 | |
| Watch Video Review: See full-size video |
It was a modest startup, with Rico spending most of his time working on acoustic and Spanish guitars, and building his own designs (these were originally branded “BC Rico” and the 300 or so that have survived are some of the most highly sought-after guitars out there). Eventually, after repairing a neck for legendary axeman Bo Diddley, Rico decided it was time to chase his dream. B.C. Rich was christened in 1967, specializing in acoustic guitars. By the time 1969 rolled around, he set his sights on electric guitars, producing some of the most unique, iconic shapes the guitar community had ever seen.
To celebrate the 40th anniversary of Rico’s influence, B.C. Rich’s handcrafted division has decided to release the four instruments featured in Rico’s earliest catalogs from the ‘70s: the Bich, Eagle, Mockingbird, and the elusive Seagull. Each instrument is limited to 40 pieces, in a tribute to the number of years the company has been producing electric guitars. They all feature beautiful, lightweight koa wood bodies, exclusive electronics, and the neck-through construction techniques that Rico pioneered decades ago.
How Does That Eagle Fly?
Compared to some of the designs that B.C. Rich has given us, the Eagle is relatively modest. The concept was originally taken from the Seagull, which has the same lower bout as the Eagle, but without the Eagle’s sharp upper cutaway (the Seagull has a rounded upper bout with a point that is affectionately referred to as a “sternum horn”). Removing it from the case, the first thing that surprised me about this Eagle was how amazingly light it is. I got the same reaction from several people, making them guess the weight before picking it up—all of them in amazement. The body’s lower edge fits comfortably on the thigh, and is very well balanced, due to the neckthrough construction.
The grain matching is impeccable. At first glance, the Eagle looks like one solid piece of wood, on all sides. Closer examination reveals that it is actually three pieces, but I really had to look hard for it. Grain matching is difficult enough on two-piece tops, but can be exceedingly hard to do when the middle piece is part of the neck itself. I like the fact that they kept the finish simple and understated, which really shows off the craftsmanship of the guitar.
Before I delve into the tonal aspects of the 40th Anniversary Eagle, I also have to mention the neck. This is flat-out one of the best feeling necks I’ve ever played, period. I’m normally a fan of fatter necks, such as a ’58 Les Paul profile, but B.C. Rich got the thin profile perfect with this one. There was no drag when running through fast, single note licks that covered several frets, and itfelt very substantial in my hand when digging into riffs. Neck feel is certainly one of the fussiest things a player can harp about, and for me, this one just had it. I wish that I could put it on my ’78 Les Paul Custom!
Plugging In
After realizing that I’d been ogling the thing for about twenty minutes without even playing a note, I eagerly plugged the Eagle into a Marshall 2555 100-watt head, which was running into a Bogner 4x12 cabinet with four Celestion Vintage 30s. The Marshall is what Slash’s signature amplifier was eventually based on (it’s the predecessor to the famed Silver Jubilee), and has a great, snappy midrange and tight low end. Sound-wise, the Eagle is not a dark-toned guitar. Lots of players equate B.C. Rich with the hardest of metal tones. While they do make some fantastic instruments for that genre, those in the know have been aware for years that they offer some incredible classic rock tones. Such is the case with this particular Eagle, equipped with DiMarzio Dual Sound pickups and an extensive switching system.
The Dual Sound pickups included on the Eagle were originally a collaborative effort between Bernie Rico and Larry DiMarzio to offer the first 4-conductor pickups. These pickups are passive, but designed to work with an active circuit preamp, which add 20dB of boost. When the preamp is activated by means of a mini-switch, the resulting boost can be controlled by the rotary gain pot (middle knob after the volume and before the tone). The preamp can also increase the gain when the Varitone is used, to compensate for the resulting cuts in frequencies with certain settings.
When set for active operation, they provided a huge boost in gain and volume through the Marshall setup I was running. While the active setting did provide a lot of great, liquidy gain tones, some amount of the detail and snap was lost. Quite frankly, it can be overpowering. I enjoyed the passive setting much more, which allowed the brighter, detailed tonal nature of the guitar to shine through. The pickups can also be switched to either series or parallel from two mini switches near the rear tone pot. I really enjoyed the sound of the neck position in parallel coupled with the bridge in series mode. It allowed for some great sounding arpeggiated intro pieces from the rear position, then some thick, raunchy riffing when quickly switching to the bridge. The last component in the circuit is the 5-way Varitone switch controlling preset tone filters, which offers changes in the sound from the subtle to extreme. I found that combining some of these settings with the active position engaged helped tame the sound, making it more controllable.
The Final Mojo
The 40th Anniversary Eagle was inspired by the renowned designs and construction techniques worked out by Bernie Rico decades ago, and it is a fitting tribute to the man who helped pioneer a movement in the industry. The solid construction, smooth fit and finish and massive array of tones are all useful and unique, but the intrinsic brightness of the guitar might turn off some players. In addition, the hefty price tag is a major deciding factor. However, if you’re in the market for the cream-of-the-crop among what B.C. Rich has to offer and you have the capital, I highly recommend that you give the 40th Anniversary series a try. Finding one might prove to be just as difficult as tracking down an original, as they made only 40 of each, so now might be the time to try and find one before they’re all gone.
Buy if...
you’re looking for the best of B.C. Rich, and have always wanted one of the original Rico-issued instruments.
Skip if...
very expensive is not on the list of things you’re looking for in a B.C. Rich, and you’d prefer a darker tone.
Rating...
MSRP $5399 - B.C. Rich Guitars - bcrich.com/handcrafted |
Guitarist Brandon Seabrook, architect of fretboard chaos, and his trusty HMT Tele.
It’s a heady, thrilling idea—but no one who’s followed his zigzagging career will be surprised at the gumption. As he’s cycled through various projects (including the acclaimed power trio Seabrook Power Plant), he’s become a resident chaos architect within the Brooklyn avant-garde scene—exploring everything from jazz-fusion to brutal prog to other untamed strains of heavy rock, typically wielding his trusted 1928 tenor banjo and a modified “heavy metal Telecaster” acoustic-electric from 1989.
But Object of Unknown Function, his first solo album since 2014’s Sylphid Vitalizers, became his own real-life choose-your-own-adventure—a process of rejuvenation by playing with new toys. Along with his usual gear, Seabrook’s main compositional tools this time were a 6-string 1920 William O. Schmick Lyric guitar banjo and a 1998 Jerry Jones Neptune electric 12-string—both of which became vibrant “new relationships,” even if, at first, he felt like he was “stepping out on his guitar.”
“My other guitar [his Telecaster] is the only thing I’ve been playing for the past 25 to 27 years,” he says, laughing. “I was so afraid to try something else: ‘I can’t play another guitar because it’s like an extension of my arm. I know the topography of this neck so well. It’s my sound.’"
Brandon Seabrook's Gear
Seabrook’s 1989 Fender HMT Thinline Telecaster has seen enough wear to rival Willie Nelson’s Trigger.
Photo by Scott Friedlander
Instruments
- 1928 Bacon & Day Silver Bell tenor banjo
- 1920 William O. Schmick Lyric guitar banjo
- 1989 Fender HMT Thinline Telecaster with Sheptone Pickups
- 1998 Jerry Jones Neptune 12-string electric
Amps
- 1962 Magnatone Custom 450
- 1971 Traynor YGM-3
Pedals
- Arion SAD-1 Stereo Delay
- Jam Pedals Dyna-ssoR compressor
- Jam Pedals Rattler distortion
Strings and Picks
- D’Addario XL Nickel Wound 10's
- Dunlop Tortex .88 mm
Accessories
- TASCAM PORTA 3 4-track cassette recorder
But Seabrook fell in love “right away” with the Jerry Jones, and new ideas started flooding out. “The 12-string is such a magic sound, and the Jerry Jones holds the intonation so well that you can detune some of the double-strings to make different intervals, kind of like a built-in harmonizer,” he says. “When you play chords on that and they ring; it’s some sort of majestic, angelic sound—or it can be.” Photo by Scott Friedlander
Seabrook found the 6-string banjo at Brooklyn shop RetroFret Vintage Guitars, intending to shop for a mandolin. He was struck by William Schmick’s construction (“It uses slightly heavier strings, and the neck is wide”) and, more crucially, the surprising intensity it harnesses: “It just sounded so metal to me or something,” he recalls. “So deep and rich and ominous, but beautiful.” These discoveries came at a pivotal time: “I don’t know what happened last year, but I felt the need to get some new instruments. And that opened up a new sound world.”
He eventually linked up with two key collaborators, producer David Breskin (John Zorn, Bill Frisell) and engineer Ben Greenberg (who plays guitar in noise-rock band Uniform), at the small Brooklyn studio Circular Ruin. That setting was ideal for the physical experience he hoped to capture: “I used contact mics on the guitar, and [sometimes on my body], to have a subtle sound design. It’s in there—you can kinda hear it [on the album] sometimes.”
One reason for that impact: This is, by and large, the most intimate record of Seabrook’s career—a downshift from the wall-to-wall wildness that has defined so much of his work. That said, make no mistake. Almost no one else could create the pogoing guitar madness of “Perverted by Perseverance,” which sounds like ’80s King Crimson being subjected to water torture. (“I actually was revisiting the ’80s King Crimson stuff while I was making this album,” he says. “I just came back to it after years of not hearing it. That’s straight-up Telecaster prepared with some alligator clips, and then I use my radio tape recorder on the pickups.”)
Object sometimes leans into a more traditional “solo” vibe, like on the dissonant, highly improvised banjo piece “Unbalanced Love Portfolio”; at other points, it piles instruments into towering overdub soundscapes, like on “Gondola Freak,” a heart-accelerating swirl of harmonized 12-strings.
Object of Unknown Functionis the guitarist’s first solo record since 2014’s Sylphid Vitalizers.
“I’ve been playing a lot of solo things over the past 10 years, and that’s on banjo and guitar,” Seabrook says. “I was kinda hesitant to make an album of that stuff, although some pieces are totally stripped-down to just me. But I thought I could make a more compelling studio listening experience now that I have a little more of a palette that these instruments are offering. The solo album I did 10 years ago had lots of layers, but I wanted to be a bit more vulnerable on this record and have some songs stripped-down and some full.”
The resulting project is a “blender” of all the things Seabrook loves, thrown together in a way that sparks his imagination. “I’m just trying to sound like the influences I have, whether it’s ’80s King Crimson or Eugene Chadbourne or Van Halen or Joni Mitchell—all these things I hear certain fragments of, and maybe it’s only for a measure or a section,” he says. “I guess I am conscious of messing with form. I love the juxtaposition of certain things.”
Seabrook is a long-time mainstay of the Brooklyn jazz and avant-garde scene, where, in addition to leading his own ensembles, he’s worked with a wide range of artists that includes Nels Cline, Anthony Braxton, Mike Watt, and Mostly Other People Do the Killing.
Photo by Luke Marantz
“I used to be even more of a hailstorm on the audience psyche,” he continues. “I just recorded a new album with this quartet of synthesizer, violin, bass, and guitar, and I want to bring more lyricism and less feeling of intentional surprise. I’m getting there slowly. A lot of the music I listen to is really lyrical, like folk music or soft rock. I try to put elements of that in here. I guess I do want to make weird twists and turns, but I do put a lot of thought into how to weave them and make them coherent.”
It’s not like Seabrook has suddenly recorded an Eagles album, but these more refined moments signal a desire to keep challenging himself—and his audience. “I think it’s getting older and being more vulnerable, more confident in your choices,” he says. “When I was younger, I never wanted one second of space. Now I just want to be more connected to the things I truly love. It’s a journey. I never want to think somebody wants to hear a certain thing from me.”
YouTube It
Video Caption: In this mind-melting performance of “brutalovechamp,” captured May 20th, 2023 at Brooklyn’s Public Records, Seabrook is joined by the epic proportions octet, including everything from cello to recorder.
Back in March 2022, we caught up with Cory Wong in the middle of an international tour to film a Rig Rundown. This time around, we found Wong with his Fearless Flyers pals sticking in one spot, at Cory Wong’s Syncopated Summer Camp. The four-day, four-night summit, held in Nashville, brought together ace players like Ariel Posen, Larry Carlton, and Sonny T to offer clinics on all things rhythm. Aside from the camp, Wong and his fellow guitar Flyer, Mark Lettieri, both had new releases to celebrate: Lettieri’s recent solo record, Can I Tell You Something?, dropped in July, and Wong’s Live in London and Starship Syncopation came out in May and July, respectively—plus, the Flyers’ new EP was released in February.
Both Lettieri and Wong toured us through the guitar gear they brought along for the camp.
Brought to you by D’Addario.The Wong Way
Wong’s starter is, unsurprisingly, his Fender Cory Wong Signature Stratocaster. This is an off-the-rack model, and the sapphire blue transparent satin lacquer finish demonstrates the beautiful alder beneath it: “Sometimes a guitar is made out of the right piece of a tree,” says Wong. Other features on the model include deluxe locking tuners, a 6-screw tremolo system, Seymour Duncan Cory Wong Clean Machine pickups, and an American Ultra Modern “D” neck profile.
Founder's Keepers
At John Mayer’s suggestion, Wong had Fender create him a “founder’s model” of his signature guitar, with some just-so appointments that can’t be had on the standard production instruments. Those include a bound fretboard and a unique, one-off finish.
But Wong doesn’t get too attached to his guitars. He often auctions them off to benefit a non-profit that gets free guitars into the hands of kids who need them.
Another Wong novelty: his fingers don’t sweat much, so he only changes his strings about once every three months, despite plenty of playing time. When the time comes, he uses Ernie Ball .010s from either the Slinkys or Paradigm series.
Neural Network
Through a Shure GLXD16 wireless system, Wong runs his guitar into his Neural DSP Quad Cortex, which runs a beta version of his Archetype: Cory Wong plugin, based off of a melding of a Dumble and a Fender Twin. The signal hits an onboard envelope filter and rarely used pitch shifter, then exits out the effects loop into a Wampler Cory Wong Compressor, Jackson Audio The Optimist, and a Hotone Wong Press. The signal goes back into the Quad Cortex, where there’s a preset phaser, stereo tape delay, and modulated reverb, plus a freeze effect. Two XLR outs run to front of house, while two run to Wong’s Mission Engineering Gemini 2 stereo cabinet.
Fiore di Latte
Lettieri flies with his signature PRS Fiore (and wears a matching shirt to boot). The model, which he began designing with PRS in 2019, has a swamp ash body, maple neck, 25 1/2" fretboard, nickel frets, and a pickup system that allows for 11 different combinations—the ultimate studio weapon. He runs it to his board with Revelation Cable Company cables. Lettieri strings it with Dunlop .010s, and strikes them with Dunlop celluloid picks.
Lettieri Goes Low
Lettieri also calls on this PRS SE 277 baritone guitar. He’s swapped the pickups for a Lollar P-90 in the neck position and a gold-foil in the bridge. He tunes it to A standard and runs .014–.072 strings on it.
Little Wing
Lettieri sticks with tubes, running into a PRS HDRX 20—a 20-watt combo intended to capture the roar and power of Hendrix’s Marshalls in a more practical package.
Chopping Block
Guitar pedals weren’t the intended application for Lettieri’s pedalboard—it was meant for chopping veggies, but that didn’t stop him from slapping his stomp tools on the cutting board.
His signal first hits a Keeley Monterey Custom Shop Edition, followed by an MXR Deep Phase, J. Rockett HRM, J. Rockett Melody OD (Lettieri’s signature), Pigtronix Octava, and a Dunlop DVP4, all powered by a Strymon Ojai. A TC Electronic TonePrint Plethora X5 pedalboard handles coordination and switching between the devices.
Shop the Fearless Flyers Rig
TC Electronic TonePrint Plethora X5 Pedalboard
Keeley Monterey Custom Shop Edition