Looking for more great gear for the guitar player in your life (yourself included!)? Check out this year's Holiday Gear Finds!
DR-05X Stereo Handheld Recorder
![Rig Rundown: Emily Wolfe [2023]](https://www.premierguitar.com/media-library/image.jpg?id=41738060&width=1200&height=800&quality=85&coordinates=0%2C0%2C200%2C0)
This case, from TKL, is an example of the classic approach to guitar protection.
Storing guitars on stands creates a major risk for damage. Even though we all use them, I don’t use my stands for storage. When they’re not being played, I put guitars back in their cases. As a repair person, I routinely talk to my customers about the importance of storing guitars in their cases, which protect them from impact and are your primary line of defense against humidity fluctuations. Even though countless priceless vintage guitars have changed hands, many still reside safely in their OEM hardshell cases. That’s a testament to a good, old-school hardshell case.
It's my opinion that a 5-ply hardshell guitar case with an arch top and back (which has been routinely produced by many case manufacturers for decades) is a perfectly acceptable option for guitars of any value. If treated with respect and care, it will hold up to the life of an instrument, offering decades of protection. For my line of Galloup Guitars, I use Cedar Creek cases produced by TKL as my baseline. I have used these cases to transport my guitars to conventions across the world for decades without issue, so that’s a pretty good track record.
If you’re a player who requires a more durable case for ultimate protection, there are some high-end options to consider, though they can run well over $1,000. A well-established brand is Calton Cases, produced in Austin, Texas. These cases are absolute vaults, so when the SHTF, your guitar has an excellent chance at survival—whether it’s thrown off of an equipment truck or mishandled by a baggage person—maybe even if a ship goes down at sea. However, Calton Cases are big, heavy, and therefore not particularly easy to transport. If you consider the overall size and weight, coupled with their added cost, these are generally not a prime option for everyday use. But for heavy-duty protection in volatile environments, yes.
Jeff Hoffee in Chicago, Illinois, also makes high-end acoustic guitar cases that are some of the more attractive I have seen, sporting a smart, stylish, and modern look. These carbon-fiber cases offer a nice amount of protection at a pleasing weight. With the added option of the accompanying shoulder strap, you have a good overall package. However, I have had Hoffee cases fracture during shipping. My guitars were never damaged, and Jeff has always been stellar about repairing them. In fact, he offers a lifetime warranty.
Quick side note: The case is an extension of the overall guitar package. If it is damaged, you have every right to claim through your insurance policy for any repair cost or replacements.
Then, there’s the topic of guitar-case accessories, of which there are two in particular I find notable. One is a shoulder strap. When I order cases, I make sure they are equipped with “D” hooks, ready to accept shoulder straps. If the company does not offer that feature, I’m not interested. For me, it’s a must.
There are also case covers, which are less essential but certainly have their advantages. They add a level of protection from the elements that, in some circumstances, just might be the edge you need to protect your guitar from certain peril. Plus, there’s the obvious protection to the case itself through external padding. The brand that seems to be making the rounds with many pro players is Caseadillo. These quality units are produced in several colors with added external storage for personal belongings.
Of course, I have only touched on a few cases available. If you go to NAMM, there are seemingly hundreds of case makers to choose from, but this overview should give you some guidelines to consider when choosing a case for protecting your investment. PG
Billy Gibbons and Keith Urban at BMI’s Troubador Awards ceremony on Monday night.
Rising blues star Christone “Kingfish” Ingram digs into his signature Tele as he delivers “Waitin’ for the Bus,” from the 1973 ZZ Top album, Tres Hombres.
The Troubadour Award, which has also been bestowed on John Hiatt, Lucinda Williams, John Prine, and Robert Earl Keen, recognizes songwriters who’ve made a profound impact on the creative community and who are substantially influential. At the private ceremony attended by many notable fellow guitarists, including Steve Cropper, John Oates, and Molly Tuttle, Gibbons was honored by a series of filmed and live testimonials, and, more vividly, by performances with a house band that included Nashville 6-string heroes Tom Bukovac and Guthrie Trapp.
Urban’s nuanced playing on “Rough Boy,” from ZZ Top’s 1986 album Afterburner, was one of the night’s highlights.
Performers included Keith Urban, who delivered a sensitive version of “Rough Boy,” replete with tightly controlled feedback melody lines; rising blues star Christone “Kingfish” Ingram, who tore up “Waitin’ for the Bus” on his signature Fender Tele; Chris Isaak singing “Sharp Dressed Man” while wearing the night’s spangliest Nudie-inspired suit; fellow Troubadour Keen, delivering “La Grange” (with especially ripping turns from Bukovac and Trapp); and Elle King singing “Gimme All Your Lovin’.” In typical Gibbons style, his acceptance speech, which focused on his more than four decades of visiting, playing, and songwriting in Nashville, also included references to gambling debts and sneaking beers while writing a tune for his wife’s teetotaling mother in Music City.
Imagine being able to combine your favorite parts of different overdrive & boost pedals in order to create hybrid sounds no one has ever played through before. That is exactly what we've engineered with the Noble Screamer. It’s a 4-in-1 pedal that gives you two very familiar drive circuits and two brand new amp-like distortion tones that no one has used before. It’s almost like pedal-modeling, except these are 100% analog circuits, and you decide which tone-control or clipping-section you want to play through. You can play through battle-tested, classic overdrive effects or innovate new music with hybrid tones, let your ears be the judge. Even with all of these features the pedal remains a simple and easy to use three knob overdrive. The innovation in the Noble Screamer doesn’t end there; our new design features true-bypass or buffered, truly silent switching, on the fly. The Keeley Noble Screamer Overdrive and Boost is entirely manufactured at Keeley Electronics and is the first in our new aluminum enclosure.
Learn more here.
