
Killer pickups and slim, light, high-quality construction distinguish a very evolved Harmony.
Distinctive pickup tones. Biting trebles that still ring. High-quality build. Light weight. Slim profile. Super comfortable.
Some imbalance between high-end and low-end volume and energy. Prone to neck dive with some straps.
$1,499
Harmony Comet
harmony.co
Followers of current events might be astonished to learn that the internet isn't quite as effective at separating myth from fiction as its early advocates and creators promised. I was reminded of this state of affairs whilst sniffing out sentiments about vintage Harmony guitars and the complex, convoluted world of gold-foil pickups. Needless to say, there are a lot of strong opinions out there—from advocates that defend old Harmonys as underrated, to snobs who still consider them universally substandard, to the growing cult of gold-foil fanatics who sing their praises to the sky without even agreeing about what a gold-foil pickup is.
Why do I mention this in the context of reviewing a brand-new Harmony instrument? Because the modern Harmony—now a division of BandLab Technologies—is again defying myth and easy categorization in a fashion that's likely to divide opinion just like the old Harmony did.
Recorded with a black panel Fender Tremolux into a Universal Audio OX black panel Fender Deluxe cabinet emulation into a Universal Audio Apollo Twin and Universal Audio Luna.
The three passages are played on the bridge, combined, and neck pickups respectively.
The U.S.-made Comet reviewed here is perfectly emblematic of how tricky reviving a brand and navigating those old myths can be. It's a beautifully built guitar—on par, in quality terms, with many higher-mid-price and high-end electrics. It's a distinctive visual presence in a world of lookalikes. And it sounds freaking great, too, dishing inspiring, mold-breaking, humbucking tones that prompt new musical directions as you play. For some, the Harmony name will probably conjure pawn shop associations that could make the near-$1,500 price tag tough to swallow. For more open-minded players, the Comet could be a tantalizing path away from the same-old-electric rut. My guess is that for those who spend real time with the Comet, the latter scenario is much more likely.
Feathered Flight
The semi-hollow Comet design does not slavishly adhere to any chapter in Harmony history. In fact, to my knowledge, there has never been a Harmony quite like the Comet. Though some have likened it to Harmony's H72, 75, and 77 from the 1960s, the horns are a bit pointier and it's much smaller—evoking Gibson's downsized ES-339 and some of Vox's underrated semi-hollows from the early 2010s. There are many upsides to a semi-hollow guitar of this size. For starters, it's very light, at about six pounds, which significantly minimizes playing fatigue whether standing or sitting. The slim profile also helps make the guitar feel effortless to hold.
If there's a downside to the light weight, it's that there's not much mass to counteract the gravity working on the headstock. Throw the extra ounces from the locking tuners into that equation and you have a guitar that's a bit prone to neck dive, depending on the strap you use. (My usual Ace-style straps exacerbated the problem, but a wider leather strap did much to offset the tendency toward slippage.)
Soaring on Wings of Foil
The Comet's relatively compact dimensions and light weight accentuate the guitar's already impressive playability. Our review guitar showed up with the action almost too low, but once I'd made a couple quick bridge and intonation adjustments, the Comet felt fast and responsive under my fingers. The 12" radius, medium-jumbo frets and 25" scale conspire to lend an almost Gibson-like feel, even though the neck profile has more than a trace of Fender shape and slimness. For many players it will be a perfect blend of ingredients. And apart from the tight cutaway making access to the highest frets difficult, it tends to invite very exploratory playing.
The pickups certainly exhibit many of the most coveted attributes of classic gold-foils
The Comet is a quality instrument by any standard. Evidence of attention to detail is everywhere. The complex compound curves that occur at the point where the arched back and the set neck joint come together are especially pretty. The honey-and-amber-hued nitrocellulose finish is lovely, too, revealing much of the mahogany body's subtle, wavy grain. Some nods to Harmony history feel less at home here—particularly the inverted peanut butter cup tone and volume knobs. They look authentically vintage (apart from the bleached white appearance), but feel a little plasticky and inexpensive compared to the excellent materials used elsewhere. They are, however, brilliantly placed for volume swells and quick tone adjustments. The sturdy pickup switch is smartly situated, too—safely out of the way of aggressive strumming motions, but close at hand for the switches you intend to make.
The most individual aspects of the Comet's performance are manifested via the excellent pickups. Harmony calls these humbuckers gold-foils, a wide and largely misunderstood pickup category than can be a great many things. The company is coy about what lurks beneath the covers. But in purely sonic terms, the pickups certainly exhibit many of the most-coveted attributes of classic gold-foils.
The most striking tones come from the bridge pickup. Here you'll find biting sounds that would make a Telecaster blush. But while the most trebly tones are cutting and loud, there is still a little softness and compression at the peakiest edge of the transients and they retain a bell-like resonance that keeps these toppy tones thrilling and rich without singeing eardrums. They also do a wonderful job of exciting spring reverb and fuzz effects. The super-present and punchy top end and high-mids from these pickups mean they can seem to overpower the low end at times. Personally, I loved the balance between the two ends of the spectrum, and appreciated the fact that I could extract distinct and not-too-muddy bass counterpoint that sustained without sounding boomy in the way some PAF-style humbuckers can. But I'd guess that, ultimately, even dyed-in-the-wool adherents to Gibson- and Fender-style tone recipes could really warm to the unique balance between present high-end and more concise, subdued bottom that you get from these pickups. They are a very intriguing alternative to those very familiar sounds—especially when you add in the out-of-phase mode available via the push/pull volume knob.
The Verdict
I played the Comet alongside several electrics, and was always knocked out by how distinct and unique it can sound. Studio hounds could conceivably find it indispensable for its ability to dish super-sizzling and clear treble tones that still sing. They'll probably also love the mellow, balanced, and slightly compressed semi-hollow neck pickup tones that never seem to overpower with boomy resonances.
Harmony may have some image-building work to do to overcome biases from snoots and trolls that associate the brand with pawn shop bargains. And the $1,499 price may well be a touch on the high side of the high-mid-price spectrum for some. But given that we've seen a lot of good Asia- and Mexico-built instruments creep into this price range and higher, it's certainly not an exorbitant tag for a well-crafted, U.S.-built instrument with so many truly distinctive tones.
Ernie Ball, the world’s leading manufacturer of premium guitar strings and accessories, proudly announces the launch of the all-new Earthwood Bell Bronze acoustic guitar strings. Developed in close collaboration with Grammy Award-winning guitarist JohnMayer, Bell Bronze strings are engineered to meet Mayer’s exacting performance standards, offering players a bold new voice for their acoustic guitars.Crafted using a proprietary alloy inspired by the metals traditionally found in bells and cymbals, Earthwood Bell Bronze strings deliver a uniquely rich, full-bodied tone with enhanced clarity, harmonic content, and projection—making them the most sonically complex acoustic strings in the Ernie Ball lineup to date.
“Earthwood Bell Bronze strings are a giant leap forward in tone, playability, and durability. They’re great in any musical setting but really shine when played solo. There’s an orchestral quality to them.” -John Mayer
Product Features:
- Developed in collaboration with John Mayer
- Big, bold sound
- Inspired by alloys used for bells and cymbals
- Increased resonance with improved projection and sustain
- Patent-pending alloy unique to Ernie Ball stringsHow is Bell Bronze different?
- Richer and fuller sound than 80/20 and Phosphor Bronze without sounding dark
- Similar top end to 80/20 Bronze with richer low end than Phosphor Bronze
Milkman’s Jerry Garcia-style JG-40 combo.
Grateful Dead-inspired gear from Milkman and Scarlet Fire helps to keep the guitarist’s sound alive.
Guitar players wanting to catch the Grateful Dead’s particular lightning in a bottle exist along a spectrum. Some are content to take inspiration from Jerry Garcia’s playing but make their own way regarding guitar choice and signal path. Others strive to emulate Garcia’s sonic decisions down to the most minor details and create signal paths as close to Jerry’s as possible. In recent years, an ecosystem of gear has developed around fostering Jerry Garcia’s electric tone, including everything from guitars, amps, and stompboxes to on-board preamps and speakers.
Entire books about the Grateful Dead’s gear have been written, so we can’t cover it all here. Garcia tinkered with all facets of his sound from about 1971 until 1978, when his signal path reached stability. By then, his On-Board Effects Loop—an innovation he developed to control how much signal reached his effects—was dialed in, his backline firm, and his choice of effects pedals solidified. Even then, adjustments were made, especially when MIDI arrived or when technology like in-ear monitoring was used. Here are some basics.
Scarlet Fire’s recreation of Garcia’s Wolf, originally built by Doug Irwin.
It starts with guitars. For players wanting to get their Jerry on, there’s a wide range of Garcia-esque instruments—with just as wide a range of prices—out there. Recreations of the Doug Irwin guitars and the Fender Alligator Strat abound. China-built models from companies likePhred Instruments can go for as little as $700 or so. Luthier Thomas Lieber apprenticed with Irwin long ago, and his Lieber Guitars will deliver a copy of a variety of Garcia models. Leo Elliott’sScarlet Fire Guitars out of Dallas, Texas, takes things in another direction. Elliott builds Doug Irwin replicas that start at $20,000 and go up from there, with a current wait time of about 18 months for an instrument. He’s outfitted many of the top Garcia guitarists today, including Tom Hamilton Jr. and Jeff Mattson. Elliott says, “I’m a self-taught luthier; I didn’t really build my first guitar until 2010. I understood a little bit about woodworking before I got started, but I learned by reading books and through trial and error. I started building replicas of Doug Irwin’s Wolf guitar right away, which is sort of like building a car and starting with a Ferrari. I didn’t know any better. Then, eventually I got to know Doug Irwin and collaborated with him. So, I got to hold Garcia’s Tiger guitar and get to know it really well, and by 2015, I had built replicas of that guitar. There’s one guy who helps me around the shop, but otherwise, I am building these guitars on my own. I’m collaborating with Doug Irwin on a new series of Tiger guitars, which will retail for 50 grand each.” That’s one way to get your Jerry going.
The JBL-inspired Milkman K-120.
Garcia’s choice of amplifiers is another matter. He preferred Fender Twin Reverbs loaded with JBL Alnico speakers, which were popular amongst many rock bands in the 1970s. The details get complicated; Garcia’s amps were heavily modified, and the Fender Twin served as a preamp that ran to a McIntosh MC-3500 power amp.
It’s hard to find vintage JBL speakers today—at least ones in good shape. San Francisco’s Milkman Sound, founded by Tim Marcus, has created a faithful reproduction of those classic JBLsthey call the K-140. They’re coupling those speakers with a Garcia-style recreation of his Fender Twin that Marcus named the JG-40. “I think 75 percent of Jerry’s tone is in the JBL speakers,” Milkman’s founder says. “But when you start to analyze the other 25 percent, you kind of have to start withDon Rich. [Editor’s Note: Rich was the guitar player in Buck Owens’ band, pioneers of the Bakersfield Sound.] That’s Jerry’s tone, too, but the difference is Garcia’s midrange was a bit throatier. It sounds clean, but really, it’s not clean at the same time. Especially his tone in the late ’70s. There is something about running that Fender Twin Reverb through the McIntosh that would just completely blow out the tone in a really interesting way.”
Garcia colored his tone with off-the-shelf effects. This was, after all, long before the days of boutique pedals. By 1978 and beyond, you’d hear him playing through an MXR Distortion+, an MXR Analog Delay, and an MXR Phase 100. He often used auto wahs, preferring the Musitronics Mu-Tron envelope filter as well as a Mu-Tron Octave Divider and a Mu-Tron combination volume and wah pedal.
When I asked Jeff Mattson, Bella Rayne, and Tom Hamilton Jr. exactly how orthodox they are about using the kind of gear that Garcia did, I got three different answers.
Mattson tells me that because Dark Star Orchestra is doing something very specific, he really has to tailor his sound as carefully to Garcia’s as he can. “Some folks get too hung up on small things, like what kind of cable to use and things like that, and I don’t go that far. But it’s important for Dark Star Orchestra to get Jerry’s sound right because we are covering different eras and different shows. In 2022, for example, we went to Europe and recreated shows from the Dead’s famous Europe ’72 tour, so you have to pay close attention to what kind of gear they were using to do that right.”
Hamilton works differently. He’s always preferred a higher-gain signal than Garcia ever did, landing in more of a British or heavy metal tone. (Randy Rhoads was a big influence.) “I’ve always approached it like, ‘What’s the new information we can put into this thing?’” he says. “Not just recreate but pushing in a forward direction. And anytime I’ve played with the guys who played with Garcia back in the day, they always said to me, ‘You’re here because you’re here. Don’t try and do what we did back in 1978 or do it because Garcia did it that way.’ They’ve always encouraged me to be myself.”
Bella Rayne is just wrapping her head around what it really means to try to sound like Garcia. “Besides Jerry, I’m influenced by guitarists like Dickey Betts and Derek Trucks, so my tone tends to be a bit heavier and bluesy,” she explains. “I’m generally running a Stratocaster through a Fender Twin Reverb. But recently, I was doing a show, and a buddy of mine set up a Jerry rig for me, and that was so cool: JBL speakers, McIntosh head, the whole setup. I had never played through one. I didn’t know what the hype was all about. I plugged in, and it was just amazing; there was such a snap, and I was really commanding the band. I can see myself keeping my current rig but adding a Dead-rig to experiment. But honestly, anything is fine; I am not picky. I just want to play the best that I can.”
Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
PRS Guitars today launched five new three-pickup, 22-fret models across the S2 and SE series. The S2 Series release includes the S2 Special Semi-Hollow and S2 Studio, while the SE Series welcomes the SE Special Semi-Hollow, SE Studio, and SE Studio Standard.
“The distinctive pickup configurations of these five guitars deliver a versatile tonal platform, whether you’re exploring subtle textures or pushing the envelope. The deep dive into our Narrowfield technology is obvious with this launch. With both the S2 models made in our Maryland factory and the SE models made in Indonesia, our goal has been to create guitars that will inspire you and spark creativity, all at an exceptional value,” said PRS Guitars COO, Jack Higginbotham.
S2 Special Semi-Hollow
The PRS S2 Special Semi-Hollow features a pair of 58/15 LT humbuckers in the bass and treble positions and a PRS Narrowfield in the middle. A 5-way blade switch and two mini-toggles allow players to tap the humbuckers, creating twelve distinct pickup combinations for sonic exploration. The carved maple top and mahogany back encompass a semi-hollow body that adds a natural airiness and depth to the guitar’s tone while enhancing sustain.
S2 Studio
The PRS S2 Studio delivers a wide range of sonic possibilities through its distinctive single-single-hum configuration. Featuring two proprietary PRS Narrowfield pickups in the bass and middle positions and a 58/15 LT humbucker in the treble position, the S2 Studio offers a palette of sounds from single-coil clarity to vocal humbucker tones. This model also has a 5-way blade switch and push/pull tone control.
SE Special Semi-Hollow
The PRS SE Special Semi-Hollow is designed with the versatility of a hum/“single”/hum setup, bringing PRS’s Narrowfield DD pickup design to the SE Series in a classic maple-top guitar. The semi-hollow construction also enhances sustain and resonance, while the f-hole adds a classic aesthetic. The coil-tap switching system unlocks a wide range of tones through a pair of 58/15 LT “S” pickups in the bass and treble positions and a PRS Narrowfield DD “S” in the middle.
SE Studio
The PRS SE Studio’s “single”/”single”/hum pickup configuration provides a wide range of tonal options. This combination of PRS Narrowfield DD “S” bass and middle pickups with a PRS 58/15 LT “S” treble humbucker offers humbucking warmth, single-coil sparkle, and everything in between. The 5-way blade switch and push/pull tone control further enhance its versatility.
SE Studio Standard
The only bolt-on neck in this release group, the PRS SE Studio Standard brings the tone, playability, and versatility of the Studio model to the SE Series and into an all-mahogany design with a vintage-style pickguard aesthetic. At the heart of the SE Studio Standard is its versatile trio of pickups: an 58/15 LT “S” humbucker in the treble position with two Narrowfield DD “S” pickups in the middle and bass positions. The 5-way blade switch and push/pull tone control allow for an array of pickup configurations.
PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year.