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Egnater Amp Building Seminar Demo
Premier Guitar sent a staffer to Egnater's Amp Building Seminar in Feb 2008, where students build Egnater's version of a JTM-45. A dude in the class, Pete Lacis, was kind enough to demo the amp he built.
Premier Guitar sent a staffer to Egnater's Amp Building Seminar in Feb 2008, where students build Egnater's version of a JTM-45. A dude in the class, Pete Lacis (PeteLacis.com) was kind enough to demo the amp he built.
Fresh off a substantial break and a live acoustic recording from Paris’ infamous catacombs, hard-rock titans Queens of the Stone Age stormed back to life this spring with an American tour, including back-to-back nights in Boston at Fenway’s MGM Music Hall.
PG’s Chris Kies snuck onstage before soundcheck to meet with guitarist Troy Van Leeuwen and get an in-depth look at the guitars, amps, and effects he’s using this summer.
Van Leeuwen started working with Echopark Guitars luthier Gabriel Currie around 12 years ago, and this custom De Leon model is the product. It’s nothing fancy, says Van Leeuwen, with a walnut bolt-on neck and single-coil bridge/humbucker neck configuration, but it’s just made well. This one is tuned to C standard and strung with a custom set of Dunlop strings (.012–.058).
TVL’s RIY (Relic It Yourself)
TVL’s RIY (Relic It Yourself)
This is the first-ever prototype of the signature oxblood Jazzmaster that Van Leeuwen received from Fender’s Custom Shop, and it also carries his first attempt at writing out his own signature. (It got better.) Van Leeuwen relic’d it himself with hard playing and natural wear and tear. It’s got a Mastery bridge.
Double the Jazz
Double the Jazz
This is number two of two double-neck Jazzmasters produced by Paul Waller at Fender’s Custom Shop. The bottom 6-string neck is essentially the Troy Van Leeuwen Jazzmaster, while the top splits the difference between an Electric 12 and a Telecaster, with a single-coil Tele pickup in the bridge and an offset pickup in the neck. A selector at the top toggles between top, bottom, or both signals, and basic controls for tone, volume, and pickup selection stay at the bottom.
Exploiter
This Echopark Explorer-style, nicknamed the “Exploiter,” came from a love of ’80s Ibanez and Hamer guitars. On its way back on a boat from Europe, it got exposed to seawater, which helped Van Leeuwen out with the relic’ing.
Van Leeuwen also packs a custom Echopark modeled after an old Teisco electric and a custom Fender 12-string Telecaster. Van Leeuwen hints that he’s been working with Squier to make an affordable version of the 12-string Tele.
A GMI PSA
Along with Currie and GMI’s Sean Romin, Van Leeuwen helped develop the GMI Public Address Systems 33F6. He describes it as having the power section of a Fender and the preamp section of a Marshall Jubilee. It’s a great pedal platform.
Van Leeuwen runs two 33F6s plus a Vox AC30. One 33F6 has his dry signal, and the AC30 carries the wet, while the second 33F6 carries wet lead signals. One cabinet is dedicated to the dry signal, while the other cab has one 12" speaker for the AC30 and two 12" speakers for the lead 33F6 signal. Three Austrian Audio condenser mics capture the signals.
Troy Van Leeuwen’s Board
All of Van Leeuwen’s pedals go through loops, with a RJM Mastermind PBC/6X and Mastermind GT/16 handling the switching, and most processing done through a Fractal FM3 and a pair of Eventide H9s. Van Leeuwen designed the boards, and his tech Cody helped build and program it.
Across the two boards, there’s a pair of both Electro-Harmonix Superegos and Way Huge Saffron Squeezes, plus Dunlop expression and volume pedals; EarthQuaker Devices Tentacle, Rainbow Machine, and Fuzz Master General; Way Huge Effect Pedal, Green Rhino, and Atreides; Echopark Echodriver; Ten Years Is A Decade; modified EHX Holiest Grail; and Dr. No Effects TVL Raven.
In some ways, it’s hard to know whether to categorize the Martin D Jr E StreetLegend as a backpack or travel guitar. After all, Martin still maintains the LX Little Martin line, which is marketed in very specific terms as a travel instrument. And the D Jr E’s size, which isn’t a whole lot smaller than my Martin 00-15, stretches the boundaries of that classification. But Martin definitely leans into the go-anywhere appeal of the D Jr E and its brethren in the new revamped Junior Series. If the soft case fits, wear it. Assuming it lives, at least partly, in that category, it is among the best sounding travel guitars I’ve ever played. Thanks to the all-solid spruce and sapele body construction, it possesses a warm, woody, and organic voice that is likely made richer by the new, longer 24.9" scale.
Stretching Travel Boundaries
Even apart from backpack-guitar-or-not classification questions, it must be a little tricky marketing the D Jr E StreetLegend. With its distressed finish, the StreetLegend version costs just less than 900 bucks, which, in inflationary times, might be a threshold that budget-conscious, small-guitar customers might be hard-pressed to cross. But if you broaden your expectations of what the D Jr E StreetLegend can be, the price looks less formidable, because it can definitely be a front-line, everyday instrument.
If you’ve spent any considerable time with Martins, the D Jr will feel familiar, and though its shrunken dreadnought body profile can be oddly disorienting, the longer, 24.9" scale (the previous Junior series guitars featured a 24" scale) is the same as full-sized Martin mainstays like the 000 and 00. At 1 3/4", the nut width matches the wider spec for the Martin OM, which lends the D Jr E fretboard a spacious, accommodating feel. I’d wager that more than a few players would identify the D Jr E as an instrument from Martin’s full-sized lines. Body aside, it just doesn’t feel small.
Like many guitars built in Martin’s Mexico factory, the D Jr E StreetLegend’s build quality is excellent. And though it doesn’t benefit from the nano-level attention to detail of an upmarket Nazareth-built guitar, you won’t see a trace of the hastily sanded bracing or sloppy fret dressing that mark many accessibly priced instruments. The rounded and beveled fretboard edges, which also highlight the very nice fretwork, give the D Jr E a comfortable, broken-in, and inviting feel. Our review guitar’s action was on the high side (though well within the bounds of acceptable), and though Martin didn’t include a hex wrench for adjusting the neck relief, there is room for adjustment there, as well as a break angle at the bridge that will permit shaving a few millimeters off if you want to adjust the action from that end of the string’s length.
“You won’t see a trace of the hastily sanded bracing or sloppy fret dressing that marks many accessibly priced instruments.”
It’s important to know that the D Jr E StreetLegend is not the only junior dreadnought in the line. And if you want to save 200 bucks you can opt for the natural finish D Jr E. That’s a good thing in more ways than one, because the distressed finish on the StreetLegend version is bound to be polarizing. Though the “wear” is patterned after instruments in Martin’s own museum, and identical to the pattern on the $2,500 D-18 StreetLegend, the effect is created on the D Jr E by dyeing the top and the almost uniform flatness in the distressed zone makes the faux finish damage less than convincing.
Boisterously Voiced
The D Jr E, like many small-body flattops, is strong in the midrange, which can generate brashness under really hard strumming, and if you use that technique exclusively, the bass can be a bit too boxy to offset the bright presence of the mids. If you suspect you have a heavy hand, it will pay to check how the guitar responds to your approach. A lighter touch definitely brings out the best in the D Jr E, and though there’s not much dynamic range in terms of headroom, it sounds awake and responsive to picking nuance.
The Martin E1 electronics and built-in tuner go a long way toward enhancing the utility of the D Jr E. The presence of any reasonably effective pickup and preamp would make the D Jr E very appealing to a gigging guitarist on the move. But the E-1 system is remarkably natural sounding for an affordable acoustic pickup and it can do a lot to round off sharp edges in the guitar’s treble spectrum when amplified and playing loud.
The Verdict
Though the effectiveness and appeal of the distressed StreetLegend finish will be a very personal matter, there is no denying the D Jr E’s strengths—most notably a great neck, solid woods, and responsiveness to a light touch. The extra 200 bucks you’ll pay for the StreetLegend finish makes the D Jr E seem more expensive than it should be, so it’s important to point out again that the more traditional natural finish model, at $699, will be much kinder to thy wallet and is priced more in line with comparable guitars in the liminal market space between travel, backpack, and merely small guitars. Given that, you should consider the value and design scores here on a sliding scale. But any small flattop that features all-solid-wood body construction, an OM’s wider nut width, a full scale, and fits in an overhead bin merits attention. Martin has, indeed, carved out a very interesting niche here.
Billed as a practice amp, this 40-watt, solid-state combo with reverb and tremolo is clean, pedal- and stage-friendly, and affordable.
Orange O 40
I enjoy that back-of-the-throat, big cat growl that starts happening when you turn up the preamp of an Orange amplifier. But the company’s new O Tone 40 is a different breed of feline. With no gain control and a 1x12 made-in-Poland Voice of the World speaker that doesn’t break up until you start cranking it past noon, the O Tone 40 is designed to purr rather than snarl—unless lashed to an overdrive or fuzz pedal. It adds a different, more American-vintage flavor to the company’s lineup of versatile, low-priced new-generation amps and a voice shaped, in many respects,by the number and character of the stomps on your pedalboard.
Practice Schmactis
The solid-state O Tone 40 is billed as a practice amp, but I’d feel comfortable taking it onstage anywhere I’d use, say, a Deluxe Reverb or Blues Junior. It’s a 40-watt, class-AB build with 3-band EQ, digital reverb, and footswitchable JFET-driven tremolo. There’s an effects loop, too, and the combo clocks in at a light 26 pounds. In the modern practice-amp spirit, the O Tone has a 1/4'' headphone out and an unbalanced line-out to run into a DAW. There’s also an auxiliary input for, say, pumping in rhythm tracks or plugging in a metronome. The cabinet is medium-density fiberboard, versus the birch plywood of the 35-watt, 1x10 Orange Crush, which has no reverb or tremolo. And it’s tagged at a very reasonable $399, given its overall functionality.
With its classic control set—reverb, depth, speed, bass, midrange, treble, and volume, from left to right—the O Tone 40 is easy to use, and dialing up a host of good sounds with single-coil and humbucking pickups was a snap. The closed-back design and overall sonic profile tends to make the amp a bit bass heavy, especially with humbuckers, so it’s important to watch the EQ settings. I found a set-it-and-forget-it location with the bass at 9 o’clock, the mids floored, and the treble at 11 o’clock. This is a matter of taste, of course, and mine runs toward the mid-heavy with tempered treble. After all, Orange amps’ strength has always been the harmonic richness of their mids, and the O Tone 40 hits that mark. Plus, adding a little more treble pulled things toward Marshall territory, too.
Another aspect I loved was the breakup I started to hear working the volume up past noon. It’s more subtle than snarling, and reminded me of the organic dirty sounds that can be achieved by cranking up old Valco and Gibson amps from the ’50s and ’60s. So vintage tone hunters may find the O Tone 40 a great lower-priced alternative to an actual period piece. But the quiet effects loop also makes the amp ready for sonic futurism, if that’s one’s goal.
Finally, the reverb is deliciously spring-like, and the dial will travel from dry to surf to the supernatural. The tremolo has plenty of vintage character, too, although I would like to see a little more response in the lower range of the depth control, like that I’ve experienced with old Supros and Gibsons, which can get pretty radical right out of the box.
The Verdict
The super-affordable Orange O Tone 40 is versatile and pedal-friendly, with vibe-y reverb and tremolo as well as an effects loop, so stomp OD fans likely won’t miss the amp-maker’s usual appealing gain profile. There’s enough headroom for clean stage and rehearsal sounds at substantial volume, and pushing the volume past noon yields a very vintage-amp-like breakup profile, which make the O Tone a dependable work-pony with much more than a single trick.
The Icelandic rockers roll with semi-hollows for their hard-hitting blues.
Iceland-born, Nashville-based blues rockers Kaleo released their fourth full-length LP, Mixed Emotions, on May 9 via Elektra. To celebrate the album in their adopted hometown, they threw a party at American Legion Post 82 in East Nashville.
Some of the band’s gear had already been shipped to Red Rocks Amphitheatre, where the official release show took place on May 10, but “Kentucky Fried Scandinavian” lead guitarist Rubin Pollock gave PG’s Chris Kies a look at the must-haves loaded in for the legion gig.
Pollock bought this 1967 Gibson ES-345 at Carter Vintage Guitars in Nashville, and since then, it has been his closest friend, used on all tours and recordings. He favors its out-of-phase sounds brought on by using both pickups, and though it's equipped with a Varitone knob system, Pollock almost never uses it. He hasn’t changed the strings in years.
The Kustomer is Always Right
It was almost closing time when Pollock saw this Kustom K-200 hanging on a wall in a New York City guitar shop. The shop clerk said there was no time to try it, so Pollock bought it on the spot. It has a darker tone than his 345, which he brightens with a wah pedal. Its strings haven’t been changed since he bought it.
A Fender Mustang, bought in 2016, was treated to new strings recently by Pollock’s tech. He didn’t seem stoked.
Projector Project
With his black-panel Fender Deluxe already making its way to Red Rocks, Pollock opted for this Austen Hooks-built projector amp. Hooks built him one after Pollock fell in love with another of his builds at a Los Angeles studio.
Rubin Pollock’s Pedalboard
Pollock packs light, configuring his board to fit in a shoulder bag that he can carry himself wherever he needs to go. His pedals include a Strymon El Capistan and Flint, JHS Colour Box, DigiTech Whammy Ricochet, Boss TU-3, Fulltone Octafuzz, Chase Bliss Preamp Mark II, and an Isle of Tone “Cookie Monster” fuzz.
Jökull Júlíusson’s Guitars
Jökull “J.J.” Júlíusson couldn’t make it for the Rundown, but Pollock gave us a look at his Gibson ES-330 and his signature resonator, built by English luthier Pete Turner. Behind them sits J.J.’s long-time go-to amp, his Orange AD30, which ran through an Orange 1x12 cab.
Jökull Júlíusson’s Board
Júlíusson’s board includes a Strymon Flint and El Capistan, Boss TU-3, a custom Sounds of Shelby drive pedal, Vemuram Shanks ODS-1, MXR Ten Band EQ, and Radial StageBug DI box, plus a channel switcher for the AD30.
Echopark Shark
TVL’s RIY (Relic It Yourself)
Double the Jazz
