Vintage V58JDAB Jerry Donahue — Read our review here.
Here's something fun for all you Tele freaks: We're going to examine Jerry Donahue's unique wiring scheme to learn how it works and how to adapt it to a standard Tele.
Donahue was one of the three founding members of the Hellecasters, which also included John Jorgenson and PG columnist Will Ray. There's a reason why the great Danny Gatton called Donahue "the string-bending king of the planet." If you haven't heard Donahue's jaw-dropping bends and behind-the-nut stretches, check out some of his YouTube videos and prepare to be amazed. Using only his fingers, he could make his Tele sound like a pedal-steel guitar.
Essential background and history.
Donahue was one of the three founding members of the Hellecasters, which also included John Jorgenson and PG columnist Will Ray. There's a reason why the great Danny Gatton called Donahue "the string-bending king of the planet." If you haven't heard Donahue's jaw-dropping bends and behind-the-nut stretches, check out some of his YouTube videos and prepare to be amazed. Using only his fingers, he could make his Tele sound like a pedal-steel guitar.
A prominent figure in the late-'60s and early-'70s British folk-rock scene, Donahue played and recorded with Fotheringay and Fairport Convention, and later formed a group called the Gathering, which included his daughter Kristina Donahue and former members of Jethro Tull, Lindisfarne, Pentangle, and Steeleye Span.
Donahue is a Tele player to the bone, and during his outstanding career he's been involved in several signature guitar projects, beginning in 1991 with the Fender JD Telecaster. This was available in several versions from the Fender Custom Shop, as well as a more affordable MIJ version. A souped-up Telecaster, the JD featured a Stratocaster neck pickup located closer to the bridge than usual, a 5-way pickup selector switch, and special wiring. The model has been out of production since 1999 and is a collector's item today.
In 2004, Donahue began working with G&L on a new signature guitar called the ASAT JD-5, but this never made it into regular production. Only a few of these seem to exist—some estimate fewer than 20.
His next signature guitar, the Peavey Omniac JD, debuted in 2005. It had a Tele-like shape, custom wiring, and a 5-way pickup selector switch, but this time sported two custom Seymour Duncan pickups (more about these in a moment). The Omniac JD went out of production in 2009.
In 2010, Donahue started working on his next signature model 6-string with the John Hornby Skewes company in England, called JHS for short. One of the JHS labels is Fret-King, and Donahue's guitar is called the Fret-King JDD (which stands for Jerry Donahue/Seymour Duncan). Part of the Fret-King Artist series and still in production, the JDD was designed by Trev Wilkinson and features wiring similar to the Peavey Omniac. JHS also offers a budget version, called the Reissued V58JDAB Jerry Donahue, as part of their Vintage line.
These guitars all have a Telecaster-inspired dual-pickup layout, a 5-way switch, and standard master volume and master tone controls. The concept behind each of Donahue's models is to retain the classic Telecaster bridge tone, while adding Strat- and Tele-like dual-pickup combinations, as well as both a timeless Strat neck pickup sound and a jazzy "archtop" tone.
With this "JD mod," our goal is to incorporate Stratocaster tones into a Telecaster. This is the opposite of what we explored with the "Riptide" wiring—a mod that coaxes Telecaster tones from a Stratocaster. Loyal Mod Garage readers may also recall that we previously discussed several ways to implant Stratocaster tones into a Telecaster in "The Strat-o-Tele Crossover." But, as we'll see, the JD mod is unique and definitely worth exploring because it may be the ultimate jack-of-all trades guitar wiring.
For starters, let's talk about the pickups used in both the Omniac and JDD. Each model sports pickups made by Donahue's buddy, Seymour Duncan. The story goes that another one of Donahue's friends wound him a Stratocaster pickup for the neck position of his stock Telecaster. Donahue really liked it—especially when he combined the new neck pickup with the Tele bridge pickup. At Donahue's request, Seymour analyzed the new pickup and discovered Donahue's friend had incorporated a resistor in the middle of the pickup's winding before finishing the other half. Based on this construction, Seymour developed two pickups that are still available. If you're planning to build your own version of a JD Telecaster, this is your ticket to get it as close as possible to his signature models. These are the Duncan APS-2JD neck and APTL-3JD bridge pickups.
The concept behind each of Donahue's models is to retain the classic Telecaster bridge tone, while adding Strat- and Tele-like dual-pickup combinations, as well as both a timeless Strat neck pickup sound and a jazzy "archtop" tone.
The sounds.
Here—excerpted from Donahue's own words—is a description of the tones delivered by the 5-way switch, starting with the Stratocaster's "neck only" setting and working toward the bridge:
- Position 1: The rich and sparkling neck position of a traditional Stratocaster, resulting in that unmistakable vintage single-coil sound that echoes the soaring, majestic blues tones of the '60s and '70s.
- Position 2: The neck pickup with a special capacitor engaged. This yields a tone ordinarily associated with an archtop jazz guitar. Add overdrive to capture that classic late-'60s "woman tone."
- Position 3: The neck and bridge pickups in a custom parallel wiring. This produces an enhanced, contemporary version of a Telecaster's traditional middle-position tone.
- Position 4: Combines both pickups with a capacitor and resistor to create a controlled degree of reversed phase. This offers a Stratocaster's popular "in-between quack tone."
- Position 5: The solo bridge pickup with the gutsy lead sound of the very best '50s Telecasters.
Shopping list.
Here's what you'll need to make your own version of the JD Telecaster:
- The two pickups mentioned above, although alternatively you can use standard Telecaster bridge and Stratocaster neck pickups. If you choose the latter option, you'll need to enlarge the neck pickup cavity to accommodate a Strat neck pickup.
- A 5-way "super switch" pickup selector. But remember: There's not much room inside a Telecaster's electronics compartment, so double-check that the model you choose will fit. We've covered the basics of this switch before ["Introducing Fender's 5-Way Super Switch," September 2011, and "Exploring Fender's 5-Way Super Switch," October 2011].
- A treble-bleed network with a 1000 pF cap and a 150k resistor in parallel. To learn more about this, check out "Deep Diving into Treble-Bleed Networks" from March 2019.
- A 0.022 µF tone cap of your choice for the tone control.
- Two 250k pots for volume and tone controls.
- Three caps with the following values: 3300 pF, 2200 pF, and 0.01µF. Again, there's not much space inside the Tele's control cavity, so choose the physically smallest film caps you can get. The caps' voltage rating doesn't play a role in this game.
- Two 6.2k metal film resistors; 0.25 watt or less is perfect.
If you're a Mod Garage regular, you'll spot familiar themes in this circuit because we've investigated these tricks before—namely, adding caps in-line with a pickup ["The Stratocaster 'Jazz Switch' Mod," November 2011] and half out-of-phase wiring ["The Bill Lawrence 5-way Telecaster Circuit," October 2015]. But here's the twist: Now everything comes together in one wiring!
Okay, let's translate Donahue's sonic description of the wiring into bare technical facts:
- Position 1: Solo neck pickup (like standard Telecaster wiring).
- Position 2: Neck pickup with additional 3300 pF cap to ground.
- Position 3: Neck + bridge pickup in parallel with additional 2200 pF cap to ground.
- Position 4: Neck + bridge pickup in parallel, half out-of-phase.
- Position 5: Solo bridge pickup (like standard Telecaster wiring).
Now we're ready to dive into the circuit. For visual clarity, we'll start with the volume pot's treble bleed-network (Image 1).
Image 2 shows the rest of the circuit with all the other components.
That's it, folks! In a future column, we'll revisit this wiring and add some mods that make it even more flexible. Meanwhile, next month we'll return to our ongoing DIY relic project, so stay tuned. Until then ... keep on modding!
Review Demo - Vintage Guitars Jerry Donahue Signature V58
Watch John Bohlinger demo the various tones unlocked by Donahue's versatile 5-way setup.
[Updated 7/27/21]
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Onstage, Tommy Emmanuel executes a move that is not from the playbook of his hero, Chet Atkins.
“My biggest decision every day on tour is, ‘What do I want to start with? How do I want to come out of the gate?’” Emmanuel explains to me over a video call. “A good opener has to have everything. It has to be full of surprise, it has to have lots of good ideas, lots of light and shade, and then, hit it again,” he says, illustrating each phrase with his hands and ending with a punch.“You lift off straightaway with the first song, you get airborne, you start reaching, and then it’s time to level out and take people on a journey.”
In May 2023, Emmanuel played two shows at the Sydney Opera House, the best performances from which have been combined on his new release, Live at the Sydney Opera House. The venue’s Concert Hall, which has a capacity of 2,679, is a familiar room for Emmanuel, but I think at this point in his career he wouldn’t bring a setlist if he was playing Wembley Stadium. On the recording, Emmanuel’s mind-blowingly dexterous chops, distinctive attack and flair, and knack for culturally resonant compositions are on full display. His opening song for the shows? An original, “Countrywide,” with a segue into Chet Atkins’ “El Vaquero.”
“When I was going to high school in the ’60s, I heard ‘El Vaquero’ on Chet Atkins’ record, [1964’s My Favorite Guitars],” Emmanuel shares. “And when I wrote ‘Countrywide’ in around ’76 or ’77, I suddenly realized, ‘Ah! It’s a bit like “El Vaquero!”’ So I then worked out ‘El Vaquero’ as a solo piece, because it wasn’t recorded like that [by Atkins originally].
“The co-writer of ‘El Vaquero’ is Wayne Moss, who’s a famous Nashville session guy who played ‘da da da’ [sings the guitar riff from Roy Orbison’s ‘Pretty Woman’]. And he played on a lot of Chet’s records as a rhythm guy. So once when I played ‘El Vaquero’ live, Wayne Moss came up to me and said, ‘You know, you did my part and Chet’s at the same time. That’s not fair!’” Emmanuel says, laughing.
Atkins is the reason Emmanuel got into performing. His mother had been teaching him rhythm guitar for a couple years when he heard Atkins on the radio and, at 6, was able to immediately mimic his fingerpicking technique. His father recognized Emmanuel’s prodigious talent and got him on the road that year, which kicked off his professional career. He says, “By the time I was 6, I was already sleep-deprived, working too hard, and being forced to be educated. Because all I was interested in was playing music.”
Emmanuel talks about Atkins as if the way he viewed him as a boy hasn’t changed. The title Atkins bestowed upon him, C.G.P. (Certified Guitar Player), appears on Emmanuel’s album covers, in his record label (C.G.P. Sounds), and is inlaid at the 12th fret on his Maton Custom Shop TE Personal signature acoustic. (Atkins named only five guitarists C.G.P.s. The others are John Knowles, Steve Wariner, Jerry Reed, and Atkins himself.) For Emmanuel, even today most roads lead to Atkins.
When I ask Emmanuel about his approach to arranging for solo acoustic guitar, he says, “It was really hit home for me by my hero, Chet Atkins, when I read an interview with him a long time ago and he said, ‘Make your arrangement interesting.’ And I thought, ‘Wow!’ Because I was so keen to be true to the composer and play the song as everyone knows it. But then again, I’m recreating it like everyone else has, and I might as well get in line with the rest of them and jump off the cliff into nowhere. So it struck me: ‘How can I make my arrangements interesting?’ Well, make them full of surprises.”
When Emmanuel was invited to contribute to 2015’s Burt Bacharach: This Guitar’s in Love with You, featuring acoustic-guitar tributes to Bacharach’s classic compositions by various artists, Emmanuel expresses that nobody wanted to take “(They Long to Be) Close to You,” due to its “syrupy” nature. But for Emmanuel, this presented an entertaining challenge.
He explains, “I thought, ‘Okay, how can I reboot “Close to You?’ So even the most jaded listener will say, ‘Holy fuck—I didn’t expect that! Wow, I really like that; that is a good melody!’ So I found a good key to play the song in, which allowed me to get some open notes that sustain while I move the chords. Then what I did is, in every phrase, I made the chord unresolve, then resolve.
Tommy Emmanuel's Gear
“I’m writing music for the film that’s in my head,” Emmanuel says. “So, I don’t think, ‘I’m just the guitar,’ ever.”
Photo by Simone Cecchetti
Guitars
- Three Maton Custom Shop TE Personals, each with an AP5 PRO pickup system
Amps
- Udo Roesner Da Capo 75
Effects
- AER Pocket Tools preamp
Strings & Picks
- Martin TE Signature Phosphor Bronze (.012–.054)
- Martin SP strings
- Ernie Ball Paradigm strings
- D’Andrea Pro Plec 1.5 mm
- Dunlop medium thumbpicks
“And then to really put the nail in the coffin, at the end, ‘Close to you’ [sings melody]. I finished on a major 9 chord which had that note in it, but it wasn’t the key the song was in, which is a typical Stevie Wonder trick. All the tricks I know, the wonderful ideas that I’ve stolen, are from Michael Jackson, Stevie Wonder, Lionel Richie, James Taylor, Carole King, Neil Diamond. All of the people who wrote really incredibly great pop songs and R&B music—I stole every idea I could, and I tried to make my little two-and-a -half minutes as interesting and entertaining as possible. Because entertainment equals: Surprise me.”
I share with Emmanuel that the performances on Live at the Sydney Opera House, which include his popular “Beatles Medley,” reminded me of another possible arrangement trick. In Harpo Marx’s autobiography, Harpo Speaks, I preface, Marx writes of a lesson he learned as a performer—to “answer the audience’s questions.” (Emmanuel says he’s a big fan of the book and read it in the early ’70s.) That happened for me while listening to the medley, when, after sampling melodies from “She’s a Woman” and “Please Please Me,” Emmanuel suddenly lands on “While My Guitar Gently Weeps.”
I say, “I’m waiting for something that hits more recognizably to me, and when ‘While My Guitar’ comes in, that’s like answering my question.”
“It’s also Paul and John, Paul and John, George,” Emmanuel replies. “You think, ‘That’s great, that’s great pop music,’ then, ‘Wow! Look at the depth of this.’”
Often Emmanuel’s flights on his acoustic guitar are seemingly superhuman—as well as supremely entertaining.
Photo by Ekaterina Gorbacheva
A trick I like to employ as a writer, I say to Emmanuel, is that when I’m describing something, I’ll provide the reader with just enough context so that they can complete the thought on their own.
“You can do that musically as well,” says Emmanuel. He explains how, in his arrangement of “What a Wonderful World,” he’ll play only the vocal melody. “When people are asking me at a workshop, ‘How come you don’t put chords behind that part?’ I say, ‘I’m drawing the melody and you’re putting in all the background in your head. I don’t need to tell you what the chords are. You already know what the chords are.’”
“Wayne Moss came up to me and said, ‘You know, you did my part and Chet’s at the same time. That’s not fair!’”
Another track featured on Live at the Sydney Opera House is a cover of Paul Simon’s “American Tune” (which Emmanuel then jumps into an adaptation of the Australian bush ballad, “Waltzing Matilda”). It’s been a while since I really spent time with There GoesRhymin’ Simon (on which “American Tune” was first released), and yet it sounded so familiar to me. A little digging revealed that its melody is based on the 17th-century Christian hymn, “O Sacred Head, Now Wounded,” which was arranged and repurposed by Bach in a few of the composer’s works. The cross-chronological and genre-lackadaisical intersections that come up in popular music sometimes is fascinating.
“I think the principle right there,” Emmanuel muses, “is people like Bach and Beethoven and Mozart found the right language to touch the heart of a human being through their ears and through their senses ... that really did something to them deep in their soul. They found a way with the right chords and the right notes, somehow. It could be as primitive as that.
Tommy Emmanuel has been on the road as a performing guitarist for 64 years. Eat your heart out, Bob Dylan.
Photo by Jan Anderson
“It’s like when you’re a young composer and someone tells you, ‘Have a listen to Elton John’s “Candle in the Wind,”’ he continues. “‘Listen to how those notes work with those chords.’ And every time you hear it, you go, ‘Why does it touch me like that? Why do I feel this way when I hear those chords—those notes against those chords?’ I say, it’s just human nature. Then you wanna go, ‘How can I do that!’” he concludes with a grin.
“You draw from such a variety of genres in your arrangements,” I posit. “Do you try to lean into the side of converting those songs to solo acoustic guitar, or the side of bridging the genre’s culture to that of your audience?”
“I stole every idea I could, and I tried to make my little two-and-a-half minutes as interesting and entertaining as possible. Because entertainment equals: Surprise me.”
“If I was a method actor,” Emmanuel explains, “what I’m doing is—I’m writing music for the film that’s in my head. So, I don’t think, ‘I’m just the guitar,’ ever. I always think it has to have that kind of orchestral, not grandeur, but … palette to it. Because of the influence of Stevie Wonder, Billy Joel, and Elton John, especially—the piano guys—I try to use piano ideas, like putting the third in the low bass a lot, because guitar players don’t necessarily do that. And I try to always do something that makes what I do different.
“I want to be different and recognizable,” he continues. “I remember when people talked about how some players—you just hear one note and you go, ‘Oh, that’s Chet Atkins.’ And it hit me like a train, the reason why a guy like Hank Marvin, the lead guitar player from the Shadows.... I can tell you: He had a tone that I hear in other players now. Everyone copied him—they just don’t know it—including Mark Knopfler, Eric Clapton, Jimmy Page, all those people. I got him up to play with me a few times when he moved to Australia, and even playing acoustic, he still had that sound. I don’t know how he did it, but it was him. He invented himself.”
YouTube It
Emmanuel performs his arrangement of “What a Wonderful World,” illustrating how omitting a harmonic backdrop can have a more powerful effect, especially when playing such a well-known melody.
Grammy Award-winning artist Warren Haynes is a cornerstone of the American music landscape, lauded as one of the most formidable and prolific guitarists, vocalists, songwriters, and producers of the modern era. Gibson is proud to announce its partnership with Warren Haynes for the release of his first signature guitar, the Gibson Warren Haynes Les Paul Standard. The Warren Haynes Les Paul Standard from Gibson is available worldwide now at the Gibson Garage Nashville and London, at authorized Gibson dealers, and on Gibson.com.
“I’ve always been a Gibson guy—I got hooked on that sound as a teenager and have been playing them ever since,” says Warren Haynes. “Needless to say, I’m honored to be partnering with Gibson to release my Signature Les Paul Standard. Being traditionally a humbucker guy, I’m really loving the hum-free P-90s. It’s a really cool tonal change, and the boost offers even more tonal options. I’m really enjoying playing this guitar on stage and looking forward to using it in the studio. I’m equally psyched that other guitar players will now have the opportunity to own and play one as well.”
Warren Haynes effortlessly cross-pollinates genres and unfurls solos that broil with passion in his distinctive, signature playing style. Renowned and highly regarded for his work in rock, blues, and Americana music through his work with the Allman Brothers Band, as a founding member of Gov’t Mule, the leader of The Warren Haynes Band, a solo artist, and as a session guitarist and sideman for numerous famous friends and groups. As one of music’s most treasured storytellers, Haynes and his artistry have led to thousands of memorable performances and millions of album and track sales. A master of multiple styles and genres, Warren has also shared his expertise with other players via multiple instructional videos. A self-described “Gibson man,” Warren has used several Gibson models throughout the years, including his cherished ’61 ES-335™, among others.
The new Warren Haynes Les Paul Standard is another standout, with features tailored specifically to Warren’s preferences, including a mahogany body with a plain maple cap, a 60s Cherry finish, a mahogany neck with a chunky 50s vintage profile like all of Warren’s favorite Les Pauls, a rosewood fretboard with acrylic trapezoid inlays and 22 medium jumbo frets, a pair of P-90 DC pickups that deliver hum-free performance with all the sonic nuances of traditional P-90 DC pickups, and a 15 dB boost that can be activated via a mini toggle switch. The quick-access battery compartment is mounted into the control cover on the rear, and the guitar will still function, even if the battery dies, by simply flipping the mini toggle switch to the off position.
Bearing the traditional looks and feel of a 50s-era Les Paul coupled with modern features like hum-free P-90 DC pickups and an onboard boost, the Warren Haynes Les Paul Standard bridges modern and traditional and is a great choice for players who, like Warren, want both a traditional appearance and modern functionality in one outstanding guitar.
Last fall, Warren Haynes released his fourth solo album, Million Voices Whisper, via Fantasy Records. Haynes sounds as energetic and focused as ever on the self-produced album, powering through an 11-song set of soulful blues-rock, his first solo collection in nearly a decade. Accompanying Warren on the collection are members of his current all-star band, including John Medeski on keyboards, longtime drummer Terence Higgins (of the Dirty Dozen Brass Band), and Gov’t Mule bassist Kevin Scott. Million Voices Whisper also features guest appearances from his Allman Brothers Band compatriot Derek Trucks, whose unmistakable guitar sound toughs up three tracks on the album that were co-produced with Haynes, and his Last Waltz tour co-stars Lukas Nelson and Jamey Johnson, who are featured on the forceful “Day Of Reckoning.” Joining Haynes in the studio for the first time since the final sunset of the ABB, one of the featured tracks with Trucks on guitar is “Real Real Love,” a song initially co-written with Gregg Allman that Warren finished in Allman’s style and methods as if Gregg were singing it to honor his friend.
Buzzing through the chart-topping album is the question of how to make things better—in love, in life, in the world—led by Haynes’s soaring vocals and the poignancy of his six-string mastery. Million Voices Whisper opens with “These Changes,” a co-write with Trucks, leading into “Go Down Swinging,” co-written with Johnson, which features a horn section and a Van Morrison vibe. Then, there’s the soulful power ballad “Till The Sun Comes Shining Through,” driven by Warren’s impassioned vocals and slide guitar skills. The expressive pipes of touring backup singer Saundra Williams are also heard on multiple tracks, including the lead single “This Life As We Know It,” which reached Top 15 on the Americana singles chart and Top 40 at Triple A radio. Among the four bonus tracks on the deluxe CD version is a new version of the Trucks-Haynes composition “Back Where I Started” featuring Warren on lead vocals and slide guitar and the power trio of Haynes, Nelson, and Johnson covering the CSNY classic “Find The Cost Of Freedom” into an extended version of “Day Of Reckoning.” Million Voices Whisper combines the eloquent musicianship of a triple-threat blues-rocker with the glowing spirit of a vital creative artist at the peak of his powers.
For more information, please visit gibson.com.
Gibson Warren Haynes Les Paul Standard Electric Guitar - '60s Cherry
Gary is not exclusively a destruction machine. Its distortion/overdrive section is a very streamlined take on EarthQuaker’s Gray Channel, a versatile DOD 250-derived double distortion. Like any good circuit of the 250 ilk, Gary’s hard clipping OD/distortion section bites viciously in the high- and high-mid frequencies, supported by a tight, punchy low-mid output. You can play anything from balanced M.O.R. studio crunch to unhinged feedback leads with this side of Gary. But it’s the envelope-triggered pulse-width fuzz—which most of us will hear as a gated fuzz, in many instances—that gives the Gary its werewolf duality. Though practice yields performance patterns that change depending on the instrument and effects you use around the Gary, its fuzz ultimately sputters and collapses into nothingness—especially when you throw a few pitch bends its way. The cut to silence can be jarring, but also compels a player to explore more rhythmic leads and choppy riffs that would sound like sludge with a Big Muff. The Gary’s unpredictable side means it won’t be for everybody, but its ability to span delicioso distortion and riotous splatter fuzz in a single unit is impressive.
EarthQuaker Devices Gary Automatic Pulse Width Modulation Fuzz/Overdrive Pedal
