NAMM '15 - Source Audio Nemesis Delay, Vertigo Tremolo, and After Shock Bass Distortion Demos
The kings of flexibility simplify a new line of effects for guitar and bass.
Paul Reed Smith believes “that it’s not about the country that an instrument is made in. It’s always been about the skill level of the guitar makers.” Here’s why.
For us, import guitars started when Carlos Santana asked, “Paul, can we make a PRS that’s much more affordable for all the students that talk to me about owning one of my guitars?” I said, “Sure. I’ll get you a prototype for your approval.” When we brought him the prototype, he was impressed, and his comment was, “This was made in America, right?” And I said, “No. This was made overseas.” The contract for his approval was on the table, and he leaned over and signed it as fast as he could. It was a good moment for him and my company because our integrities were on the line, and we had a product we thought was a real instrument.
I’ve always believed that it’s not about the country that an instrument is made in. It’s always been about the skill level of the guitar makers. When we first started traveling to overseas guitar-manufacturing facilities, we found that almost all their training over the decades had been to go fast, while our teaching about how to make instruments was about how to go well. Once they knew how to go well, they didn’t know how to slow down. And the guitars they produce are of the same caliber as what we make here.
Years ago, I visited Fujigen Gakki, which was one of the original manufacturers for Ibanez and overseas-built Fender instruments. They also made George Benson’s archtops. I was impressed. When I was a child, Japanese manufacturing was known for making cheap transistor radios. Now, instruments made in Japan have real cache. Not because the country they were made in changed, but because the guitar-making skill level has gotten so much higher. Fujigen at the time when I visited was an extraordinary guitar-making facility. PRS models could easily have been made there, and I knew it when I visited.
What I’ve been deeply concerned about is that we teach our overseas partners how we want instruments to be, using our techniques. So, as a definitive statement, the country a guitar is made in does not matter much. The skill and care of the instrument makers does matter. Let me give you a few historical examples. Stradivari, Guadagnini, and Guarneri violins are the most-valued, and were made in Italy. Some of the early overseas-built Stratocasters were made in the mountains in Japan near the Seiko watch factory, and they are now highly desirable. A huge percentage of high-end classical and flamenco guitars were made in Spain.
“Believe me, if I got fired and moved to Mexico, within eight months, I’d be making high-end guitars there.”
Jack Higginbotham, who is one of my partners at PRS, is teaching our Indonesian guitar-making partner, Cor-Tek Musical Instrument Company, how to make guitars our way, every day. I’ve never seen anything quite like it, and I trust it. Over and over again, we’ve been told by Cor-Tek that our constant request is that we want them to do it right in terms of instrument making, while most of the other manufacturers’ requests are centered around how they can get finished instruments for less money. That just doesn’t make sense to me. These foreign instrument-makers take great pride in their work and their products, and, in my experience, want to do a great job. We were the first company to put our overseas manufacturer’s name on the back of our headstocks. We did it so the company would take pride in its work. Believe me, if I got fired and moved to Mexico, within eight months, I’d be making high-end guitars there.
So, if you’re looking for an instrument, you should evaluate it the same way, regardless of country of manufacture: How does it look, how does it feel in your hands, how does it sound acoustically, how does it sound electrically, and, most important, will it do the job you want it to do? A guitar is a tool to make music and should be evaluated as such no matter its country of origin. Very often, a country will have a reputation for being better at making some kinds of products than others, but that changes over time. As an example, the Swiss are better at making watches than the U.S. has ever been, but not grandfather clocks.
I hope this was helpful. By the way, I’ve seen some unplayable instruments made in this country. We call such products, regardless of origin, “guitar-shaped objects.” I’ve also played some real gems not made in the U.S. I guess this will start a few threads.
Handcrafted by the Gibson Custom Shop, only 100 guitars will be made, featuring premium appointments and a Murphy Lab Light Aged Walnut finish.
B.B. King’s performance at the Zaire 74 festival--which took place September 22-24 at the Stade du 20 Mai in Kinshasa, Zaire (now the Democratic Republic of the Congo)--was a powerful moment in music history, bringing the soul of the blues to the stage, uniting a global audience. B.B. King’s performance alongside James Brown and more set the tone for one of the most iconic sporting events of all time, the “Rumble in the Jungle,” a groundbreaking heavyweight championship fight between boxing legends Muhammed Ali and George Foreman, which ended up taking place on October 30, 1974.
“B.B. King’s performance at the ‘Rumble in the Jungle’ was not just a concert--it was a defining cultural moment,” says Vassal Benford, CEO and Chairman of the B.B. King Music Company. “We are honored to collaborate with Gibson to create a guitar that captures both the artistry and spirit of B.B. King’s legendary performance. This instrument is more than a tribute-it’s a continuation of his enduring legacy, ensuring that future generations of musicians can connect with the heart and soul of the blues. The ‘Rumble in the Jungle’ guitar is a knockout, and Gibson’s craftsmanship is unmatched. This is a great surprise for the BIRTHDAY month of the Iconic Mr. King. Thank you, Gibson from the ALL of the King Family!”
Handmade by the master craftspeople of the Gibson Custom Shop in Nashville, Tennessee, the B.B. King “Rumble in the Jungle” 1974 ES-355 is an instant collector’s item, and only 100 guitars will be made.
The B.B. King “Rumble in the Jungle” ES-355 from Gibson Custom is a limited edition guitar that accurately replicates B.B.’s Walnut 1974 ES-355 he used for the concert. Like all ES-355 models, the B.B. King “Rumble in the Jungle” 1974 ES-355 features premium appointments befitting every top-of-the-line Gibson ES™ model, including mother-of-pearl fretboard inlays, Murphy Lab aged gold hardware, a Custom split diamond headstock inlay, T-Type Custombucker pickups, a mono Varitone switch, and a Maestro Vibrola tailpiece. It also comes bundled with a host of case candy that ties back to that historic festival performance, as well as the legendary Rumble in the Jungle fight itself. The B.B. King 1974 ES-355 “Rumble in the Jungle” arrives in a stunning Murphy Lab Light Aged Walnut finish, and a B.B. King “Zaire” hardshell case is also included.
For more information, please visit gibson.com. Price: $9,999.00 USD.
Inspired by elements of three of Jack White’s vintage amps–a 1964 Vibroverb, a 1960 Vibrasonic, and a 1993 Vibro-King–the Pano Verb Amp delivers many unique design features never before found on a Fender Amplifier. Jack worked closely with Fender to create the Pano Verb, an entirely new and versatile tube amplifier unlike anything you’ve heard before.
The Pano Verb’s cosmetics echo the Third Man iconic “yellow, black and white” aesthetic, so it looks as incredible as it sounds. A product of Fender in Corona, Calif., U.S.A., the Pano Verb is destined to become a modern classic for players that desire a distinctive sound for both stage and studio
Digital control meets excellent Brit-favored analog drive and distortion tones in a smart and easy-to-master solution.
Tons of flexibility and switchability that’s easy to put to practical use. Many great overdrive sounds spanning a wide range of gain.
Takes a little work up front to get your head around the concept.
$349
RJM Music Technology Full English Overdrive
rjmmusic.com
Programmability and preset storage aren’t generally concerns for the average overdrive user. But if expansive digital control for true analog drive pedals becomes commonplace, it will be because pedals like the Full English Programmable Overdrive from RJM Music Technology make it fun and musically satisfying.
Following on from the Overture, which combined classic overdrive types and original RJM circuits, the Full English is dedicated to serving up as many British-flavored overdrive flavors as you would find on its famously over-the-top namesake breakfast dish. (Which drive is the black pudding, we have yet to decide.) The pedal’s digital capabilities make navigation easy, facilitate MIDI implementation, and enable user editing of presets via Mac/PC/iOS software. But the overdrives and signal chain are fully analog, and it sounds great as a result.
Brit Box Abounding
Any one of the six core overdrive circuits can be the foundation for a preset. From mellowest to heaviest (more or less), they include push, blues, royal, imperial, shred, and stack. Each can be adjusted WYSIWYG-style with the gain, tone, volume, bass, mid and treble knobs (the latter three are configured as post-gain EQ). They can then be saved—overdrive mode, knob settings and all—to one of eight preset slots by a long-press of the same button that cycles through the six voices. The right footswitch is a standard on/off while the left selects from four active presets. But stomping both footswitches together toggles between red and green preset banks, enabling access to the full eight. All told, it’s easy, straightforward stuff.
Even when the pedal is bypassed, the active preset is indicated by the slot and mode lights, so you don’t lose track of what lies in wait when you switch on. Doing so illuminates a red LED above the on/off footswitch, indicating an active preset. Twist a knob, though, and that on/off LED turns green, indicating you’re in a live state for that control function, or any others you manipulate. The pedal also includes a USB-C port for connecting to your computer, where it will appear in any MIDI-enabled app.
Royal Flush
I taste-tested the Full English with a Telecaster and an ES-335 through Vox and Fender tweed-style amps. No matter the combination, the RJM’s core sounds were robust and wide-ranging, with all the dizzying performance versatility the feature set implies. Players are likely to find something to love in all six modes, although for pure aural appeal, I was most drawn to the medium-drive ODs—royal and imperial. Each was rich, thick, and lusciously saturated, plus easy to shape and re-voice to right where I wanted with a twist of the very capable EQ.
Stack and shred were fun for really slamming the amps, though, and well-suited to heavy rock leads and classic metal, respectively. Though the six modes span a pretty huge range of gain, I can see plenty of players getting good use out of all six modes and moving between radically different sounds from song to song—or within one, for that matter. Even using eight variations of one or two favorite core voices offers a ton of variety for rhythm, crunchy chords, lead, and solo-boost settings. And other than the time invested in the initial user-reconfiguration, it’s easy to use in practical, real-world performance situations.
The Verdict
RJM Music Technology has done a fantastic job of taking analog overdrive into the programmable realm here. The number of really great sounds is enough to impress. But it’s the preset options, MIDI control, and the ease with which you can put them to work that take the Full English over the top—both in terms of pure usefulness and appeal to old-school players that, to date, found anything more than a 3-knob overdrive too complex.