Everything the PG editors saw at Winter NAMM on Thursday.
The least exciting piece of your rig can impact your tone in a big way. Hereās what you need to know.
Hello, and welcome back to Mod Garage. This month, we will have a closer look at an often overlooked part of our guitar signal chain: the guitar cable. Weāll work out what really counts and how your cableās tonal imprint differs from your guitarās tone-control function.
Today, the choice of guitar cables is better than itās ever been, and you can choose between countless options regarding color, stability, plug style, length, diameter, bending strength, shielding, etc. A lot of companies offer high-quality cables in any imaginable configuration, and there are also cables promising special advantages for specific instruments or music styles, from rock to blues to jazz.
Appearance, stability, longevity, bending stiffness, and plug configuration are matters of personal preference, and every guitarist has their own philosophy here, which I think is a great thing. While one player likes standard black soft cables with two straight plugs, their buddy prefers red cables that are stiff as hell with two angled plugs, and another friend swears by see-through coiled cables with golden plugs.
āWe often want to come as close as possible to sounding like our personal heroes, but we fail because weāre using the wrong cable for a passive guitar.ā
Regarding reliability, all these parameters are important. Who wants a guitar cable making problems every time you are on stage or in the studio? There are also technical parameters like resistance, capacitance, transfer resistance on the plugs, and more. Without making it too technical, we can summarize that, sound-wise, the only important technical parameter for a passive guitar circuit is the capacitance of the cable. Sadly, this information is often missing in the manufacturerās description of a guitar cable, and thereās another thing we have to keep in mind: Most manufacturers try to offer cables with the smallest possible capacitance so the guitar can be heard āunalteredā and with a āpureā tone. While these are honourable intentions, they are self-defeating when it comes to making a guitar sound right.
Letās take a trip back to the past and see what cables players used. Until the early 1980s, no one really cared about guitar cablesāplayers simply used whatever was available. In the ā60s and ā70s, you could see a lot of ultra-long coiled cables on stage with players like Clapton, Hendrix, May, Townshend, Santana, and Knopfler, to name just a few. They used whatever was available, plugged in, and played without thinking about it. Ritchie Blackmore, for example, was famous for notoriously using incredibly long cables on stage so he could walk around. Joe Walsh and many other famous players did the same. Many of us have these playersā trademark sounds in our heads, and we often want to come as close as possible to sounding like our personal heroes, but we fail because weāre using the wrong cable for a passive guitar. So what are we talking about, technically?
Itās important not to look at the guitar cable, with its electrical parameters, as a stand-alone device. The guitar cable has to be seen as part of the passive signal chain together with the pickups, the resistance of the guitarās pots (usually 250k or 500k), the capacitance of the wires inside the guitar, and, of course, the input impedance of the amp, which is usually 1M. The interaction of all these in a passive system results in the resonance frequency of your pickups. If you change one of the parameters, you are also changing the resonance frequency.
āRitchie Blackmore, for example, was famous for notoriously using incredibly long cables on stage so he could walk around.ā
You all know the basic formulation: The longer the cable, the warmer the tone, with āwarmerā meaning less high-end frequencies. While this is true, in a few moments you will see that this is only half the truth. Modern guitar cables are sporting a capacitance of around 100 pF each meter, which is very low and allows for long cable runs without killing all the top end. Some ultra-low-capacitance cables even measure down to only 60 pF each meter or less.
Now letās have a look at guitar cables of the past. Here, capacitances of up to 400 pF or more each meter were the standard, especially on the famous coiled cables. See the difference? No wonder itās hard to nail an old-school sound from the past, or that sometimes guitars sound too trebly (especially Telecasters), with our modern guitar cables. This logic only applies to our standard passive guitar circuits, like those in our Strats, Teles, Les Pauls, SGs, and most other iconic guitar models. Active guitars are a completely different ballpark. With a guitar cable, you can fine-tune your tone, and tame a shrill-sounding guitar.
āNo problem,ā some will say. āI simply use my passive tone control to compensate, and thatās it. Come on, capacitance is capacitance!ā While this logic seems solid, in reality this reaction produces a different tone. āWhy is this?ā you will ask. Thankfully, itās simple to explain. You might be familiar with the typical diagrams showing a coordinate system with "Gain/dB" on the Y-axis and "Frequency/kHz" on the X-axis. Additional cable capacitance will shift the resonance frequency on the X-axis, with possible differences of more than one octave depending on the cable. A cable with a higher capacitance will shift the resonance frequency towards the left and vice versa.
Diagram courtesy Professor Manfred Zollner (https://www.gitarrenphysik.de)
Now letās see what happens if you use your standard passive tone control. If you close the tone control, the resonance frequency will be shifted downwards mostly on the Y-axis, losing the resonance peak, which means the high frequencies are gone. This is a completely different effect compared to the additional cable capacitance.
Diagram courtesy Professor Manfred Zollner (https://www.gitarrenphysik.de)
To summarize, we can say that with different cable capacitances, you can mimic a lot of different pickups by simply shifting the resonance frequency on the X-axis. This is something our passive tone control canāt do, and thatās exactly the difference you will have to keep in mind.
So, letās see what can be done and where you can add additional cable capacitance to your system to simulate longer guitar cables.
1. On the cable itself
2. Inside the guitar
3. Externally
In next monthās follow-up to this column, we will talk about different capacitances and how you can add them to your signal chain with some easy-to-moderate modding, so stay tuned!
Until then ... keep on modding!
By refining an already amazing homage to low-wattage 1960s Fenders, Carr flirts with perfectionāand adds a Hiwatt-flavored twist.
Killer low end for a low-wattage amp. Mid and presence controls extend range beyond Princeton or tweed tone templates. Hiwatt-styled voice expands vocabulary. Built like heirloom furniture.
Two-hundred-eighty-two bucks per watt.
$3,390
Carr Skylark Special
carramps.com
Steve Carr could probably build fantastic Fender amp clones while cooking up a crĆØme brulee. But the beauty of Carr Amps is that they are never simply a copy of something else. Carr has a knack for taking Fender tone and circuit design elementsāand, to a lesser extent, highlights from the Vox and Marshall playbookāand reimagining them as something new.
Those that playedCarrās dazzling original Skylark know it didnāt go begging for much in the way of improvement. But Carr tends to tinker to very constructive ends. In the case of the Skylark Special, the headline news is the addition of the Hiwatt-inspired tone section from theCarr Bel-Ray, a switch from a solid-state rectifier to an EZ81 tube rectifier that enhances the ampās sense of touch and dynamics, and an even deeper reverb.
Spanning Space Ages
With high-profile siblings like the Deluxe, Bassman, Tremolux, and Twin, Fenderās original Harvard is, comparatively, a footnote in Fenderās wide-panel tweed era (the inclusion of Steve Cropperās Harvard in the Smithsonian notwithstanding). But the Harvard is somewhat distinctive among tweed Fenders for using fixed bias, which, given its power, makes it a bridge that links in both circuit and sound to the Princeton Reverb. The Skylark Specialās similar capacity for straddling tweed and black-panel touch and tone is fundamental to its magic.
Like the Harvard and the Princeton, the Skylark Specialās engine runs on two 6V6 power tubes and a single 12AX7 in the preamp section. A 12AX7 and 12AT7 drive the reverb and the reverb recovery section, respectively, and a second 12AT7 is assigned to the phase inverter. (The little EZ81 between the two 6V6 power tubes is dedicated to the rectifier). Apart from the power tubes and the 12AX7 in the preamp, however, the Skylark Special deviates from Harvard and Princeton reverb templates in many important ways. Instead of a 10" Jensen or Oxford, it uses a 50-watt 12" Celestion A-Type ceramic speaker, and it includes midrange and presence controls that a Harvard or Princeton do not. It also features a boost switch that manages to lend body and brawn without obliterating the core tone. There is also, as is Carrās style, a very useful attenuator that spans zero to 1.2 watts. Alas, there is no tremolo.
āIād wager the Skylark Special will be around every bit as long as a tweed Harvard when most of your printed-circuit amps have shoved off for the recycler.ā
It goes without saying, perhaps, that the North Carolina-built Skylark Special is made to standards of craft that befit its $3K-plus price. Even still, Carr upgraded nine of the coupling capacitors to U.S.-made Jupiters. They also managed to shave six pounds from the Baltic birch cabinet weightāreducing total weight to 35 pounds and, in Steve Carrās estimation, improving resonance. Say what you will about the high price, but Iād wager the Skylark Special will be around every bit as long as a tweed Harvard when most of your printed-circuit amps have shoved off for the recycler.
Sweet Soulful Bird
Fundamentally, the Skylark Special launches from a Fender space. But this is a very refined Fender space. The bass is rich, deep, and massive in ways you wonāt encounter in many 12-watt combos, and the warm contours at the toneās edges lend ballast and attitude to both clean tones and the ultra-smooth distorted ones at the volumeās higher reaches. All of these sounds dovetail with the clear top end you imagine when you close your eyes and picture quintessential black-panel Fender-ness. The presence and midrange controls, along with the 50-watt speaker, lend a lot in terms of scalpel-sharp tone shapingāproviding a dimension beyond classical Fender-nessāespecially when you bump the midrange and turn up your guitar volume.
The tube rectifier, meanwhile, shifts the Skylark Specialās touch dynamics from the super-immediate reactivity of a solid-state rectifier to a softer, more-compressed, more sunset-hued kind of tactile sensitivity. But donāt let that lead you to worry about the ampās more explosive capabilities. There is more than enough high-midrange and treble to make the Skylark Special go bang.
Anglo and Attenuated Alter Egos
The Hiwatt-inspired setting is still dynamic, but itās a little tighter than the Fullerton-voiced setting. Thereās air and mass enough for power jangling or weighty leads. The differences in the Bel-Rayās tube selection (EL84 power tubes as well as an EF86 in the preamp) means the Skylark Specialās version of the Hiwatt-style voice isālike the amp in generalāwarm and round in the low-mid zone and softer around the edges, where the Bel-Ray version has more high-end ceiling and less mellow glow in the bass. It definitely gives the Skylark Special a transatlantic reach that enhances its vocabulary and utility.
Attenuated settings are not just practical for suiting the amps to circumstances and size of space youāre in; they also offer an extra range of colors. The maximum 1.2 watt attenuated setting still churns up thick, filthy overdrive that rings with harmonics.
The Skylark Specialās richness and variation means youāll spend a lot of time with guitar and amp alone. Anything more often feels like an intrusion. But the Skylark Special is a friend to effects. Strength in the low-end and speaker means it humors the gnarliest fuzzes with grace. And with as many shades of clean-to-just-dirty tones as there are here, the personalities of gain devices and other effects shine.
The Verdict
Skylark Special. Itās fun to sayāin a hep-cat kind of way. The name is trĆØs cool, but the amp itself sounds fabulous, creating a sort of dream union of the Princetonās and Harvardās low-volume character, a black-panel Deluxeās more stage-suited loudness and mass, and a zingier, more focused English cousin. It can be sweet, subdued, surfy, rowdy, and massive. And it works happily with pedalsāmost notably with fuzzes that can make lesser low-mid-wattage amps cough up hairballs. The price tag smarts. But this is a 12-watt combo that goes, sonically speaking, where few such amps will, and represents a first-class specimen of design and craft.
Tobias bass guitars, beloved by bass players for nearly half a century, are back with the all-new Tobias Original Collection.
Built for unrivaled articulation, low-end punch, and exceptional ergonomics, the all-new Tobias Original Collection comprises an array of six four and five-string bass models all offered in both right and left-handed orientations. The Tobias range features Classic, Killer B, and Growler models, and each is equipped with high-quality hardware from Babicz and Gotoh, active electronics from Bartolini, and the iconic Tobias asymmetrical neck design. Crafted from the finest tonewoods, Tobias Original Collection bass guitars are now available worldwide on Gibson.com, at the Gibson Garage locations, and at authorized Gibson dealers.
The bass world has been clamoring for the return of the authentic, high-end Tobias basses, and now, Tobias has returned. Combining the look and tone of the finest exotic tonewoods, such as quilted maple, royal paulownia, purpleheart, sapele, walnut, ebony, and wenge, with the feel of the famous Tobias Asym asymmetrical neck and the eye-catching shapes of the perfectly balanced contoured bodies, Tobias basses are attractive in look and exceptional in playing feel. However, their sonic versatility is what makes them so well suited to the needs of modern bassists. The superior tone from the exotic hardwoods, premium hardware, and active BartoliniĀ® pickups and preamps results in basses with the tonal flexibility that todayās players require. Donāt settle for less than a bass that delivers everything you want and need āthe look, the feel, and the sound, Tobias.
āIām thrilled to release Tobias basses, emphasizing the use of exotic woods, ergonomics, and authenticity to the original Tobias basses,ā says Aljon Go, Product Development Manager for Tobias, Epiphone, and Kramer. āThis revival is a dream come true, blending modern craftsmanship with the timeless essence of Tobias.ā
āItās amazing to see this icon of the bass world return,ā adds Andrew Ladner, Brand Manager for Epiphone and Kramer. āThese models are truly a bass playerās bass, and true to the DNA that makes Tobias world-classāthe ace up the sleeve of bass players around the globe since 1978. Todayās players can find that unique voice and feel that only Tobias can offer.ā
For more information, please visit gibson.com.
Sublime, fronted by Jakob Nowell, son of late Sublime singer Bradley Nowell, are in the studio writing and recording new songs for an upcoming full-length album. This marks their first new album since 1996.
When not performing at various festivals across North America in 2024, front man Jakob Nowell immersed himself in the Sublime catalog and found a deep sense of connection to his late father. The band is tapping into the 90s nostalgia, writing and recording the new songs with powerhouse producing duo Travis Barker and John Feldmann, in addition to working with producer Jon Joseph (BĆRNS). The first single will be released this Summer via their newly established label Sublime Recordings.
"I grew up on Sublime. ā40oz. to Freedomā changed the way I listened to music. Iām so honored to be working with the guys in Sublime. Creating music for this album has been so fun and exciting. Bradley comes through his son Jakob while writing in the studio and performing. Chills every day in the studio when he sings and play guitar. This is going to be really special." ā Travis Barker
āSublime has always been a huge influence on me and to be able work with the band has been inspirational and game changingā¦It has been a highlight of my life to work on such a seminal record with such talented people. Iām so grateful for this opportunity and to continue the legacy and keep it authentic to what they have historically done.ā ā John Feldmann
After Jakob Nowellās debut as Sublimeās new front man at Coachella 2024, he and his uncles Bud Gaugh and Eric Wilson continued the momentum of this latest chapter of the band, performing at over 20 festivals and shows across North America by the end of last year. Additional highlights from 2024 include Sublimeās late-night television debut on The Tonight Show Starring Jimmy Fallon, a 4-song set on the Howard Stern Show and the bandās first top 10 hit on alternative radio since 1997 with their single āFeel Like That,ā featuring the vocals of both Bradley Nowell and his son Jakob together.
2025 is shaping up to be an even busier year for the band, with a handful of headlining shows, high-profile festival appearances to support the release of the new album.
For more information, please visit sublimelbc.com.
Sublime 2025 Tour Dates
- April 5 ā LIV Golf Miami ā Miami, FL
- April 18 ā Red Rocks Amphitheater ā Morrison, CO
- May 3 ā Beachlife Festival ā Redondo Beach, CA
- May 16 ā Welcome To Rockville ā Daytona Beach, FL
- May 23 ā BottleRock Napa Valley ā Napa, CA
- May 25 ā Boston Calling ā Boston, MA
- June 14 ā Vans Warped Tour ā Washington, DC
- July 12 ā 89.7 The Riverās 30th Anniversary Show ā Omaha, NE
- July 20 ā Minnesota Yacht Club Festival ā Saint Paul, MN
- September 14 ā Sea.Hear.Now ā Asbury Park, NJ
- September 19 ā Shaky Knees Festival ā Atlanta, GA