter. And its incredibly reasonable price made it a shoo-in for a Premier Gear award.
$169 street, jimdunlop.com
Way Huge Havalina (October)
Jeorge Tripps has always had a knack for fine-tuning and reinventing classics, but the Havalina—a germanium fuzz inspired by the Sola Sound Tonebender—is one of his all-time coolest marriages of vintage liveliness and modern quality and stability. The Havalina does everything a great Tone Bender does—snappy, snarling, wild-and-wooly fuzz, sweet-to-biting dynamics—in a sturdy, thoughtfully executed package that has more than a touch of vintage-idiosyncratic personality. With boutique-level quality, vintage vibes by the bucket load, and a price that will have cookie-cutter and boutique makers quaking in their boots, the Havalina locked up a Premier Gear award with greasy, nasty, fantastically fuzzy ease.
$119 street, wayhuge.com
DOD Phasor 201 (October)
The original DOD Phasor 201 may not have stirred up legions of acolytes like its ’70s contemporaries, the Small Stone and Phase 90, but its resurrection might at last elevate this little blue swirl machine out of the fog of cult obscurity. Reviewer Jordan Wagner praised the 201’s knack for sounding like an organic part of a signal chain—especially when overdrive is in the mix—and was impressed with the pedal’s honey-smooth voice in both slow, psychedelic tape-phase applications and fast rotary-speaker-type settings. Simple, swirlingly rich, and a relative steal, the Phasor 201 seems primed for a longer stay this time around.
$99 street, dod.com
Taylor T5z
The cult of the T5 may not be growing quite as fast as Bob Taylor hoped, but the model’s ranks of loyalists are bound to feel vindicated by the new T5z, which refines the instrument as an electric guitar without sacrificing an ounce of its switch-hitting, amplified-acoustic potential. Reviewer Adam Perlmutter loved its ability to deliver Telecaster- and Stratocaster-like tones colored with a unique, woody air. He also dug its versatile, feedback-resistant acoustic tones. But it was the flawless build and silky playability that put the T5z over the top.
$2,999 street, taylorguitars.com
EarthQuaker Devices Arrows (November)
Considering all the tone-mangling tools that emerge from EarthQuaker’s lab, it was almost shocking to see them debut a box of such flawlessly simple functionality and utility. But the Arrows booster takes a Premier Gear award in no small part because of an elegant usability that translates effortlessly into livelier tones. Given EQD’s knack for fantastic fuzz, it was no surprise how beautifully the Arrows enhanced fuzz tones, but what really struck us was how it made almost every amp, guitar, bass, and keyboard we tried it with jump with a little something extra. Whether it’s a touch of clean boost, or a little extra presence you need, Arrows hits the mark.
$95 street, earthquakerdevices.com
Nordstrand NVT A3 Set (November)
As Shawn Hammond remarked in his review, “Correct vintage tone can be debated endlessly,” but even though the NVT A3s barked like a good set of vintage Tele pickups, Hammond was as astounded by the pickups’ lovely, almost lipstick-tube-like textures as he was by how they excelled in both ultra-clean and rowdy settings.
$97 street (each), nordstrandpickups.com
The Skylark, from North Carolina Builder Steve Carr, is a descendant of Fender's Harvard, an amp that gained fame from Steve Cropper's classic Stax recordings. Senior Editor Joe Gore found the Skylark an admirable extension of the Harvard's best qualities—richly chiming tones, superb dynamic response, and gratifying overdrive at modest volume. The dual-6V6 circuit transitions smoothly from clean to crunch and the tone controls are more flexible than its vintage Fender counterparts. Gore put it simply, “The Skylark sings no matter how you set the knobs.”
$2,390 street, carramps.com
Pettyjohn Electronics PreDrive (October)
Reviewer Joe Charupakorn called the Pettyjohn PreDrive “an adult effect” not because it’s graphically lurid or obscene, but because it takes fine-tuning to a level typically reserved for post production at a mixing desk. But that sophistication and precision makes the PreDrive a potentially invaluable mate in studio as well as for unpredictable live backline situations.
$599 street (handwired version), $399 street (PCB version), pettyjohnelectronics.com
A year’s worth of gear at Premier Guitar adds up to a whole lot of wood, wire, silicon, germanium, aluminum, and steel. It also makes up a whole universe of musical possibilities, which is what strikes us as we look back on the Premier Gear Award winners for 2014. From luxurious acoustics to ridiculously buttery-sounding amps and furiously frantic vintage-style fuzzes, there are almost infinite sounds to be extracted from this roster of favorites.
As always, you’ll see the full spectrum of manufacturers represented, too—from garage circuit tweakers to industry giants. And apart from the beautiful sounds that you’re likely to extract from these instruments of expression, that diversity among builders might be the thing that makes this industry so fun and special. We all share the joy, ecstasy, emotion, and rush of creation that music brings. And from these 43 award-winning guitars, pedals, amps, audio interfaces, and accessories, we expect y’all will brew up more than a little magic in the years to come. Happy music making, and enjoy the ride.
Vox’s Valvenergy Tone Sculptor
I spent a day workshopping ideas in my studio using just the Vox Valvenergy Smooth Impact compressor and Tone Sculptor EQ, and a dash of amp tremolo and reverb to taste. In the process, I produced more arresting sounds than I had heard from my guitars in many days. There were radical direct-to-desk-style Jimmy Page/Beatles distortion tones, sun-sized, cosmic electric 12-string, Bakersfield twang that could burn through crude, and many other sweet and nasty colors. Most decent EQ and compressor combinations can achieve variations on all those themes. But the Smooth Impact and Tone Sculptor also reveal interesting personalities in unexpected places.
The individuality and energy in the Vox Valvenergy pedals is attributable, in part, to the Nutube vacuum tube used in the circuit. Though it looks little like a vacuum tube as most guitarists know them, the thin, wafer-like Nutube is, in fact, a real vacuum tube like those used in fluorescent displays. Fluorescent display tubes have limitations. A maximum operating voltage of around 40 volts means they aren’t useful for bigger power tube applications like a 6L6, which has an operating voltage of about 400 volts. But it can work quite well as a preamp tube in concert with an op amp power section, which is how the Nutube is used in the new Valvenergy pedals, as well as older Vox products like the Vox MV50 and Superbeetle amps.
Valvenergy Tone Sculptor
When you think about “cinematic” effects, you likely imagine big reverb or modulation sounds that create a vivid picture and feeling of space or motion. But narrow, hyper-focused EQ profiles can evoke very different and equally powerful images. Radical EQ settings can add aggression, claustrophobic intimacy, and stark, explosive dark-and-light contrasts more evocative of Hitchcock’s Psycho than Ridley Scott’s Blade Runner.
Any of these moods can be summoned from the Valvenergy Tone Sculptor. Six sliders cut or boost 10 dB frequency bands spanning 100 Hz to 5.6 kHz. A seventh slider cuts or boosts the master output by 12 dB. This platter of options might not sound like much. But you can use these seven controls together to very specific ends.
“Radical EQ settings can add aggression, near-claustrophobic intimacy, and stark, explosive dark-and-light contrasts.”
For example, bumping the high-midrange and the master output produces narrow cocked-wah-like filter sounds with enough push to produce extra amp overdrive—effectively turning the Tone Sculptor into a buzzy, almost fuzz-like filter effect. But unlike a wah, you can carefully scoop high end or add a spoonful of bass to blunt harsh frequencies or give the tone a bit more weight. You can also broaden the palette of an amp/guitar pairing. I matched a particularly trebly Jazzmaster bridge pickup with a very hot and toppy Vox AC15-flavored amp for this test—a recipe that can be spiky on the best days. But with the Tone Sculptor in the line, I could utilize the same sharp, fuzzy, and filtered Mick Ronson wah tones while shaving some of the most piercing frequencies.
EQ pedals exist on many points along the cost spectrum. And at $219, the Tone Sculptor lives on the high side of the affordable range. Does it offer something less expensive models can’t deliver? Well, for one thing, I found it relatively quiet, which is nice whether you’re shaping toppy high-contrast effects or performing more surgical adjustments. And the sliders feel nuanced and nicely tapered rather than like a dull axe with a few basic frequency notches. But in many situations I also liked the color imparted by the circuit—generated, presumably, by the Nutube. “Color,” in audio terms, is a broad and subjective thing, and one should not necessarily expect the warm, tube-y glow of a vintage tube Pultec. Still, the Tone Sculptor has many forgiving, flattering qualities—typical of studio EQs—that enable fine tuning and experimentation with more radical and creative applications of the effect.
Valvenergy Smooth Impact
As with the Tone Sculptor, the Smooth Impact’s use of Nutube engenders certain expectations. It’s easy to surmise that because Smooth Impact has a vacuum tube in the circuit that it will behave like a little Teletronix LA-2A leveling amplifier. That’s a big ask for a $219 stompbox. On the other hand, the Smooth Impact exhibits some appealing characteristics of studio tube compression. At lower compression levels, it works well as a thickening agent—adding mass without much additional noise. And at higher compression levels it can sound snappy, crisp, and tight without feeling like you’ve bled every trace of overtone from your signal.
The Smooth Impact’s controls aren’t totally atypical. But because it lacks some familiar features like variable attack and release, yet is more complicated than a 1-knob DynaComp, you have to trust your ear to navigate interactions among the controls. The most unfamiliar of these is the 3-way vintage/natural/sag toggle. The first two are defined by preset attack and release settings: Vintage is slow attack and long release, and natural is the opposite. The sag mode’s compression is more like what you get from tube saturation, and it’s useful for adding thickness and complexity to a thin amp tone at modest compression levels.
Though the vintage and natural modes certainly have a different feel, they don’t always sound worlds apart. And like the sag mode, the thing they have in common is the way they enrich lifeless amp output at low to medium compression, with a bit of grind from the tube gain and a little extra makeup gain from the output. At the most aggressive settings, the tube gain can get a little crispy. And really crushing the compression can flatline your tone without adding much in the way of extra sustain. These are limitations common to many compressors with similar features. But unless I was chasing very ultra-snappy Prince and Nile Rodgers fast-funk caricatures, I enjoyed the Smooth Impact most in its in-between ranges, where mass, mild, harmonious drive, and low noise showcase the pedal’s sometimes studio-like personality.
Guitarist Dave Harrington concedes that while there are a few mile markers in the music that he and musician Nicolas Jaar create as Darkside, improvisation has been the rule from day one. The experimental electronic trio’s latest record, Nothing, which released in February on Matador, was the first to feature new percussionist Tlacael Esparza.
Taking the record on tour this year, Darkside stopped in at Nashville’s Brooklyn Bowl, where Harrington broke down his complex signal chains for PG’s Chris Kies.
Brought to you by D’Addario.
Express Yourself
Harrington bought this mid-2000s Gibson SG at 30th Street Guitars in New York, a shop he used to visit as a kid. The headstock had already been broken and repaired, and Harrington switched the neck pickup to a Seymour Duncan model used by Derek Trucks. Harrington runs it with D’Addario NYXL .010s, which he prefers for their stretch and stability.
The standout feature is a round knob installed by his tech behind the bridge, which operates like an expression pedal for the Line 6 DL4. Harrington has extras on hand in case one breaks.
Triple Threat
Harrington’s backline setup in Nashville included two Fender Twin Reverbs and one Fender Hot Rod DeVille. He likes the reissue Fender amps for their reliability and clean headroom. Each amp handles an individual signal, including loops that Harrington creates and plays over; with each amp handling just one signal rather than one handling all loops and live playing, there’s less loss of definition and competition for frequency space.
Dave Harrington’s Pedalboards
Harrington says he never gives up on a pedal, which could explain why he’s got so many. You’re going to have to tune in to the full Rundown to get the proper scoop on how Harrington conducts his three-section orchestra of stomps, but at his feet, he runs a board with a Chase Bliss Habit, Mu-Tron Micro-Tron IV, Eventide PitchFactor, Eventide H90, Hologram Microcosm, Hologram Chroma Console, Walrus Monument, Chase Bliss Thermae, Chase Bliss Brothers AM, JHS NOTAKLÖN, two HexeFX reVOLVERs, and an Amped Innovations JJJ Special Harmonics Extender. A Strymon Ojai provides power.
At hip-level sits a board with a ZVEX Mastotron, Electro-Harmonix Cathedral, EHX Pitch Fork, Xotic EP Booster, two EHX 45000 multi-track looping recorders, Walrus Slöer, Expedition Electronics 60 Second Deluxe, and another Hologram Microcosm. A Live Wire Solutions ABY Box and MXR DC Brick are among the utility tools on deck.
Under that board rest Harrington’s beloved Line 6 DL4—his desert-island, must-have pedal—along with a controller for the EHX 45000, Boss FV-50H volume pedal, Dunlop expression pedal, Boss RT-20, a Radial ProD2, and another MXR DC Brick.
This story’s author played this Belltone B-Classic 3 and found its neck instantly appealing, the tremolo capable of taking abuse and staying in tune, and the Filter’Tron pickups possessed of hi-fi clarity. Also, the sky burst metallic finish is pure eye candy.
That’s where guitar-by-menu comes in. Think of it as Build–A-Bear for guitar players, but louder and with cooler options, like a coral pink sparkle finish or a trapeze tailpiece. A coterie of manufacturers offers such services, some with online pull-down menus that cover everything from pickups to, well, all that goes into a guitar. And the advantage here is that no particular expertise other than knowing what you love to play and why you love to play it is required. You dig a Tele or a Jazzmaster or an SG or a Firebird from a certain era, but want a specific bridge or pickup combination, a ’50s or late-’60s neck, a finish not available in production models? No problem. Or maybe you crave something a tad more distinctive, with a non-traditional body shape, no headstock, and a finish that draws from the color palette of Van Gogh’s The Starry Night. All you gotta do is ask … or, rather, pick, click, order, or email, perhaps with a phone call to confirm the details.
We spoke to a clutch of large and smaller guitar companies—Belltone, Kiesel, Fender, and Gibson—to see how they do it.
The Belltone Way
“I was always the guy who had to tweak the guitar no matter what it was,” says Belltone founder Steve Harriman. “I changed out the pickups, I changed the pickguards, tuners, whatever.”
Like former Gibson CEO James Curleigh, Belltone Guitars founder Stephen King Harriman was an apparel executive with Perry Ellis before starting the Florida-based company in 2016. But the gig he’s had since junior high school is guitarist.
“I was always the guy who had to tweak the guitar no matter what it was,” Harriman says. “I changed out the pickups, I changed the pickguards, tuners, whatever. I always had to make what I was playing, whether it was a Les Paul or a Tele, unique, so it would be personally mine.”
Initially, Belltone offered modded versions of Les Paul- and Telecaster-style guitars, but in 2019 he reframed his business, designing an ergonomically contoured pear-shaped body and distinctive 6-on-a-side headstock as a foundation, and establishing a group of craftspeople to bring his solidbody B-Classic One, B-Classic Two, and B-Classic Three variations to life.
Today, Belltone guitars are made for players looking for a similar mix of the fresh and the familiar, at $2,680 to $3,129, depending on appointments. And the range of appointments is impressive. Let’s start with the templates. The Classic One has a flat top with edge binding, an alder body, a rounded tapered neck pocket, the company’s signature Devil’s Tail bridge and angled switch-control plate, reverse-dome tall-boy knobs, and a 12" compound-radius neck (held on by four bolts), with 22 medium-jumbo frets. In contrast, the Classic Two has all of the above, except there are arm and body contours with no binding, and the Classic Three offers the same plus Belltone’s patented Back-Lip Tremolo System and top hat controls.
“I’m inspired by a lot of ’50s and ’60 car designs for the elements of my guitars.”—Belltone’s Steve Harriman
Then, there’s a rabbit hole of options. There are 36 finish choices, with 10 ’bursts—including gorgeous black cherry burst, sky burst metallic, and lemon burst shades—requiring an upcharge of $40. There are varied pickguards to choose from within Belltone’s distinctive “Deco” version, which comes in black, white, and brown tortoise. There are four neck combinations (standard C and ’59 roundback profiles, with maple or rosewood fretboards), four tuner options (locking tuners from Belltone, Sperzel, and Kluson, plus ratio tuners), and a set of any-gauge Stringjoys. And the selection of pickups is truly impressive—36 in all, from TV Jones, Benson, Rio Grande, Mojo, Lindy Fralin, Porter, McNelly, Righteous Sound, Gabojo, and the newly added Brickhouse Tone Works. And within those selections are standard and hum-cancelling P-90s, stacked humbuckers, PAF humbuckers, regular and noiseless single-coils, multiple Filter’Tron variations, and more. Further, via Belltone’s Tone-Sure program, if a customer feels they’ve made the wrong call on pickups after playing their guitar a while, Belltone will swap them out at no charge save for covering shipping and the additional cost of pricier units.
“I’m inspired by a lot of ’50s and ’60 car designs for the elements of my guitars,” Harriman attests. “If you look at my bridge, for example, it’s got kind of a tailfin look to it. For me, guitars need to not only play well and sound great, but look cool. Also, everything is designed by me and is machine-tooled. My bridge is machine-tooled aluminum with rounded contours, as your palm can get roughed up on the old-style stamped ashtray bridges. I take all the things that make players happy into consideration.” Including sturdy and handsome faux-alligator-skin cases.
A deliberative buyer could spend weeks contemplating all of Belltone’s options before pushing the “submit” button, and then, instead of being invoiced, they are contacted directly by Harriman to review it all again before his luthiers get to work.
Gibson’s Made to Measure
One of Gibson’s Made to Measure fantasies: an SG with three humbuckers in a crimson sparkle finish.
The 131-year-old Gibson company’s Made to Measure (MTM) program is a bit more conservative … but only if you’d call a hot-crimson-sparkle SG with three humbuckers, a burgundy Les Paul Standard with a full-fretboard vine inlay, a champagne-pink-sparkle Les Paul, or a 3-pickup Firebird with a P-90 in the middle conservative.
There are two ways to initiate an order for an MTM guitar. You can fill out the online questionnaire on the Gibson Custom Shop’s Made to Measure page or stop by the Nashville or London locations of the Gibson Garage in person. I visited the Nashville Garage for this story, where I spoke with Dustin Wainscott, director of the Made to Measure program, and Matt Boyer, the sales associate you’d likely encounter if you walked into the Music City shop. They brought a clutch of recent MTM examples. And a wall of the MTM room was covered in slabs of wood, available for the choosing, and various bridges, tuners, pickups, and other parts for inspection and selection. Of course, some of the on-location fun is speaking with MTM program leaders like Boyer and Wainscott, who love guitars as much as you do and are happy to swap stories.
Whether by email, which will likely be followed up by a call from Boyer, or in person, the conversation that starts a MTM order begins with questions about body style, neck preference, electronics configuration, and the finish type and treatment.
“On the cosmetic side, we can go as far as you want to, with any color or finish you want.”—Gibson’s Dustin Wainscott
At the Gibson Garage Nashville, Dustin Wainscott, director of the Made to Measure program, and Matt Boyer, the sales associate in charge of MTM at that location, brandish a pair of custom-ordered instruments.
Photo by Ted Drozdowski
Essentially, any Gibson body currently in production and most historic appointments from that model’s history—and some from other compatible Gibson models—can be used for an MTM order. After selecting the white wood, as slabs are called in lutherie, “figuring out the pickup layout, the neck profile, and the tailpiece you want is the next step,” says Wainscott. “Then you get into the electronics and the look of the guitar: pickup selection, coil-splitting, what color or finish hardware, a glossy or flat finish, any Murphy Lab aging.
“Non-proprietary parts can sometimes be a roadblock. Typically, we’d use our pickups, for example, so if somebody makes a request for a pickup outside of Gibson’s, I try to steer them toward something we have that’s similar. You’ve got to play in the Gibson sandbox.” Stepping outside of historic model-design parameters, which would require re-engineering, is also a no-fly. That means don’t ask for a Les Paul with a Firebird neck, or an Explorer with a 3-on-a-side headstock. That said, there is a lot of wiggle room within the company’s catalog, and “on the cosmetic side, we can go as far as you want to, with any color or finish you want,” adds Wainscott. Personalized headstocks are also a popular option.
A Made to Measure order’s price starts with a $500 charge on top of a model’s current tag, and can increase depending on the complexity of wiring, finish, inlays, etc. Wainscott notes that about 30 percent of the Custom Shop’s business is Made to Measure.
“We also do a lot of recreating of models you’ve seen in the past that aren’t available now,” adds Boyer. “So, we can’t make a Jimmy Page Les Paul with his name on it, per se, but if you want a Les Paul Custom with three pickups, a Bigsby, a 6-position switch, and all that, we can do it for you.”
Kiesel’s Family Style
Kiesel can get as rad as you wanna be, including characterful flourishes like this naturally figured wood with pools of radiant blue finish and an organically striking neck.
Kiesel Guitars has essentially always been a custom-order builder, even if its name and line of business has evolved. The L.C. Kiesel Company was founded in 1946 by Lowell Kiesel as a manufacturer of pickups he sold from the back pages of magazines. As it grew, he renamed it after two of his sons, Carson and Gavin, as the well-known brand Carvin, which became famous as a maker of quality guitars, amps, and instrument parts. In 2015, the company split, Lowell’s son Mark and his son Jeff established the guitar-building operation under the Kiesel name. Today, thanks to their high-caliber construction and endorsees like Allan Holdsworth, Devin Townsend, Craig Chaquico, Jason Becker, and Johnny Hiland, the company makes more than 4,000 custom-order guitars a year.
“We have four types of construction: bolt-on, set-neck, set-through, and neck-through,” explains VP Jeff Kiesel. The company also offers the unusual choice of nine different headstocks, which most manufacturers limit to one style as part of branding, and sans-headstock models, which Kiesel began making in 2012 with the debut of its Allan Holdsworth model. All Kiesel headstocks have an 8 1/2-degree tilt, to create a steeper string angle over the nut, which can potentially improve tone and sustain.
At work on a body in the Kiesel factory, which produces about 4,000 custom-order guitars annually.
“We’re appealing to everybody because we do so many different things.”—Jeff Kiesel
“We never build the headstock separate from the neck and then scarf joint them in—it’s all one piece,” Kiesel adds. Necks are also quarter-sawn, with a two-way truss rod, dual carbon-fiber reinforcement rods, stainless steel frets, and Luminlay side dots.
After that, ordering a Kiesel is all about options. There are 56 models, including signatures, to choose from. Once you select a model on the company’s website, you’re taken to a page that includes a builder menu. Kiesel’s lowest-priced models, including the Delos, start at $1,649, while the top-priced, flagship K-Series model starts at $4,399.
The Aries, one of Kiesel’s most popular guitars, starts at a base of $1,699 with a bolt-on neck and has a menu that includes, under general options, right- or left-hand orientation; the choice of 6, 7, 8, or 9 strings; multiscale necks; and 25 1/2", 26 1/2", or 27" scale lengths. Under body options, you can select beveled or unbeveled edges, and eight different body and 16 different top woods. There are more than 80 finishes to choose from, and 14 variations on the Kiesel logo. The neck options are equally rich, with five fretboard radius selections plus choices for neck wood, three neck profiles, inlays, truss rod covers, and more. The electronic options boast four pickup configurations, five different Kiesel neck and bridge pickup models, and additional alternatives. It’s easy to get lost in the woods, but when you emerge, an image of your guitar with all its appointments, generated as you make your choices, is waiting for you.
“Our lead time is seven to 12 weeks,” Kiesel says, “and we offer a 10-day trial period unless somebody gets too wild on their options.” Anyone ordering a guitar is welcome to phone the company to talk over their order, and Kiesel highly recommends that first-time buyers call.
While Kiesel Guitars once had a reputation as a shredder-axe factory, Jeff Kiesel explains that’s changed over the past decade. “Our demographic is not set anymore,” he shares. “We’re appealing to everybody because we do so many different things. We can build a very classy jazz-style neck pickup on a semi-hollow guitar that you can play some amazing Frank Gambale licks on. And then we can turn around and build a guitar that will do some really technical modern metal, like Marc Okubo. We can build really wild or really classy, and that’s created so much growth within our company.”
Fender’s Mod Shop
Ted created this “dream Strat” with a silverburst finish, noiseless single-coils, and a 2-Point Deluxe Synchronized Tremolo Bridge using Fender’s Mod Shop online tool.
Like Gibson, Fender’s Mod Shop is about personalizing classic templates—in this case, the Strat, Tele, Jaguar, Jazzmaster, P and J basses, and Acoustasonic Telecasters and Jazzmasters. And while the program was birthed in 2014 as the American Design Experience, it evolved into the Mod Shop and has continued to improve, most recently with an update this April that made the online menu easier to use and added more options.
“We know that 80 percent of customers will be loyal to brands where they can personalize and customize,” says Shannon Stokes, Fender’s VP of eCommerce. “So the whole online user experience has been finessed. It’s much easier to navigate on both desktop and mobile. You move through it choosing the orientation of the guitar, the finish … everything through the pickguard, the hardware.”
Justin Norvell, Fender’s VP of product, observes, “This is a playground, and you’re able to just mess around and see what appeals to you. We allow people to save their configurations to PDFs, and they can share them and send them out,” akin to trading cards. “There’s an exponential number of people that might sit on their favorite design for a year before they actually place an order.” Some hardcore fans buy multiple variations of a favorite-style guitar over time, “because you can engrave the neck plate, collect multiple finishes, and other cool stuff. This is an area where selection runs wild for lefties, too,” he adds.
Fender’s Justin Norvell with his own dream machine: an American Professional Jazzmaster in mystic seafoam.
“This is an area where selection runs wild for lefties, too.”—Fender’s Justin Norvell
“What’s amazing to me,” says Shannon Stokes, Fender’s VP of eCommerce, “is the number of people ordering black, white, and sunburst. I would think the rarer colors would be the thing.”
The cost of a Mod Shop guitar is an upcharge of several hundred dollars, with certain customizations increasing the tab. I decided to jump in and outfit a Strat, with a base price of $2,085, to my taste. After selecting the right-hand player’s orientation, I chose an alder body with a silverburst finish from a palette of nearly 50 colors and wood offerings that also included chambered ash, mahogany, and roasted pine. For the neck, I went with solid rosewood with Fender’s deep-C profile. Eight maple variations were also available. That neck option automatically led me to a rosewood fretboard, and then I hunted through 16 pickup configurations before stopping at the Generation 4 Noiseless Stratocaster set. I opted for a 4-ply black pearl pickguard, and aged white plastic controls and pickup frames. Next, from three bridge choices I tapped a 2-Point Deluxe Synchronized Tremolo Bridge. Chrome Fender strap lock buttons would do the job, since I’ve had un-strap-locked guitars fall to the stage at gigs in years past. For strings, a set for .010s, and the only case option is deluxe molded plastic with a fuzzy interior. Total cost: $2,175, which is not bad for those modest-but-swell appointments. I also downloaded a PDF, so you can see what I designed. Unhappy with the purchase? It can be returned within 30 days for a refund or exchange, plus shipping.
There’s about a half-dozen builders in the Mod Shop, but workers from the normal production line can be called in when there is an uptick in commissions, Norvell explains.
“What’s amazing to me,” says Stokes, “is the number of people ordering black, white, and sunburst. I love the satin orange because it’s vibrant, different. I would think the rarer colors would be the thing.” But players often look for instruments that are evocative of classic guitars they’ve seen. And 6-string dreams do come in all shades.
