Copious style cues and multitudinous tones yield big fun and sweet sounds in a post-modern solidbody scramble.
Very nice quality and some exceptional sounds for the price. Fun, practical switching possibilities.
No vibrato on a guitar called the Surfliner?
Guild Guitars Surfliner
In its pretty, transparent white sage finish, the Guild Surfliner couldn’t look more worthy of its name if you stuffed it in the back of a woody and slathered it in coconut oil. Sonically speaking, though, the Surfliner is capable of much more than the garage rock, sunshine-pop, and Chantays covers that the name and silhouette might suggest as a raison d’être. The cool pickup compliment and clever switching scheme make the Indonesia-built Surfliner capable of roughneck rock tones, clarion jangle, dusty lo-fi lead sounds, and honey-sweet blues and soul. Key contemporary design elements prevent it from looking like a strictly retro exercise—if modernity concerns you. And the $450 street price is nice for a high-quality instrument capable of unique tone combinations.
Guild’s history is rich with daring solidbody shapes. Some of them, like the S-200 Thunderbird (now called the T-Bird) and S-50 Jetstar, live on in the modern Guild lineup. The Surfliner shares a certain sense of design adventurism with those early 1960s Guilds as well as some cool inherited family traits. It’s great to see the six-in-line, Fender-meets-Firebird headstock that briefly graced mid-1960s S-50s, for example. And the new DeArmond Aerosonic pickups in the middle and neck position are, visually at least, a little evocative of the pickups in the Guild Brian May Signature from the 1990s.
In quintessential Guild style, some of the design idiosyncrasies range to the quirky. The staggered ferrules for the through-body stringing system look a little modern-minimalist alongside the other mostly mid-century-style elements. And the three switches that make up the pickup switching system, while situated conveniently for fast changes, are in peril’s way if you’re a vigorous strummer. It’s not impossible to switch a pickup on accidentally in the course of a downstroke. Also, the switches themselves, which feel more like the type you encounter on modern consumer electronics, don’t look or feel especially well-suited for a guitar as 1960s-inspired as the Surfliner. That gripe aside, it’s hard to complain about the utility of the layout—particularly when you get a feel for the many tone combinations you can produce in a flash. It’s a great idea that could benefit from a little refinement.
The poplar body and maple fretboard-capped two-piece maple neck (a 45-degree angle join is visible between the third and first frets) are well-balanced, and I didn’t experience any neck dive when I played it with a strap. The 10" fretboard radius is a comfortable, super-playable compromise between more curvaceous vintage-Fender and flatter Gibson-style fretboard radii. Paired with narrow jumbo frets, it makes the Surfliner an inviting vehicle for string bending and nuanced finger vibrato. It’s super comfortable for chording, too.
Build quality, by the way, is excellent for a guitar in this price class. Fretwork is carefully executed, the neck is straight as an arrow, and the setup and intonation were pretty much perfect. The white sage, too, which is reminiscent of a vintage blonde-over-ash finish, looks more upscale than the Surfliner’s price, revealing pretty streaks of poplar grain beneath the minty green.
Pickup Pu Platter
It’s nice that the Surfliner is so swell to hold and play, because its base tones—and the variations derived from less common pickup combinations—are a world you can immerse yourself in for a good long while. The LB-1 Little Bucker in the bridge is built around alnico 5 magnets and rated at a modest 5.06k ohm resistance. I like low-output humbuckers and Firebird-style mini humbuckers a lot, and the LB-1 in the Surfliner exhibits attributes of both. High-end output is prominent but chiming and soft in the overtones rather than rabid. Midrange and bottom end output are subdued by comparison. And in certain settings—slow, spacious, and jazzy chord phrasings, for one—the composite voice can sound like sweet bell tones ringing over a relatively boxy bottom and midrange. In most other contexts the LB-1 output sounds more balanced, with a sort of concise but punchy quality that excels for snappy rhythm jabs and spanky garage- and jangle-rock settings. It pairs well with overdrive, too, and the right one (I used a Klon clone) can balance out some of the perceived disparity in liveliness between the low, mid, and high-end output.
The middle position and neck Aerosonic single-coils are both louder and hotter than a Stratocaster’s middle and neck position pickups (a cross between a Strat pickup and a neck P-90 isn’t worlds away). But there are similarities in voice between the Aerosonics and Stratocaster units. The middle Aerosonic has a soft-around-the-edges balanced voice. And the neck unit exhibits plenty of the deep, vocal resonance that can make a Hendrix blues ballad sound so sexy. Combining neck-and-middle and middle/treble pickups yields hum-free and slightly more forceful takes on a Strat’s snorkely, out-of-phase sounds. The airy but substantial neck and bridge combo was the sweetest to my ears. And while all three pickups together sound a bit narrower in focus than you might expect, the combination sounds meaty and punchy with a fuzz.
At about 450 bucks, Guild’s Surfliner is in a competitive price class where taking chances on style can be risky. Yet the Surfliner stands out—and not just for its lines. There are beautiful, rowdy, sweet, and quirky sounds aplenty. It plays as smoothly as more expensive guitars. And though it can look a bit like one style mash-up too many at times, it’s downright pretty at many angles. The absence of a vibrato unit—particularly given the Surfliner name—is a minor crime and an opportunity missed. Then again, the guitar always seemed to be in tune. How you feel about the issue will be down to your own priorities. Is there room for fine tuning, refinement, and revision? Sure. But Guild has built a solid body platform that could evolve in any number of fun and compelling ways, and it’s a perfectly great guitar—and an excellent value—in this first iteration.
Guild Surfliner Demo | First Look
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Looking for more great gear for the guitar player in your life (yourself included!)? Check out this year's Holiday Gear Finds!
D'Addario XPND Pedalboard
DR-05X Stereo Handheld Recorder
Wampler Pedals Ratsbane
Flare is a dual-function pedal with a tube-like booster and a 1970s-style ring modulator effect that can be played separately or together.
Flare’s ring modulator is based on the iconic tone of the original Dan Armstrong Green Ringer. This vintage classic was made famous by Frank Zappa who loved the unusual modulations created by generating a harmonic octave over notes. Messiah’s version offers two control knobs: a “Sparkle” tone attenuator and output Level control. Its taupe-gold body, purple and green knobs and stick-figure rock ’n’ roller holding up a flame convey an appropriately rockin’70s vibe.
In a unique twist, Messiah’s Flare pairs the ringer with a warm tube-style boost instead of a fuzz. Flare feeds the booster into the ringer for an extra punch, while preserving the Green Ringerspirit. The ringer side also turns any fuzz into an octafuzz, and it has the ability to quiet signal background noise fed through it.
The booster side features a single Boost knob to control the MOSFET circuit, making it very tube-amp-friendly with a warm, organic boost and gain of up to 32dB.
The pedal is a distinct improvement over the 1970s pedal that inspired it. “Most ringer pedals don’t track well,” Tom Hejda, owner of Messiah Guitars. “The player can’t rely on repeating the same effect even with the most consistently played notes. We carefully matched the components, so our ringer follows your every move, producing that slightly dirty octave you expect on demand.”
Messiah developed this vintage octave pedal with flexible features so that people who love that messy, dirty Zappa-esque sound can get there with ease but there’s also something for those who have not fallen in love with fuzz or the Green Ringer alone. Flare offers an array of sonic options while retaining simplicity in the controls.
Each Flair Pedal Includes:
- 3 control knobs: Boost, Sparkle, and Level
- Two effects – Ring Modulator and Boost – can be used together or separately
- Space-saving top side jacks
- Durable, cast aluminum alloy 125B enclosure with fun artwork
- Easy to see, illuminated True-bypass foot switch
- Standard 9V pedal power input
Flare Pedal Demo
Messiah Guitars pedals are designed with an explorative player in mind. Like their custom guitars and amplifiers, Messiah’s pedals are hand-crafted in Los Angeles for a long life with guaranteed quality.
Flare retails for $199.00 and can be purchased directly at Messiah Guitars or you can hear it in person at Impulse Music Co. in Canyon Country, CA.
For more information, please visit messiahguitars.com.
This feathery little guy is a joy to play because of its incredibly quick response to your right hand - much faster and more expressive than your typical auto-wah pedal.
If it looks like a duck, acts like a duck, and QUACKS like a duck, then it must be a duck. That's how we came up with the name for our new envelope filter. This feathery little guy is a joy to play because of its incredibly quick response to your right hand - much faster and more expressive than your typical auto-wah pedal. Trevor explains how this is possible in the launch video, as well as gives a demo on Le Canard’s operation.
The attack control determines how quickly the filter responds to the envelope, and the decay sets how quickly the filter releases afterward. The range controls which frequency spectrum the filter does its magic on. Add to this relay-based full-bypass switching with failsafe, and you've got one crazy little quacky beast. It is so expressive that you'll want to give up on your rocker-wah forever.
The MayFly Le Canard envelope filter features:
- Super fast responding envelope follower. Touch it and it jumps!
- Range control to dial in the character of the filter
- Attack control to control how fast the filter moves on that first touch
- Release control to control how slowly the filter slides back to baseline
- Full bypass using relays with Fail SafeTM (automatically switches to bypass if the pedal loses power)
- Cast aluminum enclosure with groovy artwork
- MSRP $149 USD ($199 CAD)
Introducing the MayFly Le Canard Envelope Filter
All MayFly pedals are hand-made in Canada.
For more information, please visit mayflyaudio.com.
Outlaw Effects introduces their next generation of NOMAD rechargeable battery-powered pedal boards.
Available in two sizes, NOMAD ISO is a compact, versatile tool that offers the convenience of a fully powered board plus the additional freedom of not having to plug into an outlet. NOMAD ISO is ideal for stages with limited outlet availability, quick changeovers, busking outdoors, temporary rehearsal locations, and more.
NOMAD ISO builds upon the legacy of the ultra-convenient and reliable NOMAD rechargeable pedalboard line originally launched in 2018. The brand new NOMAD ISO editions feature eight isolated outputs (1 x 9V DC, and 1 switchable 9V/12V DC) for even more versatility and clean, quiet power. With an integrated lithium-ion battery pack boasting 12800mAh capacity, NOMAD ISO can fuel a wide array of pedals, and will last over 10 hours* on a single charge.
Each NOMAD ISO pedal board includes adhesive hook & loop pedal-mounting tape, eight (8) standard DC connector cables, and one (1) reverse polarity DC cable, giving you everything you need to build your ultimate "off-the-grid" rig. A rugged, road-ready padded gig bag with shoulder strap is also included, to safely protect your gear while you're on the move.
NOMAD ISO S
NOMAD ISO S: MSRP $309 / MAP: $249
Dimensions: 19 ¼" x 5 ¼"
NOMAD ISO M
NOMAD ISO M: MSRP $349 / MAP $279
Dimensions: 19 ¼" x 11"
More info: https://www.outlawguitareffects.com.