
Photo 1
We're getting close to the end of our journey. We've aged most of the metal parts on our project guitar, so now let's take care of the output jack, knobs, back plate, and pickguard.
Hello and welcome back to Mod Garage. This month, we'll continue with the aging process of our Harley Benton DC-Junior project guitar (which is a copy of a 1958 Les Paul Junior Double Cut), taking a closer look at the pickguard while aging the rest of the hardware discussed in the last part of this series ["DIY Relic'ing: Harley Benton DC-Junior Electronics"]. If you need a refresher on our aging process for hardware, refer back to "DIY Relic'ing: Break the Shine" for guidance. You can see the parts we'll be discussing today in their "finished" form, aka relic'd, in Photo 1.
1. Output Jack
I'm not a big fan of aging the complete output jack or applying any corrosion to it because it's the transfer point of the signal to the guitar cable. We want this as clean as possible and without any avoidable contact resistance to keep the signal as strong and as fresh as possible. So, aging the parts you can see from the outside is the way to go, meaning the collar, the washer, and the hex nut.
You often see shiny new output jacks on vintage guitars, but why is this? Output jacks don't last forever, and chances are good that a vintage guitar has a replaced output jack that looks new because it is new. If the original output jack is still in a vintage guitar, it's usually dull, often showing some slight rust on the edges of the hex nut. To mimic this appearance, first take off the shine with some steel wool or fine sandpaper as we did before with many other parts. Then use an iron (III) oxide (ferric oxide) liquid to create some patina until you like the result. If you want to mimic some rust on the edges of the hex nut, sand off the nickel until you see the metal underneath—the ferric oxide will do the rest. Just let it sit for soak for a few minutes on these spots.
2. Knobs and Pointers
Photo 2
The top-hat knobs on vintage guitars also usually look shiny and new, but for a different reason. Because the knobs are touched and used very often, they get a kind of self-polishing from our fingers through the years, keeping them shiny with a greasy touch. Have a look at the original knobs of a '58 Les Paul Junior, shown in Photo 2, to see what I mean.
To mimic this, you can use a solvent and rub the knobs carefully with a paper towel, the surface will get slightly dull. Afterwards use a polish for plastics (or simply some of your toothpaste) and polish up the knobs a little bit until you like the result. The goal is to find the right mixture between old and new regarding the look. If you like a more beaten-up look, you can add some light scratches and file down some of the edges.
Photo 3
As you can see in Photo 3 of an original Junior from 1958, the pointers usually look dark and rusty. You can use the same process as aging the output jack to give them an old look.
3. Jack Plate and Screws
If you've been following along, you already know how to age screw heads. Nickel works out much better and looks much more authentic compared to chrome, so it's always a good idea to substitute chromed screws like on our Harley Benton with nickel before you proceed.
The jack plate usually shows some dings and scratches from botched attempts to plug in the guitar cable. You can simulate that by scrubbing off the shine with the steel wool, creating some random scratches with sandpaper, and hitting the plastic with the tip of the plug of your guitar cable while the jack plate is lying on a flat and even surface. If you want the jack plate cracked like on the photo of our vintage guitar, as seen in Photo 3, you can sketch out the cracking lines with a fine X-Acto knife on the back of the jack plate. Afterwards, screw it to a flat piece of wood and bolt on the screws very tight until the line cracks. If it doesn't crack, repeat the process and cut deeper with your knife, then install the output jack by fastening the hex nut very tightly.
If you decided to swap the modern 1-ply solid black jack plate for a more authentic 3-ply plate (black/white/black), some more work is required. On vintage guitars, the white sometimes turns to a kind of "nicotine white" or ivory color. To mimic this color, first take off the shine with some steel wool. Now you need something we haven't discussed before: concentrated liquid stain you can mix with alcohol. This is something we'll need again in the future, but as a basis some alcohol like isopropyl or naphtha works great. You also need a stain mixing cup (a small glass) and a spatula or anything else to stir the mixture. To mimic an aged white color, I like to use a stain in amber or vintage amber. Put some alcohol in your glass and add a drop of the stain, stir it, and see what it looks like. If it's too bright, add another drop of the stain and stir again. If it's too dark, add some more alcohol until you like the color.
You can get such stains in almost every luthier supply store. I like to use ColorTone Concentrated Liquid Stain from StewMac. After you finish your mix, take a Q-tip and wipe some of the liquid onto the white layer of your jack plate. Let it dry for a few minutes and watch the result. If it's still too bright, repeat the process. If it's too heavy, use some alcohol to wipe some of it off. You can also use this mix on black plastic parts if you want to mimic some stain spots, with excellent results. Lastly, we use the same mixture of dirt, dust, and ashes that we used for the plastic buttons of the tuners ["DIY Relic'ing Tuners, Part 2"]. I use a mixture of the contents from my vacuum cleaner bag, spiced up with some ashes from my open fireplace. Use your fingers to wipe some dirt onto the white part of the jack plate. Now, how does it look?
I use a mixture of the contents from my vacuum cleaner bag, spiced up with some ashes from my open fireplace.
4. Back Plate and Screws
The back plate of the original '58 Les Paul is a piece of solid black plastic that is held by two screws, and our Harley Benton stays true to this original formula. For the two screws, repeat the process from the jack plate screws. The back plate on vintage guitars usually shows some light scratches, along with some deeper scratches and little chips caused by belt buckles. To mimic this wear, first break the shine with some steel wool, add some random scratches with sandpaper, and use a small chisel or maybe one of your belt buckles to add some deeper scratches and little chips.
By the way, the bottom of the back plate on our Harley Benton is "shielded" with a thick piece of self-adhesive aluminum foil, but it's not connected to ground in any way, so it's pretty useless. If you want to add some shielding, connect it to ground so it can work as it should. There is no shielding inside the cavity of the Harley Benton, same as on the vintage Les Paul. The black color inside the Harley Benton is only black paint but no shielding paint. If you want some shielding in the cavity, go for it, using copper foil or conductive shielding paint.
Congratulations! After you've worked on all these parts, they will look similar to what I did while writing this column for you, as seen in Photo 1.
5. Pickguard
In the last step for today, let's have a look at the pickguard, including the screws. Our Harley Benton comes with a 3-ply (black/white/black) pickguard, so the aging process will be easy: You can simply follow the process from the jack plate. Pickguards usually show scratches from contact with a plectrum, so I recommend using a guitar pick to put some typical scratches on it. Take care of the direction of the pick during this process so it will look authentic afterwards.
Photo 4
If you're fine with the stock pickguard, you're done for now. The original Les Paul Juniors never had such a pickguard—if they came with a black one, it was always single-ply solid black. Such pickguards are available, and you can swap it if this bothers you. The typical and classic look with a TV yellow Junior guitar was a celluloid tortoise-style pickguard, as seen in Photo 4, which is an original '58 Les Paul Junior.
The old celluloid material was semi-transparent, and the early pickguards had wonderful, rounded edges. The fake tortoiseshell material available today is not transparent in any way, and far from replicating the beauty of the original material. There is a fantastic substitute material called Tortoloid, but it's only available in very thin sheets for acoustic guitars. The only way to come closer to the original would be to use a clear Lucite pickguard and to cover it with a sheet of self-adhesive Tortoloid, or to try to find some of the original celluloid material in the right thickness.
Photo 5
To give this guitar the classic look, and because I love these pickguards very much, I decided to make one for our Harley Benton, using an NOS blank celluloid piece from the '50s, which I got from the Roger Rossmeisl workshop in Berlin. I still have some of these blanks for such projects and working with real celluloid is a pleasure and pain at the same time. Look at this material compared to the stock pickguard in Photo 5.
Photo 6
I think it's a big difference. To get a feel for which you prefer, you can see the different pickguards on the project guitar in Photo 6 and Photo 7.
Photo 7
That's it for now. In the next part of this series, we'll work on aging the fretboard and the headstock. But before this, we'll return to guitar mods in the next issue.
Until then ... keep on modding!
- The DIY Relic Job—Fantasy or Reality? - Premier Guitar ›
- DIY: Relic'ing Metal Hardware - Premier Guitar ›
- DIY Relic'ing: Break the Shine - Premier Guitar ›
Some musical moments—whether riffs, melodies, or solos—bypass our ears and tug at our heartstrings.
It had to be in the early part of 1990, and I don’t know how or why, but I purchased Steady On, the debut album from singer-songwriter Shawn Colvin. Upon my first listen I knew it was something very special. By the time the third track, “Shotgun Down the Avalanche,” came pouring from my ancient Dahlquist DQ10s, I was a fan. The song features an instrumental break—not a guitar solo per se, but more like a stringed-instrument vignette that cascaded seamlessly through a number of sounds created by guitarist-songwriter-producer John Leventhal. I’ve listened to it dozens of times since, and I still marvel at the emotion it stirs in me.
You see, I’m a sucker for a musical moment that seems to bypass my ears and tug at my heart. It could be a simple phrase with an extraordinary tonal personality or just a few well-chosen notes that say more than any flurry ever could. My subconscious (and probably yours) is chock full of these snippet moments—and they guide and soothe us in our musical journey. Somehow, they all swirl around in my pea brain like some David Lynch fever dream—morphing and coalescing fragments that are always informing my taste and guiding my fingers. I’ll share a few with you now.
Like so many of my generation of guitarists, the Ventures figured prominently. Their powerful interpretation of the Richard Rodgers song “Slaughter on Tenth Avenue” is brimming with pre-Neil Young-esque 1960s distortion. But I’m also drawn to the melancholy, ultra-clean, reverb-drenched tones of “Lonely Girl” from their 1965 album Knock Me Out. The nostalgic reprise in my imagination occurs in Young’s “No More” on his celebrated Freedom record—with its wash of reverb and mangled fuzz tickling my musical funny bone and warming me like the soft glow of a winter fireplace.
Now, imagine it’s the mid ’70s and Zeppelin’s “Kashmir” is battling with AC/DC’s “T.N.T.” for airplay when you drop the needle on the Tony Williams Lifetime track “Red Alert,” found on the Believe It album. Allan Holdsworth’s angular note choices and driving rhythm give way to a tour de force of legato fusion fury. When I first encountered Allan Holdsworth’s solo on the track “Wild Life,” I thought it was a saxophone. Holdsworth mimics the breathy attack of a reed instrument, complete with slow-wavering vibrato. Although it sounds a little dated now, it’s interesting to note that Van Halen was still a few years away.“I know I’ll get hate mail for downplaying his early solos, but Van Halen’s rhythmic drive and superb timing were really the heart of his craft and the soul of the band.”
Speaking of Van Halen, as spectacular as Ed’s soloing was, it’s his rhythm work that I find most inspiring. I know I’ll get hate mail for downplaying his early solos, but Van Halen’s rhythmic drive and superb timing were really the heart of his craft and the soul of the band. Interestingly, some of that feel has crept into my own playing, which does not make me unique. Who can deny the importance and influence he had?
While I’m on the subject of influence, it’s hard to overlook the swath that Jeff Beck cut through the guitar world. In my estimation, his pioneering sound and concepts were the godfather masterstrokes that propelled an entire genre of guitar-based rock. The first Jeff Beck Group recording, Truth, contains too many important guitar moments to list. One of my touchstones is the opening riff on “Let Me Love You” where Beck mangles the guitar, producing a head-scratching puzzle of sound before two seconds have passed. The next half-minute is a blueprint lesson in blues-rock style that many have studied, yet few have equaled. As a young guitarist in 1968, I was ready to throw my instrument down a flight of stairs after witnessing “I Ain’t Superstitious.” We’d heard the wah pedal before, but not like this. Beck impersonates a black cat—Clyde McCoy, eat your heart out. It’s worthwhile to note that Beck’s style and direction continued to evolve throughout the decades without destroying the validity of his earlier work.
I suppose I could go on, but I’m running out of space, and I’ve tortured you enough—until next month. The good news is that we have this seemingly unscalable mountain of amazing guitar sounds to discover, inspire, comfort, and rock us down the road. From Charlie Christian and Tiny Grimes right up to the host of great players today, as students of sound, we have a long, lovely path to hike.
An all-analog ’60s-inspired tremolo marries harmonic and optical circuits that can be used independently or blended to generate phasey, throbbing magic.
Spans practical, convincing vintage trem tones and the utterly weird. Hefty build quality.
Big footprint. Can’t switch order of effects.
$299
Jackson Audio Silvertone Twin Trem
jackson.audio
Almost any effect can be used subliminally or to extremes. But tremolo is a little extra special when employed at its weirder limits. Unlike reverb or delay, for instance, which approximate phenomena heard in the natural world, tremolo from anything other than an amp or pedal tends to occur in the realm of altered states—suggesting the sexy, subterranean, and dreamy. Such moods can be conjured with any single tremolo. Put two together, though, and the simply sensual can be surreal. Modify this equation by mating two distinctly different tremolo types, and the possible sound pictures increase manifold.
The all-analog, U.S.-built Jackson Audio Silvertone Twin Trem accomplishes this by combining a syrupy harmonic tremolo—the likes of which you’d hear from an early-1960s brown-panel Fender amp—and an optical tremolo like that in a Silvertone 1484 Twin Twelve amp or black-panel Fender. Both effects can be used independently, but it’s when the two are blended that the Twin Trem shines.
Doppelganger Effect
The Twin Trem’s optical and harmonic circuits are obviously not identical twins, but each is operated via its own 3-knob array consisting of speed, depth, and a smaller volume knob that will boost or cut the output of the individual circuit. Both tremolo types modulate at speeds slower than what you hear in amplifier equivalents. I don’t have a Silvertone Twin Twelve tremolo on hand for comparison. But the slowest speed from a mid-1960s Fender optical tremolo matched the rate of the Twin Trem’s optical circuit at about the midpoint of its range. At its slowest, the optical side will cycle through minimum and maximum volume in just a little under a full second, which feels molasses-slow, stretching and enhancing the ramping effect. Maximum speeds on the Twin Trem are closer to the maximum on the old Fender. But that’s still a pretty rapid modulation rate and the Twin Trem’s range-y depth controls make fast modulations sound extra alien.
If you’re sensitive to such things, the dedicated volume controls are great for overcoming the perceived volume drop that goes with any tremolo. There’s much more gain available than what you need for that purpose, and slathering on the volume gives the pulses a burly quality that’s tough but can obscure some nuance. The ability to create disparate volumes for each circuit means you can slightly foreground one tremolo type or the other, opening up an even wider tone palette and highlighting unique interrelationships between modulations.
Double Shots Make Dizzy Daze
The Twin Trem’s optical tremolo side (if you open up the back you can watch the pulsing diode that activates the opto-resistor) exhibits the throbbing tendencies one associates with black-panel Fender amplifiers. In fact, the Twin Trem sounds uncannily like the old Vibrolux I used for this test, but with more speed, range, and intensity. On its own, it’s a convincing stand-in for a 1960s Fender, Gibson, or Silvertone circuit.
One of the coolest things about the harmonic tremolo is how it often doesn’t sound like tremolo at all. In a harmonic tremolo circuit, high and low-frequency bands are split and volume-attenuated out of phase from each other, creating a bubblegum elasticity in the modulations. At slow speeds the harmonic tremolo’s phasey attributes take center stage (clip 1). And though the modulation texture is less swirling than what a simple phaser produces, the more vowel-like pulses lend a sleepy, mysterious aura to the modulation.
Though I did not use the pedal in stereo, I did utilize the effects loop, inserting a delay between the harmonic and optical tremolo, creating a little extra wash in the harmonic tremolo sweeps (clip 2). You can go crazy with possibilities here: How about inserting a multiple-tape-head-style delay for maximum syncopated mayhem? But the most traditional application for the effects loop is to simulate the reverb-into-tremolo order found in many mid-1960s amps. Again, it’s a great option when you need ’60s reverb/tremolo combo amp vibes and there’s no such animal around.Audio clip 2, which showcases the Twin Trem’s effects loop, also captures the two tremolos working together. And even at this fast-twitching speed you can hear the phaser-like wash softening the front end of the harder optical pulses that are situated downstream. Some dual-trem settings can produce chaos. But the best ones are thick, eerie, and propulsive in ways that can completely transform a song’s ambience.
The Verdict
The Twin Trem is just short of 300 bucks, and it’s easy to rationalize such a significant expense when you consider that you get two distinct tremolo sounds that you can mix, match, and switch between very readily. Maximizing the investment probably requires a little extra thirst for the unusual. Not all combined settings are money. Some rhythmic syncopations will drive you batty, and without the benefit of digital control you can disappear down little rabbit holes trying to find an elusive, perfect subdivision between modulation tempos or replicating a texture you found the previous week. It’s also too bad that you can't switch the order of the circuits. These are very minor traps, however. In general, the Twin Trem is forgiving and easy to use. And if you get in a meditative place with the pedal, and let it do the driving from time to time, the riffs will practically write themselves.
Bonnaroo announces its 2025 lineup featuring Luke Combs, Hozier, Queens of the Stone Age, Avril Lavigne, and more.
This year features headline performances from Luke Combs on Thursday, Tyler, The Creator on Friday, Olivia Rodrigo on Saturday, and Hozier on Sunday. Further highlights include John Summit, Dom Dolla, Avril Lavigne, Glass Animals, Vampire Weekend, Justice, Queens of the Stone Age, and the first-ever Roo Residency with King Gizzard & the Lizard Wizard performing three sets over three days. In addition, Remi Wolf will lead the “Insanely Fire 1970’s Pool Party” 2025 SuperJam, Bonnaroo’s legendary tradition. The complete Bonnaroo 2025 lineup is below.
Bonnaroo tickets go on sale tomorrow, Thursday, January 9 beginning at 10 am (CT) exclusively via bonnaroo.com. Guaranteed lowest-priced tickets are available during the first hour of sales, from 10 am - 11 am (CT). 2025 ticket options include 4-Day General Admission, 4-Day GA+, 4-Day VIP, and 4-Day Platinum, along with a variety of camping and parking options starting at just $25 down with a payment plan.
The 2025 festival will offer some exciting new features for Bonnaroovians, including the “Closer” RV and Primitive Camping accommodations that guarantee closer proximity to Centeroo, regardless of which day fans choose to enter The Farm. Among this year’s most exciting additions will be The Infinity Stage, a brand-new, one-of-a-kind venue – presented in partnership with Polygon Live – boasting spatial sound, synchronized lights, and an unprecedented three-dome, open-air design to create the world’s largest, most immersive, 360° live music experience.
Bonnaroo also offers upgraded ticket types for those who prefer an elevated experience. GA+ tickets include unlimited access to the Centeroo GA+ Lounge, with relaxed seating, dedicated food for purchase, air-conditioned restrooms, and hospitality staff to assist with all festival needs; a private bar with drinks for purchase plus complimentary soft drinks; complimentary water refill station; a dedicated premium entrance lane at both gates into Centeroo, and more. VIP and Platinum guests will enjoy the same perks plus additional exclusive upgrades, including dedicated close-in and on-field viewing areas; unlimited access to VIP and Platinum Lounges; express lanes at the Festival Store, commemorative festival gifts, and so much more. To learn more about VIP and Platinum, please seehttp://www.bonnaroo.com/tickets.
A wide range of Camping & Parking options will be available in Outeroo including Primitive Car Camping, Glamping, RVs, Backstage Camping, Accessible Camping, Groop Camping, Community Camping, and more. Premium Outeroo Camping Accommodations include pre-pitched Souvenir Tents, cool and comfortable Darkroom Tents, weatherproof Luxury Bell Tents, and spacious 2-person Wood Frame Safari Tents for the ultimate Bonnaroo camping experience. Cosmic Nomads On-Site Daily Parking passes will be available for ticketholders not camping. For details on all accommodation options, please visitwww.bonnaroo.com/accommodations.
Complete Lineup
THURSDAY, JUNE 12
Luke Combs
Dom Dolla
Sammy Virji
Marcus King
Green Velvet
2hollis
Insane Clown Posse
Joey Valence & Brae
Daniel Donato's Cosmic Country
Wilderado
Max Styler
Azzecca
The Lemon Twigs
Wisp
Sofia Isella
Kitchen Dwellers
Dogs In A Pile
Die Spitz
Hey, Nothing
The Droptines
FRIDAY, JUNE 13
Tyler, the Creator
John Summit
Glass Animals
Tipper
Goose
The Red Clay Strays
Rainbow Kitten Surprise
Megadeth
Wallows
Foster the People
Slightly Stoopid
Flipturn
Of the Trees
JPEGMAFIA
Marina
Tape B
MJ Lenderman
BossMan Dlow
INZO
Levity
Mannequin Pussy
Leon Thomas
Cults
Aly & AJ
Matt Champion
Detox Unit
Rachel Chinouriri
Eater
Ginger Root
Bebe Stockwell
Effin
SATURDAY, JUNE 14
Olivia Rodrigo
Avril Lavigne
Justice
Nelly
GloRilla
Mt. Joy
RL Grime
Beabadoobee
Tyla
Jessie Murph
Modest Mouse
Gorgon City
Flatland Cavalry
Hot Mulligan
Action Bronson
Crankdat
Dope Lemon
Gigi Perez
Wave to Earth
Claptone
Jade Cicada
What So Not
Daði Freyr
Ziggy Alberts
ROSSY
Destroy Boys
The Stews
Thee Sinseers & The Altons
AHEE
SUNDAY, JUNE 15
Hozier
Vampire Weekend
Queens of the Stone Age
LSZEE
Remi Wolf
Raye
Royel Otis
Dispatch
Role Model
Barry Can't Swim
Treaty Oak Revival
Big Gigantic
Jack's Mannequin
ATLiens
Bilmuri
Saint Motel
James Arthur
Alex Warren
Zingara
Natasha Bedingfield
Alexandra Kay
Goldie Boutilier
Grace Bowers & The Hodge Podge
GorillaT
YDG
SPECIAL PERFORMANCES
King Gizzard & the Lizard Wizard Roo Residency: 3 Sets, 3 Days (Friday, Saturday and Sunday)
Remi Wolf’s Insanely Fire 1970’s Pool Party Superjam (Saturday)
Enhance your Ratio Machine Heads with Graph Tech's new Barrel Knobs. Designed for comfort and style, these barrel-shaped tuning buttons offer a fresh look and feel to your instrument. Available in chrome and black finishes, these knobs are the perfect way to personalize your guitar.
Graph Tech Guitar Labs has introduced the latest addition to their Ratio Machine Head family: Barrel Knobs. These barrel-style tuning buttons bring a fresh look and feel to the Ratio system, offering players a new way to personalize their instruments – and an easy-to-grip alternative to more traditional tuner knobs.
Available in two different finishes – chrome and black – the new barrel knobs can be ordered as a standalone option. If you already own Ratio Machine Heads, simply order the Barrel Knobs and swap them out – the process is easy and only takes a few minutes. Best of all, there is no need to replace the entire Ratio tuner system.
The new Barrel Knobs were developed at the request of guitarist Thomas Nordegg, known for his work with rock legends like Frank Zappa and Steve Vai. A longtime fan of Graph Tech’s Ratio machine heads, Nordegg saw an opportunity to enhance the system’s ergonomic design and approached Graph Tech with the idea of creating barrel-style tuning buttons to provide an alternative option for players seeking a fresh look and feel. Designed to integrate seamlessly with the Ratio system, these knobs combine ergonomic comfort with understated style, giving players another way to personalize their instruments.
More and more players are option for Ratio Machine Heads on their instruments. Ratio Machine Headsare designed with gear ratios that are uniquely calibrated for each string, making tuning consistent andpredictable across the fretboard. This innovative system simplifies fine-tuning and alternate tunings, saving time and improving accuracy.
Here’s what the new Barrel Knobs offer:
- Refined Functionality: Barrel-shaped design for a natural grip and precise adjustments.
- Timeless Aesthetic: A sleek, modern look that complements any guitar style.
- Perfect Fit: Designed specifically for Ratio Machine Heads, ensuring flawless compatibility.
- Available in chrome and black to suit a variety of instruments and player preferences.
Graph Tech’s new Barrel Knobs are available for $3.00 each and are available in chrome and black finishes.
For more information, please visit graphtech.com.