Gibson''s latest honors Les Paul''s right-hand man, and an incredible player in his own right, Lou Pallo. The instrument incorporates elements from both traditional Standard and Custom models, with some twists like the P-90 and Dirty Fingers pickup duo.
Download Example 1 Clean tone - neck pickup, low volume | |
Download Example 2 Distortion tone (bridge pickup) with The Tone God NerFuzz | |
Clips recorded with the Les Paul into Schroeder amp mic'ed with Shure SM57 into Apogee Duet into GarageBand. |
Made in a limited edition of 400 models, this classy guitar splits the difference between traditional Standard and Custom models and features an electronics package never before seen on any production-model Les Paul.
Classic Gibson Styling
The Lou Pallo Signature has similar specs to 1950s Les Pauls—a single cutaway mahogany body with an arched maple cap and a mahogany neck with a 1.68"-inch nut and a 24.75" rosewood fretboard. It borrows trim and detail from a Standard—single-ply neck and body binding, an unbound headstock with a silkscreened Les Paul logo, and three-per-side single-ring tuners with plastic tulip tips. But other elements like the rectangular fingerboard inlays and ebony-finished top, are inspired by the Custom. The only detail indentifying this as a signature model is Lou Pallo’s signature on the 12th-fret inlay.
The Lou Pallo Signature model has a nicely understated appearance. There’s no pick-guard and the pickups, reflector knobs, and switch ring and tip are black. The hardware is not gold like on a Custom or nickel as on a Standard, but chrome, a finish that will best resist tarnishing. The instrument’s natural back and neck, a feature found on certain original Goldtop Les Pauls, is lovely.
The Lou Pallo Signature isn’t executed perfectly. The crème binding is obviously in-tended to look aged, but appears undesirably pinkish in certain lights—white binding with a yellowed clear coat would have definitely been preferable. The guitar also might have benefited from sharing certain features from Gibson’s Historic models, like thinner neck binding, tortoise side dots, and a holly headstock overlay.
Craftsmanship on our review model of the Lou Pallo Signature was excellent. The guitar’s glossy finish was free of orange peel. And the 22 frets and Corian nut were extremely well finished, thanks, in part, to Gibson’s use of the PLEK system (a computerized tool used to dress frets and cut slots). Determined to find a finish flaw, I encountered only a minute smudge of black that had migrated from the guitar’s top to the binding on the upper-left bout.
Rude and Polite
At 9.66 pounds, our review model of the Lou Pallo Signature is bit of a boat anchor. But surprisingly, it didn’t actually seem that heavy when playing. The instrument’s rounded ’50s neck profile—about .818" deep at the first fret and .963" at the 12th—was smaller, and more comfortable, than the shape of Gibson’s late ‘50s Historic models. Though the neck felt slightly stiff relative to that on a recent 1960 Les Paul Historic.
Like any good Les Paul, the Lou Pallo Signature sounded loud and dynamic unplugged. But given the instrument’s atypical pickup configuration—a P-90 (single-coil) in the neck position and an open-coil Dirty Fingers humbucker in the bridge—I wasn’t sure what to expect when I plugged the guitar into a Schroeder DB7 amp. The Dirty Fingers was originally made in the early 1980s and recently revived on a signature model for Blink-182’s Tom DeLonge, so it seemed an odd choice for Pallo’s distinctly more polite approach.
But engaged on a clean setting, the Dirty Fingers had a well-balanced and articulate sound that, while not as warm as a ’57 Classic or BurstBucker, made single-note lines pop nicely. When I switched on a NerFuzz distortion pedal by The Tone God, the Dirty Fingers did sound nasty and ungoverned in the best possible way.
The neck-position P-90, which was standard on all Les Pauls from 1952 until the introduction of the humbucker in 1957, was, as expected, a bit more subdued than its bridge companion. With an overdrive pedal on, it sounded nice and creamy. And on a clean set-ting with the volume rolled back a bit, it worked well for some chord-melody-style jazz playing. Switching the distortion back on and selecting the middle pickup position, I found that the P-90 tamed the Dirty Fingers, resulting in a tone that was simultaneously rich and punchy.
The Verdict
Gibson’s Lou Pallo Signature is a smart-looking guitar with a build quality on par with its more costly Historic-series counterparts. While the instrument’s heaviness and one-of-a-kind aesthetic details might put off certain enthusiasts, its atypical electronics will appeal to those looking for a wider sonic range than offered by a traditional Les Paul. Above all, the Lou Pallo Les Paul is a player’s guitar—something Lou’s partner in crime would have appreciated to no end.
Buy if...
you’re in the market for an atypical but classy Les Paul built for maximum versatility that is a bit less expensive than a reissue from Gibson’s Historic series.
Skip if...
you place historical accuracy at a premium or you’ve got back problems.
Rating...
Street $2799 (with hardshell case) - Gibson - gibson.com |
The Signature Jack White Collection features the Jack White Pano Verb amp, Jack White TripleCaster Telecaster and the Jack White TripleSonic Acoustasonic guitar.
Commenting on his Signature Collection with Fender, Jack White said: “We found the best of the old, with the best of the new and mixed innovation with the history of Fender to do something that we think Leo Fender would have been very proud of if he was alive today.”
The Signature Jack White Collection introduces a carefully produced selection of guitars and an amplifier that embody White's unique vision and Fender's commitment to craftsmanship. The Collection includes:
- The Fender Jack White Pano Verb Amplifier ($2,999 USD) Influenced by Jack White’s vintage Vibrasonic and Vibroverb amps and crafted in Corona, CA, the Pano Verb offers enhanced stereo reverb and tremolo effects with a unique 15” and 10” speaker combination, providing guitarists with a powerful tool for stage and studio settings.
- The Fender Jack White TripleCaster Telecaster ($2,999 USD) features a sleek Piano Black finish complemented by white powder-coated hardware, equipped with a Bigsby Vibrato, a custom pickup set featuring a Jack White Humbucker, Jack White JW-90 single-coil, and Jack White CuNiFe Wide-Range Humbucker, a Hipshot Xtender DropTuner, a Killswitch, and a distinctive banjo-style armrest.
- The Fender Jack White TripleSonic Acoustasonic ($2,499 USD) - Satin Black top finish paired with a Satin Actric White painted body and neck, boasting a unique Soft “V” Neck Shape and Pickguard Shape, equipped with streamlined 3-way switch voicings curated by Jack.
"We're beyond thrilled to announce the release of the Fender Jack White signature collection,” said Justin Norvell, EVP Product at FMIC. “Jack is regarded as a true visionary in the music world, and it has been an incredible journey working with him on developing these products. The guitars and amplifier reflect his innovative spirit and distinctive sound, and we can't wait for musicians everywhere to experience the unique blend of craftsmanship and creativity that they bring. This collection embodies the essence of what makes Jack White an icon, and we're proud to bring his vision to life for fans and musicians alike."
For more, visit www.fender.com.
The two pedals mark the debut of the company’s new Street Series, aimed at bringing boutique tone to the gigging musician at affordable prices.
The Phat Machine
The Phat Machine is designed to deliver the tone and responsiveness of a vintage germanium fuzz with improved temperature stability with no weird powering issues. Loaded with both a germanium and a silicon transistor, the Phat Machine offers the warmth and cleanup of a germanium fuzz but with the bite of a silicon pedal. It utilizes classic Volume and Fuzz control knobs, as well as a four-position Thickness control to dial-in any guitar and amp combo. Also included is a Bias trim pot and a Kill switch that allows battery lovers to shut off the battery without pulling the input cord.
Silk Worm Deluxe Overdrive
The Silk Worm Deluxe -- along with its standard Volume/Gain/Tone controls -- has a Bottom trim pot to dial in "just the right amount of thud with no mud at all: it’s felt more than heard." It also offers a Studio/Stage diode switch that allows you to select three levels of compression.
Both pedals offer the following features:
- 9-volt operation via standard DC external supply or internal battery compartment
- True bypass switching with LED indicator
- Pedalboard-friendly top mount jacks
- Rugged, tour-ready construction and super durable powder coated finish
- Made in the USA
Static Effectors’ Street Series pedals carry a street price of $149 each. They are available at select retailers and can also be purchased directly from the Static Effectors online store at www.staticeffectors.com.
Computerized processes have given repair techs the power to deliver you a better-playing guitar. But how do they work?
When we need to get our guitars fixed by a professional, a few nagging questions run through our heads: Will the repair specialist be thorough? Will their procedures ensure an optimal sounding and easy-to-play instrument, or will they merely perform cursory work to make the guitar somewhat playable without resolving underlying issues? Have they followed the tested advancements in understanding, tools, and techniques, or are they stuck in the ideas of the ’70s?
Presently, many certified guitar-repair specialists possess the expertise required to deliver an instrument that both sounds and plays wonderfully. The standards set by manufacturers and distributors have significantly risen, safeguarded by rigorous quality protocols to guarantee the best possible acoustic experience for customers. Additionally, lutherie training has raised the bar for critical processes, and one of the most tricky is fretwork.
Traditional fretwork once involved manual labor, with technicians utilizing sandbags or similar supports to steady the neck as they straightened it with a truss rod during the filing process. A notable advancement in this field came in the mid 1970s when Don Teeter, an author and repair expert, imposed a new method: fixing the guitar body to the bench and using blocks to maintain the neck in a playing position. This refinement was one of many in the continued quest to produce superior instruments by standardized methods.
An example of the Plek’s readings from an acoustic guitar.
Photo courtesy of Galloup Guitars
In the late 1970s, another pivotal innovation was introduced by Dan Erlewine. He created an advanced fret jig with a specialized body-holding system and neck supports, adding another layer of precision to the repair process. During my collaboration with Dan in 1985, we developed a rotating neck jig that counterbalanced the forces of gravity, keeping the instrument in its playing orientation while adjusting the neck supports. This step represented a significant leap in establishing control and standardization of fretwork procedures in our industry. By 1986, our approach had evolved into a freestanding workstation coupled with a sophisticated hold-down mechanism and enhanced neck supports, culminating in increased accuracy, efficiency, and consistency. Over the decades, the Erlewine/Galloup rotating neck jig has become a benchmark in numerous shops, enhancing fretwork performance.
"This step represented a significant leap in establishing control and standardization of fretwork procedures in our industry."
By the 1990s, automated and computerized technologies permeated the guitar manufacturing and repair sectors. Initially applied by import companies in the mass production of guitars, the technology, although expediting processes, did not immediately achieve high execution standards. However, the tech dramatically improved over time, with computer-driven systems eventually transforming the industry. Contemporary automated production utilizing such advancements meets exceedingly high standards of precision. Some bespoke guitar manufacturers, such as Steve Andersen, were pioneers in adopting these methods, but it was companies like Taylor that established them in the modern era.
Inevitably, the progression of technology extended beyond the mere production of parts. Around 1995, German engineer Gerd Anke envisioned the integration of computer-assisted technology into enhancing instrument playability, giving rise to Plek technology, which uses computers to precisely measure and analyze the various components of a guitar, like neck relief, fret height, nut and bridge specs, and more. Nashville guitar-repair tech Joe Glaser was among the first to recognize the machine’s value, followed by San Francisco luthier Gary Brawer. When Heritage Guitar Inc. invested in a Plek machine, the guitar industry could no longer disregard the significance of this innovation.
“The machine’s scanning data confirmed that there was one nature of an ideal fret plane, done by hand or machine, and unsurprisingly, it conformed exactly to what physics predicts, not personal mojo.”
In the spring of 2022, Galloup Guitars obtained its first Plek machine. Promptly, our technician Adam Winarski paved the way for the Plek’s integration in our shop. Now, it’s a rarity for an instrument to leave our shop without having undergone Plek analysis and machining. Impressed by the results of our integration, we created “Intro to Plek” as a course for all students enrolled at the Galloup School of Lutherie, offering our students a practical introduction to this technology. We furthered this educational initiative with a comprehensive one-week intensive “Plek Certification Training Course” for both students and the public. This advanced Plek course serves those seeking to boost their knowledge base and employability in this high-precision field.
Plek is rapidly becoming an industry standard for major manufacturers and smaller shops alike. However, this does not mean that those without access to this technology cannot execute proficient fretwork. Personally, I continue to use my Erlewine/Galloup neck jig—not only out of nostalgia, but also because it remains an excellent method for delivering accurate and reliable guitars. Still, it’s undeniable that the process of fretting, fret dressing, and analytics of fretted instruments has undergone significant transformation, resulting in better sounding—and playing—guitars. And ultimately, that’s what it’s all about.
Plenty of excellent musicians work day jobs to put food on the family table. So where do they go to meet their music community?
Being a full-time musician is a dream that rarely comes to pass. I’ve written about music-related jobs that keep you close to the action, and how more and more musicians are working in the music-gear industry, but that’s not for everyone. Casual players and weekend warriors love music as much as the hardcore guitarists who are bent on playing full time, but they may have obligations that require more consistent employment.
I know plenty of excellent musicians who work day jobs not to support their musical dreams, but to put food on the family table. They pay mortgages, put children through school, provide services, and contribute to their community. Music may not be their vocation, but it’s never far from their minds. So where do they go to meet their music community?
A good friend of mine has studied music extensively in L.A. and New York. He’s been mentored by the pros, and he takes his playing very seriously. Like many, he always had day jobs, often in educational situations. While pro gigs were sometimes disappointing, he found that he really enjoyed working with kids and eventually studied and achieved certification as an educator. To remain in touch with his love of music, he plays evenings and weekends with as many as three groups, including a jazz trio and a country band. Not actually worrying about having a music gig that could support him in totality has changed the way he views playing out and recording. He doesn’t have to take gigs that put him in stressful situations; he can pick and choose. He’s not fretting over “making it.” In some way, he’s actually doing what we all want, to play for the music plain and simple.
Another guy I know has played in bands since his teens. He’s toured regionally and made a few records. When the time came to raise a family, he took a corporate job that is as about as far away from the music business as you can get. But it has allowed him to remain active as a player, and he regularly releases albums he records in his home studio. His longstanding presence in the music scene keeps him in touch with some famous musicians who guest on his recordings. He’s all about music head to toe, and when he retires, I’m certain he’ll keep on playing.
“Seek out music people regularly. They’re hiding in plain sight: at work, at the park, in the grocery store. They sell you insurance, they clean your teeth.”
I could go on, and I’m sure you know people in similar situations. Maybe this even describes you. So where do we all find our musical compadres? For me, and the people I’ve mentioned, our history playing in bands and gigging while young has kept us in touch with others of the same ilk, or with those who are full-time musicians. But many come to music later in life as well. How do they find community?
Somehow, we manage to find our tribe. It could be at work or a coffee shop. Some clubs still have an open mic night that isn’t trying to be a conveyor belt to commercial success. Guitarists always go up to the stage between changes to talk shop, which can lead to more connections. I like the idea of the old-school music store. Local guitar shops and music stores are great places to meet other musicians. Many have bulletin boards where you can post or find ads looking for bandmates. When I see someone wearing a band T-shirt, I usually ask if they’re a musician. Those conversations often lead to more connections down the line. Remember, building a network of musicians often requires persistence and putting yourself out there. Don’t be afraid to initiate conversations and express your interest in collaborating with others.
Of course, I’m lucky to have worked in the music sphere since I was a teen. My path led to using my knowledge of music and guitars to involve myself in so many adventures that I can hardly count them. Still, it’s the love of music at the root of everything I do, and it’s the people that make that possible. So whether you’re a pro or a beginner, seek out music people regularly. They’re hiding in plain sight: at work, at the park, in the grocery store. They sell you insurance, they clean your teeth. Maybe they’re your kid’s teacher. Musicians are everywhere, and that’s a good thing for all of us.