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Bell Custom Guitars Jazzblaster Hot Rod
If hot-rodding your guitar’s body shape or paint job isn’t your thing, why not go with souped-up body material? The Bell Custom Guitars Jazzblaster Hot Rod features a maple/plexiglass
If hot-rodding your guitar’s body shape or
paint job isn’t your thing, why not go with
souped-up body material? The Bell Custom
Guitars Jazzblaster Hot Rod features a
maple/plexiglass body that has a different
tone from a guitar made of pure wood.
“The plexiglass addition isn’t just for
show,” Bell designer Paul Reid tells us.
“We feel that keeping the pickups, bridge,
etc. connected to the wood, then using
the plexi to compress and deliver the tone
created by the wood, you get more sustain
and a very focused tone, in addition to a
striking visual effect.”
This guitar is also loaded with hand-wound
Amalfitano pickups and user-controlled
LEDs that illuminate the plexi wings. The
Jazzblaster Hot Rod has a 25.5” scale
length, a rosewood fretboard and a 1.695”
width at the nut. It also features chrome
hardware and a machine-turned stainless
steel pickguard and truss rod cover.
In some ways, it’s hard to know whether to categorize the Martin D Jr E StreetLegend as a backpack or travel guitar. After all, Martin still maintains the LX Little Martin line, which is marketed in very specific terms as a travel instrument. And the D Jr E’s size, which isn’t a whole lot smaller than my Martin 00-15, stretches the boundaries of that classification. But Martin definitely leans into the go-anywhere appeal of the D Jr E and its brethren in the new revamped Junior Series. If the soft case fits, wear it. Assuming it lives, at least partly, in that category, it is among the best sounding travel guitars I’ve ever played. Thanks to the all-solid spruce and sapele body construction, it possesses a warm, woody, and organic voice that is likely made richer by the new, longer 24.9" scale.
Stretching Travel Boundaries
Even apart from backpack-guitar-or-not classification questions, it must be a little tricky marketing the D Jr E StreetLegend. With its distressed finish, the StreetLegend version costs just less than 900 bucks, which, in inflationary times, might be a threshold that budget-conscious, small-guitar customers might be hard-pressed to cross. But if you broaden your expectations of what the D Jr E StreetLegend can be, the price looks less formidable, because it can definitely be a front-line, everyday instrument.
If you’ve spent any considerable time with Martins, the D Jr will feel familiar, and though its shrunken dreadnought body profile can be oddly disorienting, the longer, 24.9" scale (the previous Junior series guitars featured a 24" scale) is the same as full-sized Martin mainstays like the 000 and 00. At 1 3/4", the nut width matches the wider spec for the Martin OM, which lends the D Jr E fretboard a spacious, accommodating feel. I’d wager that more than a few players would identify the D Jr E as an instrument from Martin’s full-sized lines. Body aside, it just doesn’t feel small.
Like many guitars built in Martin’s Mexico factory, the D Jr E StreetLegend’s build quality is excellent. And though it doesn’t benefit from the nano-level attention to detail of an upmarket Nazareth-built guitar, you won’t see a trace of the hastily sanded bracing or sloppy fret dressing that mark many accessibly priced instruments. The rounded and beveled fretboard edges, which also highlight the very nice fretwork, give the D Jr E a comfortable, broken-in, and inviting feel. Our review guitar’s action was on the high side (though well within the bounds of acceptable), and though Martin didn’t include a hex wrench for adjusting the neck relief, there is room for adjustment there, as well as a break angle at the bridge that will permit shaving a few millimeters off if you want to adjust the action from that end of the string’s length.
“You won’t see a trace of the hastily sanded bracing or sloppy fret dressing that marks many accessibly priced instruments.”
It’s important to know that the D Jr E StreetLegend is not the only junior dreadnought in the line. And if you want to save 200 bucks you can opt for the natural finish D Jr E. That’s a good thing in more ways than one, because the distressed finish on the StreetLegend version is bound to be polarizing. Though the “wear” is patterned after instruments in Martin’s own museum, and identical to the pattern on the $2,500 D-18 StreetLegend, the effect is created on the D Jr E by dyeing the top and the almost uniform flatness in the distressed zone makes the faux finish damage less than convincing.
Boisterously Voiced
The D Jr E, like many small-body flattops, is strong in the midrange, which can generate brashness under really hard strumming, and if you use that technique exclusively, the bass can be a bit too boxy to offset the bright presence of the mids. If you suspect you have a heavy hand, it will pay to check how the guitar responds to your approach. A lighter touch definitely brings out the best in the D Jr E, and though there’s not much dynamic range in terms of headroom, it sounds awake and responsive to picking nuance.
The Martin E1 electronics and built-in tuner go a long way toward enhancing the utility of the D Jr E. The presence of any reasonably effective pickup and preamp would make the D Jr E very appealing to a gigging guitarist on the move. But the E-1 system is remarkably natural sounding for an affordable acoustic pickup and it can do a lot to round off sharp edges in the guitar’s treble spectrum when amplified and playing loud.
The Verdict
Though the effectiveness and appeal of the distressed StreetLegend finish will be a very personal matter, there is no denying the D Jr E’s strengths—most notably a great neck, solid woods, and responsiveness to a light touch. The extra 200 bucks you’ll pay for the StreetLegend finish makes the D Jr E seem more expensive than it should be, so it’s important to point out again that the more traditional natural finish model, at $699, will be much kinder to thy wallet and is priced more in line with comparable guitars in the liminal market space between travel, backpack, and merely small guitars. Given that, you should consider the value and design scores here on a sliding scale. But any small flattop that features all-solid-wood body construction, an OM’s wider nut width, a full scale, and fits in an overhead bin merits attention. Martin has, indeed, carved out a very interesting niche here.
A Canada-built, tastefully styled mini jumbo serves up comfort, a unique and expansive tone profile, and addictive playability.
Godin may be a Canadian company that skews modern in its design approach. But staring across the room at the new Godin Connaisseur MJ, glowing in soft spring sunlight, I kept thinking about two very classic American guitar companies. Martin and Rickenbacker are famous for very different things, and one of them rarely made acoustic instruments. But check out the Godin’s sunburst finish—it sure reminds me of Rickenbackerfireglo. The herringbone-patterned purling evokes that found on a D-28 as well as Rickenbacker’s checkerboard binding. The split-hexagon fretboard inlay? It conjures thoughts of aD-45, and Rickenbacker’s shark-fins. There are practical reasons that this Godin feels like an alternate-universe offspring from the two American companies—most notably the super-satisfying playability. Hermann Rorschach might have told me I’m more inclined to see and feel these likenesses in the Connaisseur MJ (I’m genuinely captivated by the beauty of Rickenbackers and Martins). But style is a big part of what sets the Connaisseur MJ apart, and you don’t need an inkblot test to know that the Godin Connaisseur MJ is a handsome, well-built, and fine-playing flattop. It’s a guitar that reveals its virtues quickly and easily.
Maple Leaf Rag
Consider another unorthodox melding of concepts: “mini” and “jumbo.” Obviously, they are a contradiction in terms. But as an acoustic guitar design guideline, the combination can yield pure gold. The jumbo in mini jumbo (MJ in Godin nomenclature) alludes to the body’s basic shape which, in its fluid curvaceousness, echoes Gibson’s SJ-200. But while the Connaisseur MJ isn’t a behemoth like the SJ-200, it’s not exactly mini either, and feels much more like a shapelier Martin OM. It’s a very comfortable profile that does much to alleviate the arm fatigue that can come from wrestling a dreadnought or genuinely jumbo jumbo.
At $2,499 the Canada-built Connaisseur MJ is Godin’s most expensive flattop by several hundred dollars. And at that price it has to tussle with giants like Martin, Gibson, and Taylor—all of whom sell very established and well-known models in a crowded market segment that most of us could call “getting expensive enough to hurt.” So, what distinguishes the Godin in a densely populated field? Well, it’s certainly pretty, and the melding of classic flattop design touchstones and contemporary styling moves achieves a unique, attractive result rather than an uncomfortable, incohesive mash up of influences.
Golden Glow
In the sonic sphere, theConnaisseur MJ exhibits many classic spruce-and-mahogany characteristics. The warm, concise fundamentals, sunset-hued, softly decaying overtones, and lack of brashness are all hallmarks of this tonewood combination. But the Godin definitely doesn’t live on the dusty, dry, and antique end of the mahogany-and-spruce spectrum. It’s alive and dynamic and responsive in ways you might even categorize as “modern,” and has ample headroom that leaves space for shifts in mood and intensity without shedding its essential voice. It’s easy to be struck by the Connaisseur MJ’s sparkle, especially when you use a light fingerstyle touch. But as I got to know the guitar, I grew to love the balance and resonance in the low end. I suspect that the mini jumbo body, and perhaps the 25.5" scale, have a lot to do with the Godin’s even, inviting voice and range. There is a beautiful combination of energy and air, even in the most softly plucked notes, and it’s easy to see how the extra expanse of spruce aft of the bridge might have a lot to do with how lively and rich the Godin sounds.
“The Godin definitely doesn’t live on the dusty, dry, antique end of the mahogany-and-spruce spectrum. It’s alive and dynamic and responsive in ways you might even categorize as ‘modern.’”
All the tone in the world doesn’t mean much if a guitar plays like a log. But the Connaisseur MJ shines in the playability realm. A few less-than-perfectly-dressed fret ends aside, the neck is addictively comfortable. If there’s a lot of Richard Thompson hammer-ons and pull-offs in your own playing vernacular, you’ll love the snappy touch responsiveness.
The Verdict
The biggest compliment I can offer the Connaisseur MJ is the considerable time I spent with it in a meditative musical state—thinking not about a review, just basking in its warm, sprightly resonance and inviting touch response. At $2,499, the Godin arguably offers more personality than a satin-finished instrument at the same price with a more famous name. It’s well built and feels like a guitar that’s in it for the long haul. And when it comes to tone and a pure playing experience, the Connaisseur MJ shines.
Billed as a practice amp, this 40-watt, solid-state combo with reverb and tremolo is clean, pedal- and stage-friendly, and affordable.
Orange O 40
I enjoy that back-of-the-throat, big cat growl that starts happening when you turn up the preamp of an Orange amplifier. But the company’s new O Tone 40 is a different breed of feline. With no gain control and a 1x12 made-in-Poland Voice of the World speaker that doesn’t break up until you start cranking it past noon, the O Tone 40 is designed to purr rather than snarl—unless lashed to an overdrive or fuzz pedal. It adds a different, more American-vintage flavor to the company’s lineup of versatile, low-priced new-generation amps and a voice shaped, in many respects,by the number and character of the stomps on your pedalboard.
Practice Schmactis
The solid-state O Tone 40 is billed as a practice amp, but I’d feel comfortable taking it onstage anywhere I’d use, say, a Deluxe Reverb or Blues Junior. It’s a 40-watt, class-AB build with 3-band EQ, digital reverb, and footswitchable JFET-driven tremolo. There’s an effects loop, too, and the combo clocks in at a light 26 pounds. In the modern practice-amp spirit, the O Tone has a 1/4'' headphone out and an unbalanced line-out to run into a DAW. There’s also an auxiliary input for, say, pumping in rhythm tracks or plugging in a metronome. The cabinet is medium-density fiberboard, versus the birch plywood of the 35-watt, 1x10 Orange Crush, which has no reverb or tremolo. And it’s tagged at a very reasonable $399, given its overall functionality.
With its classic control set—reverb, depth, speed, bass, midrange, treble, and volume, from left to right—the O Tone 40 is easy to use, and dialing up a host of good sounds with single-coil and humbucking pickups was a snap. The closed-back design and overall sonic profile tends to make the amp a bit bass heavy, especially with humbuckers, so it’s important to watch the EQ settings. I found a set-it-and-forget-it location with the bass at 9 o’clock, the mids floored, and the treble at 11 o’clock. This is a matter of taste, of course, and mine runs toward the mid-heavy with tempered treble. After all, Orange amps’ strength has always been the harmonic richness of their mids, and the O Tone 40 hits that mark. Plus, adding a little more treble pulled things toward Marshall territory, too.
Another aspect I loved was the breakup I started to hear working the volume up past noon. It’s more subtle than snarling, and reminded me of the organic dirty sounds that can be achieved by cranking up old Valco and Gibson amps from the ’50s and ’60s. So vintage tone hunters may find the O Tone 40 a great lower-priced alternative to an actual period piece. But the quiet effects loop also makes the amp ready for sonic futurism, if that’s one’s goal.
Finally, the reverb is deliciously spring-like, and the dial will travel from dry to surf to the supernatural. The tremolo has plenty of vintage character, too, although I would like to see a little more response in the lower range of the depth control, like that I’ve experienced with old Supros and Gibsons, which can get pretty radical right out of the box.
The Verdict
The super-affordable Orange O Tone 40 is versatile and pedal-friendly, with vibe-y reverb and tremolo as well as an effects loop, so stomp OD fans likely won’t miss the amp-maker’s usual appealing gain profile. There’s enough headroom for clean stage and rehearsal sounds at substantial volume, and pushing the volume past noon yields a very vintage-amp-like breakup profile, which make the O Tone a dependable work-pony with much more than a single trick.
The Icelandic rockers roll with semi-hollows for their hard-hitting blues.
Iceland-born, Nashville-based blues rockers Kaleo released their fourth full-length LP, Mixed Emotions, on May 9 via Elektra. To celebrate the album in their adopted hometown, they threw a party at American Legion Post 82 in East Nashville.
Some of the band’s gear had already been shipped to Red Rocks Amphitheatre, where the official release show took place on May 10, but “Kentucky Fried Scandinavian” lead guitarist Rubin Pollock gave PG’s Chris Kies a look at the must-haves loaded in for the legion gig.
Pollock bought this 1967 Gibson ES-345 at Carter Vintage Guitars in Nashville, and since then, it has been his closest friend, used on all tours and recordings. He favors its out-of-phase sounds brought on by using both pickups, and though it's equipped with a Varitone knob system, Pollock almost never uses it. He hasn’t changed the strings in years.
The Kustomer is Always Right
It was almost closing time when Pollock saw this Kustom K-200 hanging on a wall in a New York City guitar shop. The shop clerk said there was no time to try it, so Pollock bought it on the spot. It has a darker tone than his 345, which he brightens with a wah pedal. Its strings haven’t been changed since he bought it.
A Fender Mustang, bought in 2016, was treated to new strings recently by Pollock’s tech. He didn’t seem stoked.
Projector Project
With his black-panel Fender Deluxe already making its way to Red Rocks, Pollock opted for this Austen Hooks-built projector amp. Hooks built him one after Pollock fell in love with another of his builds at a Los Angeles studio.
Rubin Pollock’s Pedalboard
Pollock packs light, configuring his board to fit in a shoulder bag that he can carry himself wherever he needs to go. His pedals include a Strymon El Capistan and Flint, JHS Colour Box, DigiTech Whammy Ricochet, Boss TU-3, Fulltone Octafuzz, Chase Bliss Preamp Mark II, and an Isle of Tone “Cookie Monster” fuzz.
Jökull Júlíusson’s Guitars
Jökull “J.J.” Júlíusson couldn’t make it for the Rundown, but Pollock gave us a look at his Gibson ES-330 and his signature resonator, built by English luthier Pete Turner. Behind them sits J.J.’s long-time go-to amp, his Orange AD30, which ran through an Orange 1x12 cab.
Jökull Júlíusson’s Board
Júlíusson’s board includes a Strymon Flint and El Capistan, Boss TU-3, a custom Sounds of Shelby drive pedal, Vemuram Shanks ODS-1, MXR Ten Band EQ, and Radial StageBug DI box, plus a channel switcher for the AD30.
