Check out what we saw on the final day, including new stuff from Mayones, Gamechanger Audio, Falbo, Crazy Tube Circuits, and more!
ET Guitars The Avenger
Ernie Taylor of ET Guitars makes his first trip to NAMM with a fanned fret, multi scale guitar for $800 ... and its sings. The Avenger is a speed demon with a basswood body, maple neck and rosewood fretboard, with proprietary Alnico 5/ceramic humbuckers and coil-splitting. The neck is a thin C profile and has a 24.75 inch scale, and the Frank Falbo designed tremolo is state of the art.
Build your own vintage-style fuzz! Win the StewMac Sun Fuzz Kit in the I Love Pedals giveaway. Enter today and come back daily for more chances!
StewMac Sun Fuzz Pedal Kit, With White Enclosure
Capture the legendary tones of 1960s germanium fuzz with the Sun Fuzz Pedal Kit. This build-it-yourself kit delivers the hand-wired warm, dynamic response and touch-sensitive feel that shaped the sound of early rock and psychedelia. Perfect for players chasing vintage tones or crafting their own signature fuzz, the Sun Fuzz offers a rewarding build and endless inspiration.
Club- or festival-provided stage amps can be hellish or angelic. Here are some of the devils and angels Premier Guitarās editorial director has encountered along the road.
I have a slight allergy to backline amps. I shouldnāt, because Iāve played through a lot of them at clubs and festivals over the years, and most of my experiences have been fine, but I think a few bad combos and unfathomable heads put me off to a degree I canāt quite shake.
One of the first times I got the backline shivers was in the ā90s at a New York City club gig supporting John Sinclair, where I was told we would not need to bring amps. Awaiting me was a severely scarred Peavey Bandit combo with nary a knob left on its face, and the EQ and pre gain didnāt even have posts left. I just twisted a few stumps and gave up on the rest. How was the sound? Like an amplified fluorescent light bulb. On the other hand, Iāve never met a backline Peavey Classic series amp I didnāt like. Or, really, almost any backline amp that got the TLC it deserved, along with the heavy use. I once plugged into a right-out-of-the-box amp delivered to a club in Geneva by a then-emerging European manufacturer that sounded great during soundcheck, but its transformer died on the first chord of the first song in my bandās set. Luckily, theyād sent two, so we had to stop, open a box, mic the new amp, and jump back on the horse.Another case: I like a little drive, so imagine my dismay to find a backline at a satellite tent at a major festival with zero master volume amps. At the time, I wasnāt using effectsājust a Strat and a Tele. So I plugged into a big blonde Fender and just turned up. The stage volume was brutal, but I had my tone so it was great. At least for me. I hope the drummer who played with me that day can still hear.
Sometimes, even speccing the backline doesnāt help. While playing a series of gigs in France, I requested either Vox or Marshall amps, such as an AC30 or JCM800, and at one big stage I encountered a fresh-looking JCM 2000 Triple Super Lead atop a 4x12. I must confess, I took one look at both decks of buttons and push-pulls and my heart sank. I was out of my comfort zone at the time. Try as I might, I could not get anywhere near the mocha, mid-ripe sound I get out of my ā72 Super Lead without turning up to a stratospheric level. I felt terrible. Not for the audience. It was an outdoor stage with plenty of open space. But for the stage crew. When one of them shouted, āTed, es-tu psychotique?ā between songs, I didnāt need to consult Google Translate to know what he meant. I was embarrassed and regretful about the volume, but had a great time playing, nonetheless. (Sorry, crew!)
āAwaiting me was a severely scarred Peavey Bandit combo with nary a knob left on its face, and the EQ and pre gain didnāt even have posts left.ā
Over this summer I played a voter registration benefit, and the large venue that held it sent a really appealing backline list, with a Deluxe and a DeVille included. When I got there, there was a Deluxe but no other guitar amp per se. I had to play through a bass amp, and it was okay, thanks to my pedals, but a decidedly less-than-magical experience.
I feel like Iām whining, but like most of you Iāve spent years chasing a particular tone, and when I have my own rig itās as delicious as German chocolate cake. So maybe Iām spoiled. And there are some backline amps Iāve coveted at gigsālike the humble Blues Junior at Nashvilleās Eastside Bowl thatās been upgraded with a Deluxe transformer. It speaks eloquently.
There have been many other funky, hard-to-manage (at least for me) backline amps Iāve wrestled with over the years. After all, Iāve played in a lot of juke joints and roadhouses. And I used to sweat about it. But I finally made my āwhateverā peace with backlines thanks to some advice from Luther Dickinson: āNo matter what an amp sounds like, you have to stay out of your own head.ā Just let the music fly.
In that spirit, two of this issueās gear features deal with backlines. One is a public service: If youāve never played through a backline, hereās what you should expect; or if youāre putting one together, as Iāve had to do many times, hereās what to consider. The other piece polls eight heavyweight guitarists on their own backline gear specsālending insight on how established pros ensure that they sound like themselves under any circumstances.
So, if stage life throws you a lemon for an amplifier, just plug in and make it as juicy as you can. Donāt worry, because thereās another gig down the pike where youāll sound exactly like yourself.
Two Notes Unveil the Next Giant Leap in Their Reactive Load Box Legacy With Reload II
Introducing Torpedo Reload II - Two Notes Audio Engineering's latest groundbreaking reactive load solution, featuring twin-channel operation, multi-impedance compatibility, and continuous attenuation. With a CelestionĀ® Approved Load Response and 215W per channel power amplifier, Reload II redefines backline control.
Two Notes Audio Engineering, the world's leading innovator and manufacturer of load boxes, attenuators, and digital cabinet emulators, has just announced Torpedo Reload II - The latest installment in Two Notesā class-leading reactive load solution legacy marking the definitive watershed in contemporary backline control.
Featuring twin-channel operation, selectable multi-impedance compatibility, and true continuous attenuation, Reload II is Two Notesā most advanced Load Box to date. Its mission is simple: unleash the power of any amplifier or line-level source without compromise. Armed with a ground-up rework of their defining reactive load for a CelestionĀ® Approved Load Response, the match is set to drive any ampās power stage (rated up to 200W RMS) to perfection, retaining all the sonic integrity your performance demands. Scalable from a whisper to a full-throttle onslaught, Reload IIās ultra-transparent dual-mono 215W (per channel) amplifier/attenuator and paired speaker outputs preserve every facet of your tone. Add a Stereo FX Loop, dual Line outputs, and GENOME Reload II Edition (software download) into the mix and Reload doesn't just enhance your rig, it redefines it.
āWhen it came to developing Reload II, it was obvious this couldn't be a run-of-the-mill update of its predecessor. Fuelled by an ethos rooted in continual redefinition of contemporary backline control, we set our sights on a ground-up rework of our defining reactive load. The results speak for themselves: hands-down the best-in-class impedance match available on the market to date and the first reactive Load Box to feature an industry first CelestionĀ® Approved Load Response.ā Said Guillaume Pille, Two notes CEO. āWhether itās a tube amp, a line level source, or even both simultaneously, all the hookup flexibility you demand from a Two Notes product is here. Throw a 215W (per cab output) power amplifier into the mix, and youāre primed with everything from studio-friendly silent loadbox operation to mainstage-ready source amplification. If that wasn't enough, thereās a suite of expertly-tuned tone-shaping tools - plus a super-versatile Stereo/Dual Mono FX loop - that all combine to make Reload II our most adaptable solution to date. The next generation of our Reactive Load legacy has arrived. Itās now up to you to reimagine your backline with everything the Two Notes ecosystem has to offer!
Reload II is now available for pre-order from Two Notes stockists worldwide, scheduled for shipping Q1 2025. At launch, Reload II ships with the following MAP / MSRPs
US: $999.99 (MAP)
Euro: 999.99⬠(MSRP)
GBP - £849.99 (MSRP)
For more information, please visit two-notes.com.
Introducing Torpedo Reload II - YouTube
On Thatās the Price of Loving Me, āWeāre Not Finished Yetā is a love letter to Warehamās 1968 Gibson ES-335.
The singer-songwriter-guitarist, known for his time with indie rock heroes Galaxie 500, Luna, and Dean & Britta, reunites with producer Kramer on his latest song-driven solo effort, Thatās the Price of Loving Me.
āYou want there to be moments where something unexpected hits you,ā says Dean Wareham. āTheyāve done studies on this. What is it in a song that makes people cry? What is it that moves you? Itās something unexpected.ā
The singer-songwriter, 61, has crafted many such momentsāmost famously during the late ā80s and early ā90s, helping cement the dream-pop genre with cult-favorites Galaxie 500. Take the tenor saxophone, by Ralph Carney, that elevates the back half of āDecomposing Treesā from 1989ās On Fire, or the Mellotron-like atmosphere that bubbles up during āSpookā on This Is Our Music from 1990āboth of which, notably, were recorded with journeyman producer Kramer, whoās part of Warehamās rich sonic universe once again with the songwriterās new solo album, Thatās the Price of Loving Me.
Following This Is Our Music, the final Galaxie 500 album, Wareham and Kramer went their separate ways. The former founded the long-running indie-rock band Luna, formed the duo Dean & Britta with now-wife Britta Phillips, worked on film scores, and released a handful of solo projects. Kramer, meanwhile, grew into a hero of experimental music, playing with and producing everyone from John Zorn to Daniel Johnston. They stayed in touch, even as they drifted apart geographically, and always talked about working together againābut it took the weight of mortality to make it happen.
ā[Kramer has] been saying for years, āItās crazy we havenāt made a record together,āā says Wareham over Zoom, his shimmering silver hair flanked in the frame by a wall-hung cherry red Gibson SG and a poster of Rainer Werner Fassbinderās 1975 drama Faustrecht der Freiheit. āHe was living in Florida, and I was living elsewhere and doing other things. But I did lose a couple of friends over the pandemic, and it did occur to me, you canāt just say, āIāll get to itā forever. Not to be morbid, but weāre not gonna be here forever. Weāre not getting any younger, are we?ā
Dean Wareham's Gear
Wareham was a member of the early indie dream-pop trio Galaxie 500. After their split, he formed indie rock stalwarts Luna as well as Dean & Britta, with wife and Luna bandmate Britta Phillips.
Photo by Laura Moreau
Guitars
Amps
- Lazy J 20
- Mesa/Boogie California Tweed
Effects
- EAE Hypersleep reverb
- EAE Sending analog delay
- Dr Scientist Frazz Dazzler fuzz
- Danelectro Back Talk
- Joe Parker Raydeen overdrive
Strings, Picks, and Accessories
- Curtis Mangan nickel wounds (.010ā.046)
- Dunlop Nylon .88 mm picks
- Truetone 1 Spot Pro CS12
In 2020, Dean & Britta recorded a covers album, Quarantine Tapesāthe perfect opportunity, amid the agony of lockdown, to finally get Kramer involved. The producer mixed their hazy version of the Seekersā āThe Carnival Is Over,ā which planted the seeds for a bigger collaboration on Thatās the Price of Loving Me. At first, though, Wareham didnāt have any songs, so he gave himself a hard deadline by booking some time at L.A. studio Lucyās Meat Market.
āWhat is it in a song that makes people cry? What is it that moves you? Itās something unexpected.ā
āI donāt write songs every dayāsometimes I donāt write songs for a whole year or something,ā he says with a laugh. āThe only thing that gets me to do it is booking studio time. Then I have to write some songs because itāll be embarrassing if I show up with nothing.ā
The space itselfādecked out with a jaw-dropping amount of vintage guitars and amplifiers and keyboardsāhelped animate his sleepy-eyed and gently psychedelic songs. āI thought I had a few nice instruments,ā Wareham says, ābut I showed up, like, āOh, your Les Paulās from 1955? I think Iāll play this one. Your Martin is from the ā40s?āā Speed and spontaneity were essential: They worked six full days, with Kramer guiding him to capture every performance without overthinking it.
Warehamās latest was produced by Kramer, a former member of Shockabilly, Bongwater, and the Butthole Surfers who owns the legendary underground label Shimmy-Disc. He produced all three Galaxie 500 LPs.
ā[Thatās] how I worked with Kramer back in the day too,ā he recalls. āMaybe it kinda spoiled meāhe was always like, āYep, thatās it. Next!ā I got lazy about going back and redoing things. Weād make the decision and move on: keep that drum track and bass track. Maybe Britta [bass, backing vocals] would change a few things. Sometimes youāre with people who think every single thing should be replaced and made perfect, and you donāt actually have to do that. When it came time for me to overdub a guitar solo or something, Kramer would just allow me two takes generally: āDo it again a little differently. Thatās it. Thatās good.āā
āI thought I had a few nice instruments, but I showed up, like, āOh, your Les Paulās from 1955? I think Iāll play this one.āā
The material itself allowed for such malleability, with ringing chord progressions and gentle melodies often influenced by the musicians who happened to be gathered around him that day. āYou Were the Ones I Had to Betrayā has the baroque-pop sweetness of late-ā60s Beatles, partly due to the sawing cellos of L.A. session player Gabe Noel, who also added some boomy bass harmonica to the climax. āItās an instrument youād mostly associate with the Beach Boys, I guess,ā Wareham says. āIt kinda sounds like a saxophone or something.ā
Wareham, his 335, and Mesa/Boogie California Tweed at a recent Luna show, with bassist Britta Phillips in the background.
Photo by Mario Heller
Itās easy to get wrapped up in the warm hug of these arrangements, but itās also worth highlighting Warehamās lyricsāwhether itās the clever but subtle acrostic poetry of āThe Mystery Guestā (āIād never done that before, and itās not that hard to do actually. Sometimes itās just to give yourself a strange assignment to get yourself thinking in a different wayā) or the hilarity of āWeāre Not Finished Yet,ā which scans as carnal but is actually a love letter to his semi-recently acquired 1968 Gibson ES-335.
āSometimes itās just to give yourself a strange assignment to get yourself thinking in a different way.ā
āI read this poem about a guy polishing an antique wooden cabinet or something,ā Wareham explains. āI thought, āThatās funnyāitās vaguely sexual, how heās like rubbing this thing.ā I thought it would be funny if I wrote a song not about a piece of furniture but about the guitarāthe experience of buying this. The lyrics in there: āI waxed you; I rubbed you; I reamed you.ā It all sounds like a dirty song, but itās like, āNo, I had to get the peg holes reamed!ā It works kind of as a love song, but thatās what itās really about.ā
Which brings us back to that idea of the unexpected. The most beautiful touches on Loving Me, crafted with his olā producer pal, are the ones that appear out of nowhereālike the blossoming guitar overdubs of āNew World Julieā and āDear Pretty Baby.ā Kramer, he says, liked to ārun two or three guitar tracks at once, where it becomes a symphony of guitars.ā
These surprises, indeed, are the moments that stick with you.
YouTube It
Lunaās four-song performance on KEXP showcases Dean Warehamās sparse, low-key indie rock vibe as well as his simple and sweet guitar embellishments.