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GALLERY: Show Us Your Gear - Unique Instruments II

Even more custom-built, handmade, and oddball gear from Premier Guitar readers.

Gabriele Pala's BassLab Gabriele Pala Signature Model
"Italian Pala turned to German company BassLab for his custom 7-string lefty guitar. The guitar is made of composite material and is completely hollow, including the neck. It's headless (Pala says he was inspired by Allan Holdsworth and Paul Masvidal) with tuning keys at the bridge. The guitar has Seymour Duncan Custom (bridge) and Jazz (neck) pickups and a kill switch in the volume pot. Pala said, ""The sound of this jewel is amazing, full and rich like an archtop, but also defined and powerful like a solidbody."""

Have your own unique piece of gear? Send pictures and description to rebecca@premierguitar.com for inclusion in our next gallery! Click here to check out Unique Instruments I.

The Railroad House, in Marietta, Pennsylvania

Courtesy of Railroad House Management

One night, after a performance at an old inn in Pennsylvania, Ted saw a ghost—maybe. Oh, and happy early Halloween!

While this is our October issue, I know it’s a little early for Halloween, but why should Walmart and Target have all the fun? So, here’s a story about a haunted night on the road.

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These four, wildly diverse low-enders are on the high road. They play blues, rock, jazz, and more, and share a common love for bringing uncommon sounds and ideas to their work, live and in the studio.

In the magical kingdom of strings, bass is the scepter of groove—the all mighty bottom that serves as the sonic anchor, the people mover, the heartbeat. And it can be much, much more. These four players are among today’s more inventive and uncommon stylists on the instrument, and if you don’t know their work, we’re pleased to bring you this crash course.

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The Warg is a modern revamp of the Ace Tone “Fuzz Master” FM-3, designed to offer uniquely aggressive high-gain options.

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A closeup of a trusty ol’ tap-tempo switch.

Our columnist makes an argument against the usefulness of tap tempo footswitches. Should we really be bothering with them?

The ability to tap in a tempo on pedals is a fairly new concept, especially compared to the amount of time that stompboxes have existed in our world. I would venture to guess that this is due in part to the availability of, and need for, digital ICs. Then, being able to code them and apply them to effects circuits appropriately.

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