
Vintage goldtop-inspired with unusual tonewoods and custom P-90s
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More Than a Pretty Smell
The guitar feels and looks bigger than a Les Paul, yet lighter, warmer, brighter, and more resonant. Its weight made me wonder if perhaps the guitar was a semi-hollow body, or at least chambered. It is, in fact, solid Spanish cedar with an Eastern maple cap over the body and headstock. The neck is also Spanish cedar with curly maple bindings and a wenge fretboard—another unique choice, as wenge is far more common on bass necks and fretboards than electric guitars. The wenge fretboard is polished but otherwise unfinished, with inlaid with mother-of-pearl trapezoids. The neck is smooth and well-lacquered, though the grain can be felt on your palm, especially with lateral movements. The grain feel did not impede my playing or speed, and was just another reminder of the organic and lively nature of the instrument. The d-cut neck and 12" radius seems built for tone and comfort with minimal compromises to speed and dexterity. The neck's 22 frets lie across a 24.75" scale, all making for very Les Paul-like dimensions. With the Gibson-esque goldtop finish on the maple body cap and P-90-style soapbar pickups, a mental comparison is immediately drawn to early Les Paul Goldtops. Builder Doug Kauer confirms that the sought-after vintage instruments were an inspiration for the Kauer Daylighter Standard.
With the wenge and Spanish cedar wood selections, clearly Kauer is aiming for a guitar with its own feel and tone, and not just an artisan version of the tried and true. And while the neck specs may remind a player of a Les Paul, the feel of the neck didn't quite. It felt good, but thicker than its measurements, and despite gravitating toward slinkier superstrat profiles, I was surprised out how natural it felt moving up and down the neck.
The guitar features a pair of custom-wound Wolfetone P-90s based on the company’s “Mean” model (8k output with alnico II magnets) with an underwound neck pickup. The model sent to me shipped with a typical three-way pickup toggle mounted in the upper horn, and a set of gold-finished volume and tone bell knobs for each pickup. If you prefer a simpler setup, the guitar is also available in a two-knob master volume and tone setup. The open-back Sperzel SoundLock tuners have an anodized finish and pearl-colored tuning keys. As the name implies, the tuners incorporate a string-locking feature that is friction-based and allows for quick, reliable stringing. Just run the string through the shaft and out into a slot on the post. A quick turn of the tuner locks the string in place. The tuners were very smooth and ultra-precise strobe tuning was a breeze.
The Daylighter Standard also comes stock with a TonePros wraparound tailpiece and an optional bridge. That's the right, you can get this guitar with or without a bridge, like early Les Paul goldtops. This setup did cause me to worry a little about intonation, but I perceived no intonation issues up and down the neck.
Plugging In
While the Daylighter Standard may have been inspired by the 1954 Les Paul goldtop, the guitar's tone is very much its own thing. Some consider Spanish cedar a suitable substitute for mahogany, but I have to say it sounds warmer and more resonant than any mahogany instrument I have played. It is very lively with a resonance beyond traditional solidbody electrics—so much so that it is hard to compare it with any benchmark electrics. The highs were very organic, warm, and not thin—definitely not super bright like a Fender, nor dark like a Les Paul, but with elements of each. The bottom on both neck and bridge pickups was slightly Fenderish, but with more dimension. The satisfying sustain was reminiscent of a Les Paul.
The guitar distorts really well, allowing its tonal character to really come to life with plenty of bite and an excellent harmonic range. This was especially true with chordings where the complex harmonics of six-string chords really come to life. Where a distorted power chord on many guitars can sound like a single—albeit, fat—musical element, on the Daylighter the same chords sounded complex, like six strings working in concert instead of six strings acting as a single sound. This unique attribute definitely is a product of all of the components coming together, rather than just the pickups or tonewood.
The Daylighter's character translated to lead lines fairly well also, though busy shred solos didn't translate as well as elongated, whole-note melodies. Single-note vibratos and bends made for better lead lines than arpeggios and sixteenth notes, and allowed the guitar's lively, harmonically rich voice to sing out. For some, the guitar may not get dark enough. Still, it's the kind of guitar where you can do a lot with just one note on one string. The P-90s are no doubt a factor in all the above, and the guitar is an excellent example of why P-90s are still popular today—as well as a reminder of the amount of hum inherent in a hot P-90 running through an overdriven amp.
Physically the guitar feels good on your shoulder, against your gut, and in your hands. Not overly lacquered like some boutique instruments, the Daylighter is very much a guitar to be played. The body style is somewhat retro, and subtly contoured. As mentioned earlier, the body looks bigger than a Les Paul's, and with that much surface, placement of the controls matters quite a lot. With the pickup toggle on the upper horn, and the pickup knobs very near the bottom of the instrument, the controls felt too spread out. I had to reach quite a bit for the bridge pickup knobs, which, like the neck pickup knobs, are slightly recessed. Placement, combined with the glassy, Gibson type bell-shaped knobs on medium-stiff pots means this is not a guitar you can adjust quickly. Controlling volume and tone and pickup selection, while not quite cumbersome, was methodical at best. Given the hot P-90s, cranking back guitar volume is mandatory for a true clean sound. This highlighted the navigational challenges of the instrument. And while the goldtop finish was nicely done with just the right amount of metallic sheen to it, the body size and shape lends itself to finishes with more contrast and color. It’s an aesthetic preference, and luckily Kauer offers additional finish options if the gold doesn’t float your boat.
The Verdict
Kauer Guitars deserves respect for evolving the classic features of a vintage electric into something that sounds and feels very original in tone and construction. While today’s Gibsons haven’t strayed much from their 50-year-old ancestors, the Kauer Daylighter Standard shows that pleasant surprises lie outside the traditional mainstream conventions of solidbody electric guitars. Though the Kauer Daylighter sounds great, a $3400 dollar price tag for a vintage-inspired, 'no frills' instrument may give pause in today's economy. However, if you are going to spend that much on a guitar, it ought to be for the tone and not the legacy.
Buy if...
you want big, lively, warm original tone, with very good playability, and can swing for the boutique price.
Skip if...
you need a dark tone, shred speed, or an affordable instrument.
Rating...
MSRP $3400 - Kauer Guitars - kauerguitars.com |
Featuring torrefied solid Sitka Spruce tops, mahogany neck, back, and sides, and Fishman Presys VT EQ System, these guitars are designed to deliver quality tone and playability at an affordable price point.
Cort Guitars, acclaimed for creating instruments that exceed in value and quality, introduces the Essence Series. This stunning set of acoustic guitars is designed for musicians looking for the quintessential classic acoustic guitar with fabulous tone all at an exceptional price point. The Essence Series features two distinct body shapes: The Grand Auditorium and the OM Cutaway. Whatever the flavor, the Essence Series has the style to suit.
The Essence-GA-4 is the perfect Grand Auditorium acoustic. Wider than a dreadnought, the Essence-GA-4 features a deep body with a narrower waist and a width of 1 ¾” (45mm) at the nut. The result is an instrument that is ideal for any number of playing styles: Picking… strumming… the Essence GA-4 is completely up for the task.
The Essence-OM-4 features a shallower body creating a closer connection to the player allowing for ease of use on stage. With its 1 11/16’th (43mm) nut width, this Orchestra Model is great for fingerpickers or singer/guitarists looking for better body contact for an overall better playing experience.
Both acoustics are topped with a torrefied solid Sitka Spruce top using Cort’s ATV process. The ATV process or “Aged to Vintage”, “ages” the Spruce top to give it the big and open tone of older, highly-sought-after acoustics. To further enhance those vintage tones, the tops bracing is also made of torrefied spruce. The mahogany neck, back, and sides create a warm, robust midrange and bright highs. A rosewood fingerboard and bridge add for a more balanced sound and sustain. The result is amazing tone at first strum. 18:1 Vintage Open Gear Tuners on the mahogany headstock offer precise tuning with vintage styling. The herringbone rosette & purfling accentuates the aesthetics of these instruments adding to their appeal. Both acoustics come in two choices of finish. Natural Semi-Gloss allows the Sitka spruce’s natural beauty to shine through and classic Black Top Semi-Gloss.
A Fishman® Presys VT EQ System is installed inside the body versus other systems that cut into the body to be installed. This means the instrument keeps its natural resonance and acoustic flair. The Presys VT EQ System keeps it simple with only Volume and Tone controls resulting in a true, crisp acoustic sound. Lastly, Elixir® Nanoweb Phosphor Bronze Light .012-.053 Acoustic Strings round out these acoustics. This Number 1 acoustic guitar string delivers consistent performance and extended tone life with phosphor bronze sparkle and warmth. The Essence Series takes all these elements, combines them, and exceeds in playability, looks, and affordability.
Street Price: $449.00
For more information, please visit cortguitars.com.
Cort Essence-GA4 Demo - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Moth Electric's C. regalis overdrive pedal offers massive boost, natural overdrive, and searing distortion for guitar and bass. With active treble and bass controls, clean blend, Smooth/Crunch modes, and true-bypass switching, this USA-made pedal is a versatile addition to any pedalboard.
Adding a new model to their line of overdrives, Moth Electric has released the C. regalis. Equally suited for guitar and bass, the meticulously designed C.regalis is capable of massive boost, natural, singing overdrive, and searing mid-gain distortion. Its six op-amps power a dynamic, crunchy overdrive circuit with a suite of features including:
- Active treble and bass controls that allow for +/- 15db boost and cut. Perfect for tailoring the C. regalis to your instrument and amp.
- A powerful clean blend for introducing either your amp’s natural character or another effect into the equation. Allows the C. regalis to become a more transparent overdrive.
- Smooth/Crunch modes, provide a subtle change in feel with ‘Smooth’ increasing sustain and ‘Crunch’ introducing high-order harmonics for additional texture.
The C. regalis offers the following features:
- Bass, Treble, Blend, Volume, Drive controls
- Smooth/Crunch modes● More volume than you’ll ever need
- True-bypass switching, top-mounted jacks for easy placement on crowded pedalboards
- 9-volt DC operation with external power supply – no battery compartment
- Designed and hand-built in the USA using through-hole components
The C. regalis carries a $179.99 price and is available for purchase at mothelectric.com.
For more information, please visit mothelectric.com.
OK WOW. Moth Electric C.REGALIS - Pedals and Tea EP 57 - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Jack White's 2025 No Name Tour features live tracks from his album No Name, with shows across North America, Europe, the UK, and Japan.
The EP is a 5-song collection of live tracks taken from White’s 2024 edition of the tour, which was characterized by surprise shows in historic clubs around the world to support the 2024 album No Name.
No Name is available now via Third Man Records. The acclaimed collection was recently honored with a 2025 GRAMMY® Award nomination for “Best Rock Album” – White’s 34th solo career nomination and 46th overall along with 16 total GRAMMY® Award wins. The No Name Tour began, February 6, with a sold-out show at Toronto, ON’s HISTORY and then travels North America, Europe, the United Kingdom, and Japan through late May. For complete details and remaining ticket availability, please visit jackwhiteiii.com/tour-dates.
White’s sixth studio album, No Name officially arrived on Friday, August 2 following its clandestine white-label appearance at Third Man Records locations that saw customers slipped, guerilla-style, free unmarked vinyl copies in their shopping bags. True to his DIY roots, the record was recorded at White’s Third Man Studio throughout 2023 and 2024, pressed to vinyl at Third Man Pressing, and released by Third Man Records.
For more information, please visit jackwhiteiii.com.
JACK WHITE - NO NAME TOUR 2025
FEBRUARY
11 – Brooklyn, NY – Kings Theatre
12 – Brooklyn, NY – Brooklyn Paramount
17 – Boston, MA – Roadrunner
18 – Boston, MA – Roadrunner
21 – Paris, France – La Cigale
22 – Paris, France – La Trianon
23 – Paris, France – La Trianon
25 – Utrecht, Netherlands – TivoliVredenburg (Ronda)
26 – Utrecht, Netherlands – TivoliVredenburg (Ronda)
28 – London, UK – Troxy
MARCH
1 – London, UK – Troxy
2 – Birmingham, UK – O2 Academy Birmingham
3 – Glasgow, UK – Barrowland Ballroom
10 – Hiroshima, Japan – Blue Live Hiroshima
12 – Osaka, Japan – Gorilla Hall
13 – Nagoya, Japan – Diamond Hall
15 – Tokyo, Japan – Toyosu PIT
17 – Tokyo, Japan – Toyosu PIT
APRIL
3 – St. Louis, MO – The Factory
4 – Kansas City, MO – Uptown Theater
5 – Omaha, NE – Steelhouse Omaha
7 – Saint Paul, MN – Palace Theatre
8 – Saint Paul, MN – Palace Theatre
10 – Chicago, IL – The Salt Shed (Indoors)
11 – Chicago, IL – The Salt Shed (Indoors)
12 – Detroit, MI – Masonic Temple Theatre
13 – Detroit, MI – Masonic Temple Theatre
15 – Grand Rapids, MI – GLC Live at 20 Monroe
16 – Cleveland, OH – Agora Theatre
18 – Nashville, TN – The Pinnacle
19 – Nashville, TN – The Pinnacle
MAY
4 – Austin, TX – ACL Live at the Moody Theater
5 – Austin, TX – ACL Live at the Moody Theater
6 – Dallas, TX – South Side Ballroom
8 – Denver, CO – Mission Ballroom
9 – Denver, CO – Mission Ballroom
10 – Salt Lake City, UT – The Union Event Center
12 – Los Angeles, CA – Hollywood Palladium
13 – Los Angeles, CA – Hollywood Palladium
15 – Santa Barbara, CA – Santa Barbara Bowl
16 – Oakland, CA – Fox Theater
17 – San Francisco, CA – The Masonic
19 – Seattle, WA – The Paramount Theatre
20 – Seattle, WA – The Paramount Theatre
22 – Vancouver, BC – Commodore Ballroom
23 – Vancouver, BC – Commodore Ballroom
24 – Troutdale, OR – Edgefield Concerts on the Lawn
A dose of magic gain potion.
Works like a little vial of magic gain potion. Fattens without obscuring individual frequency bands.
None.
$129
Solodallas SVDS Boost
solodallas.com
The Schaeffer-Vega Diversity System—an early and very successful wireless system—excelled at the tasks it was designed for. But there was more magic than met the eye. Though designed to sound as transparent as possible, it nonetheless colored the signal in a way that people like Angus Young and Eddie Van Halen found essential.
SoloDallas explored the possibilities of this circuit before in pedals like theSchaeffer Replica, but the new SVDS Boost strips the formula to essentials. Minimalist controls—one knob, that’s it—make this boost no less delicious. I’m not surprised Angus Young was smitten with the original SVDS. An SG and Marshall 18-watt amp sound fantastic naked, but the SVDS Boost has the rare talent for fattening everything without seeming to favor or obscure any frequency band too much. And as zest to the PAF/Marshall style formula, it makes the kind of rowdy, organic, airy, large, and punch-packing Marshall sound you would dream of getting in a studio or hearing on the radio. There are many shades of this basic awesome color in spite of the single knob. Unity gain lives in the earliest third of its range. From there you certainly get more volume, but mostly you bathe in various hues of compressed, saturated, thick, and dynamite growl. You don’t need a Gibson and a Marshall to use it to devastating effect, either. A Telecaster and Vibrolux snap with attitude and whip-crack energy with the SVDS in the line. And with both guitar/amp combos, the SVDS’ wide dynamic responsiveness to volume and tone attenuation assures that things stay cracking when you need more control.