How Rick Eckhardt plans his rig for a European tour
Preparing for a seven-country tour of Europe is not a common practice for many musicians. However, it is an undertaking that I have faced a number of times in my career. In 1994, I conquered Europe with the R&B/ roots rock band Fish Heads & Rice. With David James on vocals and bass, Walter Ferguson on the Hammond organ and the late Stuart “Stu Train” Brower laying down the back beat, I was given the daunting task of assuming guitar duties after Memphis great Gary Talley (formerly of the band The Box Tops) left to pursue other interests. While in Europe, we performed in every cramped club from Big Mama’s in Rome to the barely inhabited tourist town of Terschelling, a 15-mile-long island off the coast of The Netherlands. We anchored those dates with two festivals in Switzerland and a once-in-a-lifetime appearance at the Sanremo Music Festival in Italy.
Our travel planning was simple. We rented a van in Milan and the four of us trekked across the continent spreading the good words and music of the Fish. On that tour my gear setup was also quite uncomplicated. The only guitar I brought along was a 1984 Fender Strat Plus with a Sunburst finish. Gearwise, I brought along a Boss tuner, Ernie Ball volume pedal and a couple of cables to hook everything up with. Our backline consisted of a makedo- with-what-they-give-you approach, even though at most venues I remember being able to score at least a Fender Twin Reverb. After tweaking and playing through several different Twins night after night, I did discover just how much individual character each of these amps really did possess. My tone was formidable, but varied each night. I remember one particular show at the Conga Club in Bellinzona, Switzerland, I played through a two-channel Ampeg amp marked “Channel 1: Guitar,” and “Channel 2: Accordion.” It was an experience I’ll never forget.
This winter, for the first time, Toby Keith is spearheading a major tour of Europe. We’ll be performing in England, Scotland, Ireland, Finland, Sweden, Denmark and Norway. This tour across the pond is a bit more difficult, and considerably more involved. Although our crew is stripped down to 30 essential people, they all need to be fed, housed and flown as we travel to all of our European destinations. Thankfully, I haven’t had to do any of the leg work involved in booking transportation or rooms, but there has been a great deal of preparation on my part to make sure that all goes smoothly at the shows. Due to space limitations, I’m not able to bring my normal arsenal of guitars. We went back and forth on the actual number that I needed for the show to not suffer and decided on my three main axes—my U.S. Masters Super T Tele, my PRS McCarty and my Gibson ’58 Les Paul Reissue—plus my hollowbody singlecut PRS and Jerry Jones 6-string bass, which is a must-have to pull off one of Toby’s biggest hits, “Should Have Been A Cowboy.”
All of the guitars will travel in trunks that will be ground transported from gig to gig. We’ll also be taping a few television shows in between concert dates, and to pull that off I’ll have to fly some of my guitars separately from the pack. Here in the States most airlines are cooperative about that, and only a few airline personnel have ever insisted I check my instrument when I show up at the gate with it in a gig bag. The musicians union has an official agreement with the FAA that allows musicians to bring their instrument with them on board as long as it fits in the overhead compartment. However, it’s often at the discretion of the airline personnel (and what kind of day they’re having) whether they’ll allow it onboard the plane.
Personally, I carry a copy of that agreement with me in all of my gig bags, although I’ve never had to present it. My strongest argument has always been that if there is a lack of space in the overheads, wouldn’t it make more sense to accommodate my fragile and expensive instrument, and gate check some of the carry-on bags filled with clothes and toiletries instead? When I do carry my guitar onboard I make sure it’s my only item, which does strengthen my position when I need to play that card. Knowing that the airlines are a bit stricter about bringing guitars, for this tour I’ve also taken the precaution of putting my McCarty and my Super T inside ATA flight cases, so that I can fly them to these television dates safely in the belly of the plane. The only other gear I’m taking with me will be my Roland GT-8 pedalboard. My guitar tech had a case that fits it quite nicely, so it gets to travel in style on this trip. Now that my gear is packed and ready to go, I just have to be sure that my passport is up to date, and that I have enough minty-fresh toothpaste to last until I return home. I’m all set to tour the world!
Keep Jammin’…
Rich Eckhardt
Rich Eckhardt is one of the most sought-after guitarists in Nashville. His ability to cover multiple styles has put him on stage with singers ranging from Steven Tyler of Aerosmith to Shania Twain. Rich is currently playing lead guitar with Toby Keith. His latest CD, Cottage City Firehouse is available online at CDbaby.com or at richeckhardt.com.
The majestic Roland Space Echo is having a bit of a resurgence. Here’s a breakdown on what makes it tick, and whether or not it’s right for you.
In this article, we delve into one of the most cherished gadgets in my guitar collection, the Roland Space Echo RE-201. This iconic piece of equipment has been used by legendary musicians like Jonny Greenwood, Brian Setzer, and Wata from Boris, which only heightened my desire to own one. A few years ago, I was fortunate to acquire a vintage RE-201 in good condition and at a reasonable price.
Using the RE-201 today has its advantages and disadvantages, particularly due to its size, which is comparable to an amplifier head. When compared to modern equivalents like delay pedals or software plugins that closely emulate the original, the vintage RE-201 can seem inefficient. Here, I share my personal and subjective experience with it.
The RE-201 is a tape echo/delay effect that gained popularity in the 1970s and ’80s. Unlike the more complex analog BBD delays or digital delays, tape delays use magnetic tape to simultaneously record and play back sound via a magnetic tape head (similar to a guitar or bass pickup). Because the recording head and playback head are in different physical locations, there is a time gap during the recording and playback process, creating the “delay” effect. This concept was first discovered by Les Paul in the 1950s using two tape machines simultaneously.
However, this method has a drawback: The magnetic tape used as a storage medium has a limited lifespan. Over time, the quality of the tape degrades, especially with continuous use. This degradation is marked by muddy, wavy sounds and unavoidable noise. Yet, this is precisely where the magic of real tape echo lies! New tapes produce clearer, hi-fi sounds, while older tapes tend to produce wavy sounds known as “modulated delay.” Additionally, increasing the number of tape-head readers extends the gap time/delay time of the output, and activating multiple tape-head readers simultaneously creates unique echo/delay patterns.
“This degradation is marked by muddy, wavy sounds and unavoidable noise. Yet, this is precisely where the magic of real tape echo/delay lies!”
Just as how fuzz and distortion effects were discovered, the “imperfections” of tape also represent a historical fact about how the creative process in music follows an absurd, non-linear, and unique pattern. In everyday practical life, signal delay is something typically avoided; however, in a musical context, delay adds a deeper dimension. Today, it’s hard to imagine a pedalboard without a delay effect at the end of the chain.
This uniqueness inspired me to create Masjidil Echo, embracing the “imperfection” of a vintage tape echo/delay with magnetic tape that hasn’t been replaced for years. Many newer pedals, such as the Boss RE-20, Strymon El Capistan, and the Catalinbread Echorec and Belle Epoch, draw inspiration from vintage tape repeat machines. Each has its unique interpretation of emulating tape echo, all in a more compact and maintenance-free format. Real tape delay requires periodic maintenance and has mostly been discontinued since the mid 1980s, with Roland ceasing production of the Space Echo entirely in 1985.
However, in recent years, interest in real tape echo has surged, perhaps due to nostalgia for past technology. As a result, many vintage delay units have appeared on marketplaces at increasingly gargantuan prices! If you’re considering acquiring one, I recommend thinking it over carefully. Are you prepared for the maintenance? Will you use it for regular performances? Are you ready for the fact that magnetic tape will become increasingly difficult to find, potentially turning your machine into a mere display piece? I don’t mean to instill fear, but the real deal, in my opinion, still can’t be fully emulated into a more practical and future-proof digital format.
So, I’ll leave you with one final question for consideration: What if the genealogy of technology were reversed chronologically, with multihead/multitap delay discovered digitally in the 1950s, and in the 2000s, a technological disruption led to the invention of mechanical tape echo to replace digital technology? Which would you choose?
In collaboration with Cory Wong, the Wong Press is a 4-in-1 Press pedal features Cory’s personal specs: blue & white color combination, customized volume control curve, fine-tuned wah Q range, and a dual-color STATUS LED strip indicating current mode/pedal position simultaneously.
In collaboration with Cory Wong, this Wong Press is a 4-in-1 Press pedal features Cory’s personal specs: Iconic blue & white color combination, customized volume control curve, fine-tuned wah Q range, and a dual-color STATUS LED strip indicating current mode/pedal position simultaneously.
Renowned international funk guitar maestro and 63rd Grammy nominee Cory Wong is celebrated for his unique playing style and unmistakable crisp tone. Known for his expressive technique, he’s been acclaimed across the globe by all audiences for his unique blend of energy and soul. In 2022, Cory discovered the multi-functional Soul Press II pedal from Hotone and instantly fell in love. Since then, it has become his go-to pedal for live performances.Now, two years later, the Hotone team has meticulously crafted the Wong Press, a pedal tailored specifically for Cory Wong. Building on the multi-functional design philosophy of the Soul Press series, this new pedal includes Cory’s custom requests: a signature blue and white color scheme, a customized volume pedal curve, an adjustable wah Q value range, and travel lights that indicate both pedal position and working mode.
Cory’s near-perfect pursuit of tone and pedal feel presented a significant challenge for our development team. After countless adjustments to the Q value range, Hotone engineers achieved the precise WAH tone Cory desired while minimizing the risk of accidental Q value changes affecting the sound. Additionally, based on Cory’s feedback, the volume control was fine-tuned for a smoother, more musical transition, enhancing the overall feel of volume swells. The team also upgraded the iconic travel lights of the Soul Press II to dual-color travel lights—blue for Wah mode and green for Volume mode—making live performances more intuitive and visually striking.
Features
- True Bypass
- 4 in 1 functionality (volume, expression, wah, volume/wah)
- New dual-color STATUS LED strip indicating pedal mode and position in real time
- Cory’s custom volume curve and wah Q control
- Classic-voiced wah tone with flexible tonal range
- Active volume design for keeping lossless tone
- Separate tuner and expression outputs for more connection possibilities
- 9V DC or 9V battery power supply
Introducing the Hotone Wong Press - Cory Wong's signature Volume/Wah/Expression Pedal - YouTube
Check the product page at hotone.com
“The Player II Series represents our continued evolution in design and functionality,” said Justin Norvell, EVP of Product, FMIC. “We listened to the feedback from musicians around the world and incorporated their insights to refine and innovate our instruments. The re-introduction of rosewood fingerboards is a restoration of the ‘original Fender recipe’ and will no doubt be a fan favorite - but we didn’t want to stop there. We’ve also incorporated our rolled fingerboard edges for a broken-in feel, upgraded hardware, and have some new body options as well- which underscores our commitment to providing players and creators with the tools they need to express their unique sound and style. The Player II Series is not just an upgrade, it's a detailed re-imagining of our core silhouettes, highlighting our dedication to quality and the continuous refinement of our instruments.”
Additionally, Player II offers new options for chambered ash and chambered mahogany bodies for the Player II Stratocaster and Telecaster models, which will be available in October. Designed for musicians ready to elevate their craft, the Player II Series sets a new standard for quality and performance in the mid-price range.
Fender Player II Stratocaster HSS Electric Guitar - Coral Red
Player II Strat HSS RW, Coral RedFender Player II Jaguar Electric Guitar - Aquatone Blue
Player II Jaguar RF, Aquatone BlueThis reader solicited the help of his friend, luthier Dale Nielsen, to design the perfect guitar as a 40th-birthday gift to himself.
This is really about a guy in northern Minnesota named Dale Nielsen, who I met when I moved up there in 2008 and needed somebody to reglue the bridge on my beloved first guitar (a 1992 Charvel 625c, plywood special). Dale is a luthier in his spare time—a Fender certified, maker of jazz boxes.
Anyway, we became friends and I started working on him pretty early—my 40th birthday was approaching, and that meant it was time for us to start designing his first solidbody build. If you stopped on this page, it’s because the photo of the finished product caught your eye. Beautiful, right? The 2018 CCL Deco Custom: Never shall there be another.
Old National Glenwood guitars were my design inspiration, but I wanted a slim waist like a PRS and the like. We used a solid block of korina to start, routed like MacGyver to get the knobs and switches where I wanted them. Dale builds all his own lathes and machines (usually out of lumber, y’all), as the task requires. This beast took some creativity—it’s tight wiring under that custom-steel pickguard. Many were the preliminary sketches. Four coats of Pelham blue, 11 coats of nitro. Honduran mahogany neck, Madagascar ebony fretboard with Dale’s signature not-quite-Super-400 inlays. He designed the logo; I just said, “Make it art deco.”
We sourced all the bits and bobs from StewMac and Allparts and Reverb and the like, mostly to get that chrome look I so adore. Graph Tech Ratio tuners, Duesenberg Radiator trem (had to order that one from Germany), TonePros TP6R-C roller bridge. The pickups were a genius suggestion from the builder, Guitarfetish plug ’n’ play 1/8" solderless swappable, which means I have about 10 pickups in the case to choose from: rockabilly to metal. And both slots are tapped, with the tone knobs serving as single- to double-coil switches. I put the selector on the lower horn to accommodate my tendency to accidentally flip the thing on Les Pauls—definite lifesaver.
Reader and guitar enthusiast, Cody Lindsey.
Dale offered to chamber this monster, but I said what doesn’t kill you makes you stronger. It weighs in at 11 pounds, if it’s an ounce. We carved the neck to match a ’60s SG, so it’s like the mini bat you get at the ballpark on little kids’ day. Easy peasy. 1 11/16" nut, 25" scale, jumbo frets, just 2 1/8" at the 12th fret.
Delivery in its lovely, hygrometer-equipped Cedar Creek case actually happened a month or two shy of my 41st, but hey, you can’t rush these things. We ended up with a studio Swiss Army knife; it does a bit of everything and does it effortlessly. A looker, too. Dale didn’t spend his career doing this kind of thing—he was in IT or some such—and I imagine he’s winding this “hobby” of his down these days, enjoying retirement with a bottle of Killian’s and a lawn chair at Duluth Blues Fest. But this guitar will live on as a marker of his skill and otherworldly patience. It sits at the head of the class in my practice room, welcoming any visitors and bringing a smile to my face every day. And Dale, my friend, I’ll be 50 before you know it....
Cody requested that Dale design an art deco logo for the guitar’s headstock.