Franz Ferdinand's Alex Kapranos and Nick McCarthy discuss their utter disregard for technical playing, their penchant for quirky old gear, and how everything from Angus Young to Talking Heads to classical compositions informed the dual-guitar approach on their new album, Right Thoughts, Right Words, Right Action.
When a new band strikes it as big as Franz Ferdinand did in 2003 with their danceable post-punk radio hit āTake Me Out,ā hardcore guitarists can be dismissive, ignoring subtleties like the introās deceptively simple tempo changes, or how brilliantly the lean, snarling dual guitar parts shift and slither within the relentless tide of the bandās lockstep rhythm section.
Such attitudes donāt hurt the feelings of Alex Kapranos and Nick McCarthy, Franz Ferdinandās guitarists, one bit. The two Scots are completely out of the guitar-ego loop. āI tend not to write parts to show off my skill or new techniques,ā Kapranos says. McCarthy is a bit more lighthearted about it, recounting how, while the band was tracking their latest album, Right Thoughts, Right Words, Right Action, he tried to master a fast picking technique. āI had to stop,ā he says. āI was laughing too much.ā
If kneejerk dismissiveness hurts anyone, itās players who could learn a thing or two from Kapranos and McCarthy about composition, mood, and sparseness. Both players have fresh perspectives on the art of guitar, though they stem from very different backgrounds. McCarthyās guitar work is informed by his training as a classical pianist and double bassist, while Kapranos playing is refreshingly naĆÆve. In fact, he started playing guitar the year before Ferdinand made it big.
We recently spoke to the two guitarists about devising great parts, recording Right Thoughts, their meticulous miking techniques, and their fondness for offbeat gear from Harmony, Silvertone, Hagstrom, Hoyer, Selmer, and Traynor.
What was the writing process like for Right Thoughts?
Alex Kapranos: The majority of writing was done before the recording. We didnāt go near the studio until we had songs that we could all play and we understood how they worked. Thatās quite different from our last LP [2009ās Tonight], where we started off with grooves and beats upon which we wrote melodies and then lyrics. Nick and I write most of the music together, although sometimes Bob [Hardy, bassist] and I start with a lyrical idea that Iāll work on with the guitar or piano. This is a very live album. Every song has a live performance of the four of us in a room together at the heart of it.
Nick McCarthy: Our playing is just writing music. Itās not the specific instrument, but the whole thing. Our main goal is always to just write some good songs and then record them.
Did you have any specific visions for the overall sound of the new album?
Kapranos: One principle was the shedding of chords in favor of melody and countermelody. Itās fine to use chords for the writing of the main melody, but when it comes to the final arrangement weād lose the chords so that progressions were suggested by the melodies, rather than played out.
McCarthy: I think this album sounds very much like us. Itās very honest and open, and it lets you get inside what we are and what we like/ That was the plan. It worked out for some reason, I think. It doesnāt always, of course.
Kapranos: The new sounds came partly from trying new playing ideas, but mainly with the writing and arrangement. Nick and I spent a long time listening to records we likedāparticularly classical musicāto see how they were arranged. I know our music sounds nothing like that, but the principles are universal.
After you conferred on that more compositional approach, how did you go about writing the guitar parts?
McCarthy: I usually write on an old acoustic that I bought in Germany for 10 Deutsche marks, just because I like the history of it. I take it on tour sometimes or write on it when I have a few hours at home. I really like playing the piano as well, so I switch between the two. Then we usually electrify the whole thing and get rid of the chords and play single notes. That seems to work for us.
Kapranos: I usually write with an acoustic, too. I have an old Gibson, but my favorite is an old Harmony guitar conversion by Colfax Guitar Shop in Denver. They take old Kay, Stella, and Harmony guitars and re-brace them by hand. Youāre left with a low-budget guitar that sounds as rich as a Martin, but youāre not afraid to leave it lying around, spill wine on it, or knock it over. When it comes to the final arrangement, I normally pick up one of my favorite electricsāan old ā66 Tele or my ā73 Tele Deluxe.
The Scots revisit the hit that started it allāāTake Me Outāāat the 2009 Glastonbury Festival.
Do you sit down and hash out guitar parts together?
Kapranos: Nick and I always interweave our parts. I think of them like a latticeāwoven together, occasionally overlapping, but generally following distinct routes that make up the strong whole. Iād say neither of us plays āleadā or ārhythm,ā but we both play ārhythmic melody.ā Weāve always seen ourselves as a dance band as much as a rock ānā roll band, so the rhythmic composition and playing is as important as the melody.
Tell us about the process of capturing your guitar tones in the studio.
Kapranos: We recorded a lot of it at Black Pudding, my studio in Scotland. Over the last few years Iāve spent a lot of time working on how to record a natural but powerful sound. Iām not a fan of close-miked cabs. I usually place the mic directly in front of the cone, but between one and four feet away, depending on where it will be in the mix. This creates what I think of as a 3D soundāthe equivalent of adding shading or perspective to a picture. As I mentioned, most of the playing was live. We work better when we play the parts live rather than building up overdubs. It feels more alive that way. You get more precision from overdubs, but the overall effect is a little anodyne for my taste.
McCarthy: Iāve got two basic tones that I always go for in the studio. One is Angus Youngās tone, and the other is a tone similar to what Talking Heads get. I like to keep it simple, so that I donāt overthink anything. I always prefer simplicity.
McCarthy onstage with the Gibson SG Classic he fell in love with at a Chicago pawn shop. Photo by Frank White.
What gear did you use for the sessions?
McCarthy: I used a white Gibson SG that I found in a secondhand shop in Chicago and fell in love with. I also used an old Fender Stratocaster that I borrowed from a friend. Quite standard stuff really, nothing too exciting.
Kapranos: I have a small collection of guitars, some regularsālike Gibsons and Fendersāand a few oddities, like Silvertones, Hagstroms, and Hoyers. I really like Hoyers. Theyāre an often-overlooked European brand with a distinct sound. I spent a lot of time researching cabs and speakers too. The way different magnets and construction can affect the tone and, particularly, the compression of the signal. I built up a few cabs with my friend [vocalist/guitarist for the Clientele] Alasdair MacLean in Scotland, using various Harmas and Webers for different sounds here and there. The best was a 4x12 with four very different ceramic and alnico magnets. It sounds very versatile, and you have a lot of control over the sound, depending on where you stick the mic. Iāve also picked up a few different amps over the years. Iāve always been a fan of old Selmers, but recently I bought a ā60s Traynor head, which I totally love.
In addition to its unusual pickup configurationāa Tele Deluxe-style bridge pickup, a P-90 in the middle, and a single-coil in the neck positionāKrapanos' custom Specimen Products T-style has a kaleidoscppic pickguard made from 600 emerald beetle wings infused with urethane resin. Photo by Frank White.
How does being producers influence your approach to playing guitar?
McCarthy: I think you become aware of how your parts work in the bigger picture and lose the preciousness of every little riff you come up with. Of course some riffs have to be pursued, though. Producing can be a head game as well, like if you forget to plug the microphoneāwhich does happen.
Kapranos: I love tinkering around in my own time and working out soundsābut not during a session, because that kills the buzz. Working as a producer is a great way of killing off excesses of ego. You realize that your performance is part of the whole piece, rather than just being supported by the other performances. Itās made me realize that the spontaneous and unconsidered performance is the best. Itās the personality of the player that matters, and Iām no exception.
How have you evolved as guitarists over the years?
Kapranos: Iāve become more fluent and less heavy-handed. I guess just like someone learning a language, you learn to express yourself more naturally as the years go by. My tone has changed a bit, too. It all depends on the song, but I never use pedals and prefer to go straight into the amp now. I usually like something that is pretty percussive, with a good attack to it. There are a few meatier sounds that I use now that came out on the new album, too.
McCarthy: I used to be a bass player for ages, and now Iāve just about learned the top two strings on the guitar. Iām very proud of that. [Laughs.]
McCarthy and Kapranos demonstrate their knack for intertwining guitar parts and complementary vocal harmonies in this 2005 MTV Unplugged performance of āWalk Away.ā
How would you describe the guitar dynamic between you two?
McCarthy: I usually try to drown him out and pay off our sound engineer to turn him down a bit. Heās okay overall as a guitarist, but he could do with a bit of practice [laughs]. But honestly, Alex is a very unconventional, rhythmic, aggressive, forward, and locked-in player.
Kapranos: Itās very interdependent. He has quite a contrasting style to me, but we seem to fit together very well. We both tend to leave a fair amount of space in what we do, which is fortunate. Neither of us has particularly swollen egos when it comes to playing the guitar. I think thatās because weāre both writers first and players second. The playing is for the song, rather than the ego.
You two split vocal duties in the band. Has it always been natural for you to sing and play?
McCarthy: Well, I like singing, but Alex turned out to be the frontman. It seemed natural that way. Paul [Thomson, drums] sings a lot, as well. I love bands with a lot of singing. With multiple people singing, there are so many more melodies and harmonies to play with.
Kapranos: I was always terrible at lessons. I never lasted long with them, so I was never trained with singing and playing. I could always pick something up and work it out, though. I was a little self-conscious about singing in public at first until I realized that there is no need to fear. It took me a little while to get it down, but it started working over time.
Nick, you grew up playing piano and upright bass while studying classical music. How does that influence your guitar playing?
McCarthy: I learned how to analyze music through my studies at classical music school, and it comes in very handy all the time. Learning is fun, kids! I never thought so then, but now it helps me a lot.
McCarthy's Gibson SG Classic, Kapranos' 1973 Fender Telecaster Delxue, and Franz Ferdinand bassist Bob Hardy's vintage Rickenbacker chilling backstage before the band's July 23rd show in New York. Photo by Frank White.
Alex Kapranos' Gear
Guitars
1973 Fender Telecaster Deluxe, 1966 Fender Telecaster
Amps
Carr Slant 6V, 1960s Traynor head driving 4x12 cab with alnico- and ceramic-magnet Weber and Harma speakers
Strings
Rotosound R11 Roto Reds (.011ā.048)
Nick McCarthy's Gear
Guitars
Gibson SG Classic, 1959 Hagstrom P46 Sweetone
Amps
Carr Slant 6V, Carr The Viceroy
Strings
Rotosound R11 Roto Reds (.011ā.048)
When did you both begin playing guitar?
Kapranos: I actually first started playing guitar in 2002. Nick and I had a punch up at a party, and then Bob and I had talked about starting a band. I know it sounds weird, but the next day we did it.
McCarthy: My older brother started showing me how to play when I was 11 years old. He also showed me how to write a song. I couldnāt believe itāI didnāt realize you were allowed to write your own songs! I thought it was someone else who did that. I guess Iāve been doing it ever since.
Who are your biggest influences on guitar?
Kapranos:Andrew Conway. I know it sounds daft, but he was my best friend at school, and we learned at the same time. Heās always been my biggest musical influence.
McCarthy:The Beatles, Jimmy Page and Led Zeppelin, Angus Young and AC/DC, David Bowie, and Run DMC would all have to be my biggest musical influences.
Did either of you ever think Franz Ferdinand would become so successful when you first began?
McCarthy:Of course not. But it felt good right from the beginning, and we knew that we had a good thing going. Itās not every day you end up in a band where everyone has the same kind of ideasāthereās usually always one spanner in the works.
Kapranos:You imagine that kind of thing when youāre a kid in the same way you imagine a trip to the moon or climbing Everest. With this band I knew there was something good happening. I figured weād sell at least 500 singles.
Franz Ferdinandās Alex Kapranos and Nick McCarthy debut their new song āEvil Eyesā at the 2013 Coachella festival.
This wonky Zim-Gar was one of many guitars sold by importer Gar-Zim Musical Instruments, operated by Larry Zimmerman and his wife.
The 1960s were strange days indeed for import guitars, like this cleaver-friendly Zim-Gar electric.
Recently I started sharing my work office with a true gem of a guy ⦠one of the nicest fellas Iāve ever come across. If youāve been following my column here, you might remember my other work mate Dylan, who is always telling me about new, fad-type things (like hot Honey guitars) and trying to convince me to use AI more. (What can I say, heās a millennial.) But Steve, on the other hand, is about 10 years my senior and is a native New YorkerāBrooklyn actually, from the Canarsie neighborhood. Steve is a retired teacher and spent many years teaching in the Brownsville area of Brooklyn, and man, he has some amazing stories.
Mostly we talk about music and sports (heās exiled here among us Philadelphia sports fans) and heās just endlessly interesting to me. He has a huge appetite and can eat a whole pizza. When he talks, he sounds like one of the Ramones and he still has an apartment in Rockaway Beach. We both love Seinfeld and, like George Costanza, Steve knows where all the great bathrooms are across New York City. Since heās been added to my circle (and is such a mensch), I decided I should work him into a column.
So hereās the connection: Back in the day there were many American importers, dealers, and wholesalers. A lot of them were based in New York, Chicago, and Los Angeles, but I only know of one guitar importer located in Brooklyn: Gar-Zim Musical Instruments. The company was run by Larry Zimmerman and his wife, and the couple had some success importing and selling Japanese guitars and drums. I used to see early Teisco imports with the Zim-Gar badge, which was the brand name of Gar-Zim. Iāve also seen Kawai guitars with the Zim-Gar label, but the Zimmermanās seemed to sell cheaper and cheaper gear as the ā60s wore on, including the piece you see here.
āThis build reminds me of the cutting boards I used to make in wood shop back in my high school days.ā
The model name and factory origin of this guitar is a mystery to me, but this build reminds me of the cutting boards I used to make in wood shop back in my high school days. The guitar is just flat across the top and back, with absolutely no contouring or shaping. Its offset body is plywood with a thin veneer on the top and back. From a distance this guitar actually looks kind of nice, but up close you can see a rather crude and clunky instrument that offers little flexibility and playability. The non-adjustable bridge is off center, as is the tremolo. It was really hard to get this guitar playing well, but in the end it was worth it, because the pickups were the saving grace. Another example of gold-foils, these units sound strong and raw. The electronics consist of an on/off switch for each pickup and a volume and tone knob. The tuners are okay, and the headstock design is reminiscent of the Kay ādragon snoutā shape of the mid to late ā60s, which is where I would place the birthdate of this one, probably circa 1966. Everything is just so goofy about this buildāeven the upper strap button is located on the back of the neck. It reminds me of that era when simple wood factories that were making furniture were tasked with building electric guitars, and they simply didnāt know what they were doing. So, you get oddities like this one.
Gar-Zim continued to sell guitars and other musical instruments through the 1970s and possibly into the ā80s. I once even saw a guitar with the label Lim-Gar, which is totally puzzling. I think there shouldāve been a Stee-Gar designation for my new buddy Steve-o! Yes, good readers, with guitars and me, there are always just a few degrees of separation.
See and hear Taylorās Legacy Collection guitars played by his successor, Andy Powers.
Last year, Taylor Guitars capped its 50th Anniversary by introducing a new guitar collection celebrating the contributions of co-founders Bob Taylor and Kurt Listug to the guitar world. The Legacy Collection revives five of Bob Taylorās classic acoustic models, curated by the legendary luthier and innovator himself. āTo imagine that weāre doing guitars that harken to our past, our present and our future all at the same time,ā Bob says, āI really like that.ā
In developing the collection, Bob preserved the essence of his originals while integrating performance and playability upgrades introduced during his tenure as designer-in-chief. āItās an up-to-date version of what those guitars would be,ā Bob explains, ābut with the same sound.ā
Visually, these guitars feel classicāclean, understated and unmistakably Taylor. While Bobās original aesthetic preferences are showcased in his Legacy models, the nod to the past runs deeper than trade dress.
From his earliest builds, Bob favored slim-profile necks because he found them easier to play. That preference set a design precedent that established Taylorās reputation for smooth-playing, comfortable necks. Legacy models feature slim mahogany necks built with Taylor's patented New Technology (NT) design. āMy first neck was a bolted-on neck but not an NT neck,ā Bob says. āThese are NT necks because itās a better neck.ā Introduced in 1999, the NT neck allowed for unprecedented micro-adjustability while offering a consistent, hand-friendly Taylor playing experience.
What makes this collection unique within the Taylor line is Bobās use of his X-bracing architecture, favoring his time-tested internal voicing framework over more recent Taylor bracing innovations to evoke a distinctive tone profile. Since Andy PowersāTaylorās current Chief Guitar Designer, President and CEOādebuted his patented V-Class bracing in 2018, V-Class has become a staple in Taylorās premium-performance guitars. Still, Bobās X-bracing pattern produces a richly textured sound with pleasing volume, balance and clarity that long defined the Taylor voice. All Legacy models feature LR Baggs VTC Element electronics, which Bob says āharkens back to those days.ā
The team at Taylor thought the best way to demonstrate the sound of the Legacy guitars was to ask Andy Powers, Bobās successor, to play them. A world-class luthier and musician, Andy has spent the past 14 years leading Taylorās guitar innovation. In addition to V-Class bracing, his contributions include the Grand Pacific body style, the ultra-refined Builderās Edition Collection, and most recently, the stunning Gold Label Collection.
Below youāll find a series of videos that feature Powers playing each Legacy model along with information about the guitars.
Legacy 800 Series Models
First launched in 1975, the 800 Series was Taylorās first official guitar series. Today, it remains home to some of the brandās most acclaimed instruments, including the flagship 814ce, Builderās Edition 814ce and new Gold Label 814e.
The Legacy 800 Series features the 810e Dreadnought and two Jumbos: the 6-string 815e and 12-string 855e. Each model serves up a refined version of the Dreadnought and Jumbo body shapes Bob inherited from Sam Raddingāthe original owner of the American Dream music shop where Bob and Kurt first met. āI was making my guitars in the molds that Sam had made at American Dream,ā Bob recalls. āThere was a Jumbo and a Dreadnought. Thatās all we had.ā
All three Legacy 800 Series guitars feature one of Bobās favorite tonewood combos. Solid Indian rosewood back and sides are paired with a Sitka spruce top, yielding warm lows, clear trebles and a scooped midrange.
Aesthetic appointments include a three-ring abalone rosette, mother-of-pearl Large Diamond inlays, white binding around the body and fretboard, and Bobās āstraight-earā peghead design. Both Jumbo models also showcase a mustache-style ebony bridgeāa nod to Bobās early Jumbo builds.
Legacy 810e
The 810 Dreadnought holds a special place in Bob Taylorās heart. āMy first 810, the one I made for myself, was a thrilling guitar for me to make,ā he says. āItās the one and only guitar I played. It didnāt matter how many guitars we made at Taylor, thatās the one I took out and played.ā The Legacy 810e brings back that bold, room-filling Dreadnought voice along with the easy playability expected from a Taylor.
Taylor Guitars | Legacy 810e | Playthrough DemoĀ
Legacy 855e
Taylorās first 12-strings found an audience in 1970s Los Angeles. āI was making guitars that would find their way to McCabeās in Santa Monica and Westwood Music,ā Bob says, āand these guitars were easy to play. Twelve-strings were a popular sound in that music. It was a modern country/folk/rock music genre that was accepting our guitars because they were easy to play. They also liked the sound of them because our guitars were easier to record.ā The Legacy 855e, with its resonant Jumbo body, slim neck and gorgeous octave sparkle, carries that tradition forward.
Taylor Guitars | Legacy 855e | Playthrough DemoĀ
Legacy 815e
The Legacy 815e revives Taylorās original Jumbo 6-string, delivering a big, lush sound with beautifully blooming overtones.
Legacy Grand Auditoriums
In the early 1990s, Bob Taylor heard a consistent refrain from dealers: āNot everybody wants a dreadnought guitar anymore.ā Players were asking for something with comparable volume but different proportionsāsomething more comfortable, yet still powerful. This feedback inspired Bob to design a new body style with more elegant curves, more accommodating proportions and a balanced tonal response. The result was the Grand Auditorium, which Taylor introduced in 1994 to celebrate its 20th anniversary.
Thanks to its musical versatility and easy playability, Bobās Grand Auditorium attracted a wide variety of players. āWe came into our own with our Grand Auditorium,ā he says. āPeople were describing it as āall around.ā Itās a good strummer and good for fingerstyle, but itās not totally geared toward strumming or totally geared toward fingerstyle.ā Also referred to as the āSwiss-Army Knifeā of guitars or the āGoldilocksā guitar, the GA quickly became a favorite among guitarists across playing styles, musical genres and different playing applications including recording and live performance. āThat guitar made studio work successful,ā Bob says. It gained a wider fanbase with the debut of the āceā version, which introduced a Venetian cutaway and onboard electronics. āThat became one of our hallmarks,ā says Bob. āIf you want to plug in your guitar, buy a Taylor.ā
Today, the Grand Auditorium is Taylorās best-selling body shape.
The Legacy Collection features two cedar-top Grand Auditoriums inspired by past favorites: the mahogany/cedar 514ce and rosewood/cedar 714ce. Both models incorporate Bobās original X-bracing pattern for a tonal character reminiscent of their 1990s and 2000s counterparts. Shared aesthetic details include a green abalone three-ring rosette, ebony bridge pins with green abalone dots, a faux-tortoiseshell pickguard and Taylor gold tuning machines.
Taylor Guitars | Legacy 815e | Playthrough DemoĀ
Legacy 514ce
The Legacy 514ce features solid mahogany back and sides paired with a Western Red cedar top, yielding a punchy midrange and dry, woody sonic personality that pairs beautifully with cedarās soft-touch sensitivity and warmth. Itās a standout choice for fingerstyle players and light strummers who crave nuance and depth. Distinct visual details include faux-tortoise body and fretboard binding, black-and-white top trim, and mother-of-pearl small diamond fretboard inlays.
Taylor Guitars | Legacy 514ce | Playthrough DemoĀ
Legacy 714ce
The Legacy 714ce also features a cedar top, this time matched with solid Indian rosewood back and sides. The result is a richly textured sound with deep lows, clear trebles and a warm, mellow response. Inspiring as it is, this specific wood pairing isnāt currently offered in any other standard Taylor model. Additional aesthetic details include green abalone dot fretboard inlays, black body and fretboard binding, and black-and-white āpinstripeā body purfling.
While the Legacy Collection spotlights Taylorās past, newer models from the Gold Label, Builderās Edition and Somos Collections show the companyās legacy is always evolving. Explore the Legacy Collection at taylorguitars.com or visit your local authorized Taylor dealer.
Taylor Guitars | Legacy 714ce | Playthrough DemoĀ
The Oceans Abyss expands on Electro-Harmonixās highly acclaimed reverb technology to deliver a truly immersive effects workstation. The pedal is centered around dual reverb engines that are independently programmable with full-stereo algorithms including Hall, Spring, Shimmer and more. Place these reverbs into a customizable signal path with additional FX blocks like Delay, Chorus, Tremolo, or Bit Crusher for a completely unique soundscape building experience.
Electro-Harmonix has paved the way for powerful, accessible reverbs since the release of the original Holy Grail and now weāve pushed the envelope deeper with the fully-equipped Oceans Abyss. Featuring a customizable signal path with up to 8 effects blocks, the Oceans Abyss can be configured as individual reverb, modulation, EQ, delay, bit crusher, saturation or volume effects, or as countless combinations for incredibly creative effect shaping. From a simple Spring reverb to a lush stereo field featuring stereo hall and shimmer reverbs, chorus, delay, overdrive, and tremolo, you can go from surf to shoegaze instantly, without breaking a sweat.
Deep parameter editing is accessible via the high-visibility OLED display with multiple graphical views and easy-to-read designs. Expression/CV control over nearly every parameter gives artful control of your effects and dynamics. Fully-stereo I/O plus an FX Loop allows for use with any instrument, recording set up, or live rig. 128 programmable presets via onboard footswitching or MIDI ensure perfect recall in all performance situations. MIDI IN/OUT ports with MIDI IN support of PC, CC, and Tempo Clock expand the already immense talents of the Oceans Abyss. Connect with UBS-C to Windows or Mac for effects editing, preset management, and more with the free EHXport⢠app (coming soon).
- Two Stereo Reverbs available at once, each fully pannable in the stereo field
- 10 reverb types to choose from: Room, Hall, Spring, Plate, Reverse, Dynamic, Auto-Infinite, Shimmer, Polyphonic, Resonant
- Additional FX blocks: Delay (Digital, Analog and Tape emulations), Tremolo, Chorus, Flanger, Phaser, Graphic EQ, Saturation, Bit Crusher, External FX Loop, Volume
- Create custom signal path routing with up to 8 effects blocks. Two blocks may be re-verb, the rest may be any of the additional FX blocks.
- Infinite reverb sustain with the press of a footswitch
- Stereo Audio I/O
- Stereo FX Loop routing on TRS Jacks
- Dual action footswitches allow for momentary or latching use
- Easily enable or disable tails
- 128 fully customizable presets
- All controls can be saved to presets
- Dive deep into global and preset settings to set up Oceans Abyss for your specific needs
- Illuminated slide pots and buttons
- High-visibility OLED graphical display
- Multiple graphical views: Signal Path, Performance, Settings, Physical, Explorer
- Easy-to-navigate menu system
- Ergonomic NavCoder knob allows rotary and directional navigation through menus
- EXPRESSION / CV input to control nearly any parameter in any FX block
- Footswitch input allows for adding up to three external footswitches, each assigna-ble to a number of functions
- MIDI In and Out. MIDI IN supports PC, CC (over nearly every available parameter), and Tempo Clock
- USB-C port to connect to Windows or Mac and interface with EHXport⢠app (coming soon)
- 96kHz / 24-bit sample rate conversion
- Supplied with 9.6VDC / 500mA power supply
Our columnistās silver-panel Fender Bandmaster.
How this longstanding, classic tube amp design evolved from its introduction in 1953.
I have a silver-panel Bandmaster Reverb that I donāt think Iāve talked about enough in this column. Itās one of the most versatile and flexible amps I own, so I use it for everything. Itās portable, has tube-driven reverb and tremolo, and has a full set of EQ knobs including the critical bright switch, which we discussed the importance of earlier this year (āHow to āTrebleshootā a Vintage Fender Amp,ā March 2025). The amp is not only pedal-friendly; the flexible 4-ohm output impedance will handle almost all speaker configurations and sound any way youād like. Letās take a deeper look at the Fender Bandmaster amp and walk through its development through the years.
The first Bandmaster was introduced in 1953 as a wide-panel tweed amp with Fenderās 5C7 circuit. This rare combo was loaded with a single 15" Jensen P15N and powered by dual 6L6GC tubes in push-pull configuration to produce a modest 25 watts. The 6L6GCs were cathode biased and along with the 5U4GB rectifier tube contributed to a forgiving sag, early breakup, and a midrange-y voice.
Fender made several changes when they launched that ampās successor in 1955, the more widely known 5E7 narrow-panel Bandmaster, a well-proven amp that has come back as a reissue model. It was still a dual-channel ampāinstrument and microphoneābut the newer 5E7 model had a fixed bias and a negative feedback loop, providing a louder, firmer, and cleaner tone. Most importantly, the single 15" speaker was replaced by three 10" speakers, making it very similar to the narrow-panel tweed Bassman, the granddaddy of all Marshall amps. This Bandmaster had three speakers instead of the Bassmanās four, and it delivered 25ā30 watts instead of 40. It offered early breakup with a midrange-y, big and full tone.
For those not acquainted with tweed amps, the volume and EQ knobs behave differently than on silver- and black-panel Fender amps. The volume pot can act like a distortion control, while the EQ knobs control the volume, and many players Iāve talked to have not really unlocked this secret. This works because, in these circuits, the volume pot sits right before the preamp tube, which allows it to push the tube into full distortion. Since the EQ pots are located right after and are capable of reducing the volume, youāre able to distort the preamp at low volume settings.
āThings became more standardized in 1964 with the arrival of the black-panel AB763 Bandmaster, an amp I have worked on a lot and appreciate for its robustness, simplicity, and versatility.ā
In 1960, a short-lived and rare Bandmaster dressed in brown tolex and a black faceplate appeared with the 5G7 circuit. From here on, all Bandmasters had the modern top-mounted chassis. With this circuit, the Bandmaster started to both look and sound more like a black-panel amp. It kept the 3x10" speakers but got a diode rectifier and bigger transformers resulting in a 45-watt output. Tremolo was introduced for the first time, and both channels were now intended for guitar.
The following year, a blonde 6G7 Bandmaster followed as a smaller amp head paired with a 1x12 extension cabinet. It had the timeless early blonde looks with cream tolex, brown faceplate, oxblood grill cloth, large Fender logo, and white knobs. But halfway into the blonde era, towards 1964, things turned strange and rather confusing. There were suddenly two 12" speakers, black knobs, a wheat-colored grill cloth, a more slim black-panel-style Fender logo, a black faceplate, and all in various combinations close to the transition into ā64.
Things became more standardized in 1964 with the arrival of the black-panel AB763 Bandmaster, an amp I have worked on a lot and appreciate for its robustness, simplicity, and versatility. It offers a pure, clean, scooped black-panel tone thatās somewhere between a Vibrolux Reverb and Pro Reverb, which share the medium-sized 125A6A output transformer and dual 6L6GC tubes. With its medium/high power and flexible 4-ohm output impedance, it can drive all kinds of speaker cabinetsāas long as you stay between 2 and 8 ohms, you are safe.
For a short time in 1967ā68, there was a transitional Bandmaster with aluminum trim and black-panel innards before the all-new silver-panel Bandmaster Reverb replaced it in 1968. The small-head cabinet had grown in size and, unfortunately, weight to accommodate the reverb tank. The amp got a 5U4GB rectifier tube along with a few general silver-panel changes to the circuit. Several silver-panel models existed with minor differences until a 70-watt beast version came along in 1977 with master volume.
To my own 1968 Bandmaster Reverb, I have done a few adjustments. First, I made a custom baffle to hold two 8" speakers. I installed a pair of WGS G8C speakers that fit perfectly on the baffle board without colliding with the reverb tank or transformers. Sometimes, I use only one of the 8" speakers for bedroom volume levels. Second, I reversed the bias circuitry to standard AB763 specs, making it easier to adjust bias correctly on both power tubes. If you are into sparkling clean and funky Strat sounds, you would love this little 2x8" combo.