What guitar did you start out on?
To submit your first guitar photos for a future gallery, send a photo and caption to rebecca@premierguitar.com.
Through The Official Fender Certified Pre-Owned Reverb Shop, musicians can buy pre-owned Fender instruments that have been professionally inspected and come with a Fender one-year limited warranty at a significant discount to new gear prices.
“We’re excited to offer for the first time ever Fender Certified Pre-Owned guitars directly on Reverb. Pre-owned guitars have long been popular among players, particularly new players and collectors. Fender Certified Pre-Owned gives players of all levels the opportunity to own a quality instrument at an affordable price,” said Fender CEO Andy Mooney. “Fender Certified Pre-Owned guitars represent not only a fantastic value—allowing players to purchase an instrument that is professionally inspected, backed by Fender, and sold at a discount—but an opportunity to support a more sustainable guitar industry, giving the instruments a second, third, or fourth life and participating in the circular economy.”
Used music gear continues to grow in popularity among price-conscious musicians, with sales for used guitars on Reverb growing by more than 50% between 2019 and 2023. Certified pre-owned instruments offer the affordability of used music gear, plus the added benefit of warranties and easy returns. While certified pre-owned programs are common in industries like automotive and tech, Fender Certified Pre-Owned on Reverb is the first program of this magnitude within the musical instrument industry, launched by the world’s leading guitar manufacturer and the largest online marketplace dedicated to music gear.
“Over the years, many of my very best creative tools were bought from other musicians and the secondary market. In fact, The Hitmaker was from a pawn shop in 1973. These guitars come with stories and history that just make them special,” said Nile Rodgers. “The fact that you can now buy pre-owned guitars from Fender means that you get the character and the affordability of pre-owned gear, plus Fender’s seal of approval.“
The Official Fender Certified Pre-Owned Reverb Shop will feature unique pre-owned electric, acoustic, and bass guitars, with new instruments added weekly. All guitars will come with a Fender-backed one year limited warranty and have been professionally inspected and, as needed, refurbished by Fender’s sustainability partner MIRC. Since 1993, MIRC has kept thousands of guitars from going to landfills as the nation’s largest wholesaler of quality used guitars.
“We’re thrilled for the opportunity to partner with Fender to offer musicians not only affordable guitars, but affordable guitars that have been meticulously inspected and, as needed, repaired to look and sound incredible,” said Reverb CEO David Mandelbrot. “It’s more important than ever that the music-making community has access to affordable musical instruments and Fender Certified Pre-Owned on Reverb will help many players get their hands on great-sounding guitars that fit within their budget.”
The Official Fender Certified Pre-Owned Reverb Shop is now open. Save the shop to your Favorites to be notified as new guitars are added.
For more information, please visit reverb.com.
The SM4 Home Recording Microphone is designed to be a versatile, large-diaphragm condenser microphone engineered for at-home and studio recording of both vocals and instruments.
With a meticulously engineered dual-diaphragm capsule and a patent-pending RF shielding system, the SM4 is designed to empower artists to create professional-quality recordings regardless of their setup, environment, or experience level.
“The SM4 is designed to reflect the modern workflows of musicians, engineers, and creators who are serious about their craft, helping them overcome the issues that make engineers cringe: plosives, harsh high-frequency response, undefined low-end, and RF interference," shared Steve Marek, Associate Manager of Product Management, at Shure. "If you’re a musician, you want to stay in the creative flow, rather than chasing down problems in your audio setup. No matter what you are recording with the SM4, you need your tracks to be professional quality. If you’re an engineer receiving those tracks, you’ll appreciate how seamlessly they fit into a mix, and the time saved from not having to fix a variety of problems surgically.”
This microphone features multiple layers of plosive protection and integrated components. The dual-diaphragm capsule reduces popping noises and keeps sound quality consistent with reduced proximity effect.” With its patent-pending Interference Shielding Technology, users don’t have to worry about unwanted RF interference noise from wireless devices commonly found in at-home recording environments, including smartphones, laptops, and Wi-Fi routers.
The SM4’s built-in features make it easy to achieve professional-quality recordings with minimal effort. The controlled low-end response enables EQ adjustments without introducing unwanted elements, making it easier to achieve a big radio voice and full-sounding instrument tracks. The magnetic pop filter helps diffuse air blasts while the shock mount reduces handling noise and rumble. The microphone’s cardioid polar pattern provides a forgiving and large “sweet spot,” enabling vocalists to move freely without compromising sound quality. With the SM4, users can focus on staying creative and spend less time on post-production.
Key Features and Benefits:
- Smooth and Natural Audio Reproduction: Equipped with a brass one-inch dual-diaphragm capsule, the SM4 condenser microphone captures clean, controlled low-end and smooth, detailed highs. The uniform cardioid polar pattern provides strong off-axis rejection of unwanted noise, and the large “sweet spot” reduces proximity effect.
- Patent-Pending Interference Shielding Technology: Block unwanted RF noise from common wireless devices, including smartphones, laptops, and Wi-Fi routers. The proprietary system features an integrated pop-filter and woven mesh Faraday cage that shields the microphone capsule for clean audio capture.
- Mix-Ready Sound Effortlessly: Internal pop filter enables clean, plosive, and rumble-free recordings for easier post-production work. Compress and EQ to taste without bringing forward unwanted elements that can plague recordings and mixes. With optimized sensitivity, the SM4 works with any interface to achieve professional-quality recordings, no matter the environment.
- Exceptional Flexibility for Vocal and Instrument Recording: The SM4 is optimized to capture a wide range of sound sources, from soft vocals to loud instruments, including drums, guitar amps, and horns, with exceptionally high sound pressure level (SPL)handling capabilities (max SPL of 140dB; equivalent to a jet engine).
- Legendary Durability and Camera-Ready Design: Rugged, all-metal construction from a brand with nearly a century of experience in producing reliable gear for stage and studio. The sleek, low-profile design won’t distract from the performer or environment.
The SM4 Microphone, now available for $199, comes with a swivel-mount microphone clamp and zippered carrying bag. Additionally, a bundle option is available; the Home RecordingKit option, priced at $269, includes a shock mount, magnetic pop filter, and premium carrying case.
For more information, please visit shure.com.
A radical and classic silhouetterevs it up for a low ride on the Sunset Strip.
Lightweight. Versatile pickups. Many sounds for a relatively low price.
Fairly noisy pickups. Uneven taper in the tone control. Lowest action is still relatively high.
$599
Danelectro Red Hot Longhorn
danelectro.com
Danelectros are go-to instruments for guitarists and bassists out to evoke the effortless, lo-fi cool of the 1960s. And for years, Danelectro’s unconventional styling, inexpensive Masonite-and-poplar body construction, and abundance in secondhand shops made them a favorite of garage musicians—or just those with little cash to spare. As a bonus, the unmistakable twang and clarity of Danelectro’s lipstick pickups made them sound fantastic. But as adventurous-looking as they could be, no Danelectro made as much visual impact, or had a signature sound, quite like the original Longhorn.
The compact, lyre-like body with its long, thin horns and slim headstock were a marked departure from Fenders and the big hollowbody basses that were popular during the 1960s. Not surprisingly, the Longhorn’s cool, punchy, concise tones made it popular among many pros. My first bass hero, Garry Tallent of the E Street Band, to name one, famously played one often during Springsteen’s Born to Run era in the mid 70’s. And no less than Jack Bruce and John Entwistle had turns with Longhorn basses in the mid ’60s.
Though the modern Danelectro company produces vintage-looking and sounding instruments that stick with those familiar, winning formulas, they aren’t afraid to tinker with well-established concepts either. The new Red Hot Longhorn bass isn’t exactly a radical departure from the original Longhorn, but Danelectro uses the shape as a Trojan horse of sorts for exploring a few new twists on the traditional Danelectro design and tone recipe.
"If a Longhorn bass was going to make the scene at the Rainbow Club on Sunset Boulevard, this would be it."
Lipstick Traces
If you’re used to the handsome copper-burst finish that’s synonymous with Longhorns, you’ll be knocked flat by the finish that gives the bass its name. Danelectro has dabbled with flashy finishes in the past, like the sparkle jobs from the ’90s and early 2000s, but this deeper, darker red along with the glossy black looks distinctly ’80s. If a Longhorn bass was going to make the scene at the Rainbow Club on Sunset Boulevard, this would be it. A cream-white binding highlights the contrast between the black and red, and in person, it looks pretty stunning. A single F-hole helps justify Dano’s claim that this is the first semi-hollow Longhorn, though technically, vintage Longhorns with their Masonite-on-pine-frame construction were semi-hollows without soundholes. Danelectro says that the F-hole configuration has a positive effect on the Red Hot’s sustain. That might also be helped by the updated lipstick pickups. Like those on the Longhorn baritone, these otherwise traditional-looking lipsticks are wound for hotter output.
Featherweight Flash
It would be fair to assume that a bass with a body this light would be top heavy. In fact, the Red Hot is well-balanced, and the weight—or lack thereof—astonishes at times. I can see how some of my friends that pull eight-hour shifts on Broadway in Nashville benefit greatly from its feather-like feel. On our review Red Hot, the action was pretty high. And as much as high action is conducive to replicating the feel of a vintage bass, most players will probably prefer less space between the strings and frets. In old-school Dano style, the Longhorn has a rosewood saddle for all four strings, so lowering the entire bridge was the only option for an action fix. Yet as primitive as that solution is, it worked like a charm. The aluminum nut slots (which is obviously much more challenging to alter without the help of a pro) also seemed a little high relative to the fretboard, but did not detract from playability much once I adjusted the bridge.
Bumpin’ and Burpin’
I was impressed with the “burp” and aggressiveness of the Red Hot with both pickups engaged and the tone all the way up. The bass comes from the factory equipped with roundwounds and the zing of those strings registers loud and clear in combined pickup and advanced tone settings. Even fret and hand noises sounded musical, inspiring and fun. That bark and presence isn’t lacking at other settings, though. The growl I heard from the bridge pickup was more toothsome than that from many solidbody basses, and I turned down the tone control frequently in order to tame the bite. Extra bass from an amplifier’s tone stack can be a great balancing factor if you like the basic sound of the bridge pickup alone. But the single pickup still leaves lots of room for nuance. The note volume along the whole length of the fretboard is surprisingly full and even, which compelled me to try out a walking jazz bassline. That’s not generally something I would try with a bridge pickup alone, but it sounded full and even here.
By itself, the neck pickup’s tone is thick and buttery. And it’s in this mode that you perceive the virtues of the semi-hollow construction most. There’s a woody essence in the lower midrange without the unpleasant byproduct of muddiness in the sub-low frequencies that often occurs in basses with the neck pickup located this far forward. When I played the neck pickup with a pick and muted with my palm, I heard the most pleasing, and in some respects, the biggest tones from the Red Hot.
The Verdict
The Red Hot Longhorn is an attractive bass that produces a greater variety of tones than its style suggests. The block at the neck/body joint and the relatively high string height at the nut might take time to get used to if a player’s experience with Dano basses is limited. But the playing experience and tones the Red Hot delivers are often quite unique. Combined with the eye-catching style, it’s a bass that can point a player in fresh creative directions.
The country music guitar slinger dishes on building chops in bluegrass, his mandolin and guitar heroes, and how he finds his tones.
Get 10% off your order at stewmac.com/dippedintone
Rhett and Zach are joined on this Dipped In Tone by country and bluegrass aficionado Andy Wood. Wood grew up in Knoxville with Appalachian bluegrass musics shaping his view of the world, and even though he’s celebrated for his guitar playing, he reveals that he didn’t pick up an electric until he was 17.
Mandolin was his home turf, where lightning-quick alternate picking was the norm rather than a shredding strategy—there’s no “nuclear arms race of chops” in bluegrass, Wood reveals. The real key to playing fast? Simply learning songs. Because of the different approaches, Wood shares how to spot an electric guitar player who started on bluegrass. Wondering where to start with American roots music? Wood has you covered there, too.
When he finally got around to guitar, Wood studied the playing of Nashville session weapons like Brent Mason alongside players like John Petrucci. Now, Wood throws an annual four-day retreat for guitar players called the Woodshed Guitar Experience, where you can learn from some of music’s greatest modern players.
Plus, learn about how Andy catches great electric tones in the studio, and stayed tuned for his new solo record, Charisma, which launches on August 9.