PG's Charlie Saufley is On Location in Anaheim, CA, at the 2013 NAMM Show where he visits the Santa Cruz Guitar Company booth. In this segment, we get to see some of their custom guitars.
PG's Charlie Saufley is On Location in Anaheim, CA, at the 2013 NAMM Show where he visits the Santa Cruz Guitar Company booth. In this segment, we get to see some of their custom guitars.
Bassist Scott Thunes first started with Frank Zappaās band when he was 21 years old.
The idiosyncratic musician has gone from Zappa to the classroom, even though he says āI canāt write a bass line to save my life.ā
I was surprised, intrigued, and thrilled to encounter some rather audacious bass playing at an outdoor school benefit show I played this past fall in Lagunitas, California. I was nowhere near the stage (instead, I was waiting in line for my benefit show compensationāa free meal), but I could still hear the emergence of busy, angular lines and unusual chords rumbling across the hillside venue. When I started setting up for my bandās set and the earlier band was packing up, I spotted the responsible bassist, and it all made sense.
It was Scott Thunes, the low-end raconteur who started playing with Frank Zappa at age 21. He spent the better part of the ā80s in Zappaās band, appearing on numerous live albums and a couple of studio recordings, including the bandleaderās 1982 Top 40 single, āValley Girl.ā His career resume includes stints with Steve Vai, Mike Keneally, the Waterboys, the Mother Hips, and Fear, among others.
In recent years, Thunes (pronounced ātoo-nessā) has toured with the re-formed Zappa Band, Banned from Utopia, which plays a few times a year at the venerable Los Angeles venue the Baked Potato. Catch one of these shows and youāll see how Scottās tremendous facility on his instrument and unusual creative approach add a level of complexity to Zappaās famously challenging music.
āI canāt write a bass line to save my life,ā he claims, striking a tone that seems less like a reluctant confession and more like a bold stylistic declaration. āFor 99 percent of bass players, the job is to be the intermediary between the drums and the guitarāto be both harmonic and rhythmic. And a lot of bass parts have that really great element. Thatās wonderful, but people who know my playing donāt hire me to do that,ā he says.
āIām not big on laying down a bass part and then just sitting on it. Iām not a groove monster, and I never have been. Thatās not why Frank hired me. I need to have space to express myself, and unfortunately that makes me fall very drastically into the overplaying bass player type. I have absolutely no problem with that because Frank didnāt have a problem with that.ā
Thunes describes his āmindful overplayingā as something heās not always been happy with. āIāve been fired from more bands than Iāve been hired by,ā he deadpans, before allowing a slight, sly grin.
Then thereās the Ramones. Thunes is a teaching artist for the rock band program at Marin School of the Arts at Novato High School in Novato, California. On the day we spoke, his six teenage bands performed medleys of the pioneering American punk bandās material as part of a final exam.
āI was really not expecting them to do well with the Ramones,ā he reveals, āespecially the more advanced kids, who think the Ramones are too simple. But they pulled it off. Iām very happy about it. The energy was really high, the percentage of downstrokes was up at around 85 or 90 percent, and they got tiredātheyāre supposed to. It was a great experience for me today, to have my kids not piss all over one of the greatest bands of all time.ā
As for his own approach to playing music. Scott says he doesnāt really think of himself as a bass player. āI think of myself as Scott Thunes, who has chosen the bass as the area in which I express myself,ā he says. āNow, I may not be able to write a melody or a bass line, but I can find my way through the intricacies of a harmonic system and ply my trade. Thatās really all I wanna do. I just want to find a space to put my stuff in.ā
For a more in-depth perspective on Scott Thunes, check out two books by Thomas Wictor: In Cold Sweat: Interviews with Really Scary Musicians and Ghosts and Ballyhoo: Memoirs of a Failed L.A. Music Journalist.
Light and very comfortable to play. Creative tonal options. Excellent hardware.
P-90s may be too hot or bright for some. Middle pickup not as articulate as expectedāand surprisingly difficult to activate on the fly.
$1,229
Vola Guitars JZ FRO
volaguitars.com
Pro hardware, unusual circuit tweaks, and killer playability lend new twists to the P-90 solidbody template.
For nearly 10 years, Vola Guitars' Japan-made instruments stood out for their somewhat unorthodox features, quality execution, visual vibes that walk the line between traditional and modern, and mid-level prices that rival industry heavyweights. In the companyās varied line of 6- and 7-string guitars (and 4- and 5-string basses), the JZ FRO is more on the traditional end. Yet it still stakes out its own territory in terms of style and performance.
Subtle Upgrades
Volaās most distinctive aesthetic feature is undoubtedly the bodyline scoop/flourish near the rear strap button. On the JZ FRO, it lends a dash of elegance and sophistication to an outline that might otherwise seem too literally Jazzmaster-like, while the handsome roasted maple neck, swooped reverse headstock, and nonstandard pickup scheme help make it clear this isnāt your average offset. Itās a classy, understated look even in the modelās flashier aged-copper and shell-pink hues. But look closer and youāll note appointments that a lot of seasoned guitarists will appreciate, including Luminlay position markers, stainless steel frets, and a direct-to-output circuit bypass switch situated between the volume and tone knobs.
Slicing and Then Some
Itās not often you see a solidbody outfitted with a pair of humbucker-sized P-90s anda Strat-style middle pickup. The P-90s are alnico 5 units measuring 9.5k and 10.5k ohms resistance. To avail you of this circuitās numerous tones the JZ FRO incorporates a deceptively simple-looking control array. Thereās a lone tone knob, a traditional 3-way selector, and a master volume that pulls up to bring the S-style middle pickup into the mix. In this mode, with the pickup selector down, you get the bridge and middle pickup, in the middle you get all three pickups, and in the up position you get the neck and middle pickups. (More on mid-pickup tones in a minute.)
The P-90s are pretty hot, with a lot of punch and zing. In fact, the bridge pickupās leanness and the neck pickupās gristliness sometimes evoke Gibson P-100s.
With the JZ FRO routed through a Celestion Ruby-outfitted 6973-powered combo set to a bit of grind, I loved the bridge pickupās tough airiness. Thereās a detailed, vintage-esque character, and it gets toothier as you pair it with a boost or dirt pedal to drive an amp hard. Compared to the vintage-spec Curtis Novak P-90s in my Les Paul Special, the Volaās bridge pickup is a little less warm and brawny, but also probably a bit more malleable and adaptable to different genres, especially if youāve got a lot of effects in your signal path. The neck pickup is similarly powerful, though its contrasts with a traditionally voiced P-90 feel less apparent.
How about that middle pickup? Paired with the bridge unit, it yields funky, Strat-like quackāa tone youāre not going to get with most dual P-90 guitars. Accent them with a wiggle of the super smooth-operating Gotoh trem, and the Strat allusion is even stronger. Mind you, all this tone variation is available beforeyou activate the tone-circuit bypass. It acts like a powerful onboard boost: Everything is louder, hotter, and leaner.The Verdict
Vola deserves big kudos for packing so many unique features into a guitar that feels and plays this nicely at such a reasonable price. The novel tone-circuit bypass could help you cut through a dense mix or boost your solo even when youāre away from your pedalboard. That said, in some positions I found it sounded a little strident or hi-fi, and the fact that the circuit-bypass mode renders the volume knob useless makes it something of an all-or-nothing proposition. The added middle pickup expands tonal possibilities beyond P-90 norms, but donāt expect the same type of added clarity youād get from a Stratās middle pickup. Even so, the JZ FROās exceptionally smooth performing hardware and excellent craftsmanship make playing a breeze and a pleasure, and its VFP90 pickups pack a mix of power, clarity, and flexibility that make it a great choice for biting rock and thick, bristling blues tones.
Thereās no disputing the influence B.B. King has had on the history of electric guitar music. Weāre talking about his sound, his best records, his guitars, his showmanship, and his collabs, from an all-star jam at the 2010 Crossroads festival to, yes, even his 1988 U2 collab, āWhen Love Comes to Town.ā
Thereās no disputing the influence B.B. King has had on the history of electric guitar music.
With Lucille in handāas well as other guitarsāhe carved out his sound by developing a signature one-of-a-kind vibrato and pick attack. His note choice, phrasing, and feel have basically become the fundamental vocabulary of electric blues. Even more than any other of his blues peers, his playing shaped blues and rock guitar. And thatās not to mention his singing.
So, on this episode of 100 Guitarists, weāre celebrating the King. Weāre talking about his sound, his best records, his guitars, his showmanship, and his collabs, from an all-star jam at the 2010 Crossroads festival to, yes, even his 1988 U2 collab, āWhen Love Comes to Town.ā
In our current listening segment, weāre talking about Brian John McBreartyās recent meditation-jazz release Remembering Repeating and Julian Lageās latest, Apple Music Nashville Sessions.
This episode is sponsored by Gibson.
A terrific twosome or a terrible twinning? It all depends on how you tame your treble.
Rein in those icy high frequencies with these handy tips.
Classic vintage Fender amps are renowned for their clean, shimmering tones. However, dialing in the āsweet spotā isnāt always straightforward, especially when you're playing on a new or borrowed amp. Pair these amps with Fender guitarsāalso known for their brightnessāand the combination can sometimes result in ear-piercing treble and overwhelming volume. An amp thatās too powerful or an unsuitable guitar pairing can easily derail the musical moment youāre trying to create. So, controlling treble is crucial, particularly with louder amps.
In this article, Iāll share my experiences with Fender amps and how Iāve tamed treble issues through guitar tweaks, speaker swaps, amp modifications, and pedals. My goal is to help you achieve those glorious vintage Fender tones without losing your earsāor your audienceāin the process.
Backline Bargaining
Iām extra cautious about bringing my brightest Strats or Teles to gigs with rented backline amps. Newer Deluxe Reverbs, for example, can be particularly tricky with dialing in a smooth tone. These amps often feature bright ceramic speakers and the EQ options are limitedāthereās no bright switch to dampen the top end and no mid knob to add warmth.
Hereās what I do: I start by turning down the tone knob on my Okko Twinsonic overdrive pedal, which is very transparent. My old Ibanez Tube Screamers naturally rolled off much of the high end, making them easier to pair with brighter amps.
I also adjust the microphone placement set up by the sound crew. The tone gets brighter the closer the mic is to the center of the speaker cone. I angle the SM57 slightly and aim it closer to the outer edge of the cone, leaving a 3ā4 cm gap from the grill cloth. Larger 12" or 15" speakers are more forgiving in this process, while smaller 10" speakers are less so. Iāve encountered challenging amps, like a Super Reverb loaded with 10" JBL speakers featuring aluminum dust caps. These amps sounded much harsher through the PA than they did on stage, making mic placement even more critical.
Dimming the Bright Caps
Bright caps are key components in shaping an ampās treble response. On the Deluxe Reverb, the bright cap is always enabled, which can make brighter guitars sound harsh, especially at low volumes or when using fuzz pedals. Cranking the amp helps by adding more upper mids to the mix.
For my own Deluxe Reverbs, I sometimes disable the 47 pF bright cap or, more often, install a 25k mid pot on the back panel to add warmth. It depends on the tones Iām chasing.
Smaller amps like the Fender Champ and Princeton donāt have bright caps, which naturally gives them smoother tones. But if they sound too dark or muddy, you can add a bright cap. I installed a 100 pF bright cap on my 1966 Princeton Reverb (which has a Jensen C10N speaker from the same year, though not original to the amp). After experimenting, I settled on a 47 pF cap for just the right amount of clarity.
If youāre up for a bit of DIY, experimenting with bright cap values can significantly shape your tone. Black-panel and silver-panel Fenders typically use 120 pF bright caps, with exceptions like the Deluxe (47 pF) and the Princeton and Champ (none).
Guitar Tweaks for Warmer Tones
Your guitarās setup can also make a big difference. Thin strings combined with pickups set too close to the strings can result in a thin, overly bright tone. Hereās how I address this:
ā Lower the pickups slightly. I start with a 2ā2.4 mm gap on the high E string and 2.4ā3.3 mm gap on the low E, measured between the pickup pole and the string when fretted at the highest fret. Then, I fine-tune by ear to balance output across pickup positions.
ā Use thicker strings for a warmer, fuller tone. I tune my guitars down to Eb to deepen the sound and increase sustain. Keep in mind, though, that this can create a looser, flabbier bass response on smaller amps.
ā Hotter pickups add mids and bass, naturally reducing treble dominance. Alternatively, lowering the resistance of the volume pot can smooth out the tone by filtering high frequencies. However, changing pot or cap values will alter how your guitar responds when rolling down the tone or volume knobs.
Speaker Swapsā
Finally, and perhaps most importantly, speakers play a huge role in shaping your tone. Swapping speakers or experimenting with extension cabinets is one of the most effective ways to adjust treble, mids, or bass. Iāve written extensively about this in previous articles, but itās worth emphasizing here: The right speaker pairing can make or break your tone.
I hope these insights help you conquer any treble troubles and coax balanced tones from your Fender amps. Happy tinkering!