Dirk Wacker shares what the last six months have been like for him and his guitar-tech business in Germany.
Hello and welcome back to Mod Garage. This month's column is a very special one for me. Since I started writing for Premier Guitar back in 2005 (heck, it's really 15 years now), it's the first time I'm writing something personal instead of talking about mods and technical stuff. But don't worry, I won't get political or bore you with another COVID-19 complaint. Lay down your soldering iron and relax, and next month we'll get back to business as usual.
I'm happy to say that I receive a lot of emails from readers all over the world, with all kinds of suggestions, questions, comments, and the like. Much of this correspondence was the reason for columns in the past and will also inspire topics for future columns. Soon after the lockdown, I noticed the tenor of many emails changed from guitar-related stuff to more personal inquiries, like how the pandemic situation in Europe and especially inside Germany is, if everyone at the shop is well, etc. I also received messages with questions like: How is it going inside the workshop? What do I have on my desk? What am I doing during lockdown? After discussing this with my editor, we decided I should write about it. So, here is my personal COVID-19 experience.
I never thought something like the pandemic could really happen in our modern world, so in early February we still made plans for the Musikmesse trade fair in Frankfurt, Germany, in April. I also saw no reason to cancel my stay in Switzerland for the middle of March. I have to ask myself now, in retrospect, how could someone be so careless and ignorant? I will never forget the conversation between two friends and myself, talking about the Musikmesse show. One of them wondered what we should do because traditionally there are many Asian exhibitors there, and in early February COVID-19 still seemed to be a problem only affecting China. My other friend and I didn't waste any thought about this, being sure that in three months the problem would be solved … how wrong we were!
Unsuspecting as I was, I booked our tickets for Musikmesse, including railroad tickets. I also went to Switzerland in March to visit some friends to go hiking and mountaineering. On March 16, the lockdown hit me like a hammer when Switzerland closed all borders. Within a New York minute, I was stranded in a foreign country that isn't a member of the European Union. It took me some time and effort to leave Switzerland, but thankfully I have friends there, so I had a roof over my head and no bigger problems of any kind. Lesson learned!
Being back in Germany, I had to face that COVID-19 was definitely not just Asia's problem and that it would affect all facets of life in Germany. Shops, bars, clubs, restaurants, schools, universities, cinemas, theaters, gyms, barbers, churches, and all stages closed. Most companies established reduced working times, countless people had to work from home, public authorities closed their doors, and every day there were new COVID-19 calamities on all news channels.
The situation in Germany was strange, at least for me. Suddenly everyone had to wear a face mask, most stores had closed, people started to hoard toilet paper and yeast, for weeks you couldn't see anyone on the streets, traffic was reduced to almost empty streets even on the highways, and for weeks I hadn't seen a single jet trail in the blue and sunny sky. Within a few weeks, guitar project orders went down to almost zero, which wasn't a real problem because it gave us time to work on everything that was still in the workshop on a waiting list. After this was done and the workshop was empty, I started to make plans on how to keep myself busy: spending more time with the dog and the two horses, doing extended rides with them in the woods, restoring some old vintage wristwatches—something I really love to do when I have time for it. I decided to take additional shifts as a volunteer paramedic in the EMS of my neighbor county, something I also really love to do. I made plans to watch all episodes of Star Trek: Picard on Netflix again, read some new crime thrillers, and to do some aesthetic repairs in the shop and in the house.
I was sure there would be no boredom in any way, and this time I was totally right, but in a very different way than I thought. Before I could even dismantle the first watch to see what the problem was, guitar jobs suddenly went from zero to over the top. We began receiving several guitars each day to repair, to restore, or to modify, and within two weeks our storage area was more than filled with guitars, waiting for their treatment.
After thinking about this and talking to some customers it was clear what caused this new situation: Everyone had unexpected time on their hands now and virtually no one really needed all of their guitars because it was impossible to gig, rehearse, or play, and no teacher could give any guitar lessons. So why not send in guitars that need work done that was long overdue? Instead of restoring vintage watches, I found myself restoring vintage guitars—also something I really love to do. Suddenly we had plenty of work and still do, now operating with a waiting list. The DIY caucus also had some time on their hands, and we received lots of parts orders again, and much more than ever before. But this was a real problem for our international customers. While shipping inside Germany and most other European countries was no real problem, DHL immediately raised prices on deliveries abroad. We always choose the best, fastest, and cheapest way of shipping parts to any country. Normally sending some parts like pots, caps, wires, hardware, etc. to the U.S. is around $14, including insurance and online tracking. Suddenly the cheapest (!) way to send anything out to the U.S. with DHL was $64.
This lasted from early April until September, and then DHL switched from shipping by plane to sea cargo, so shipping times raised from the usual 6-8 days up to six weeks and longer, for the same price as before.
I was surprised again by orders from a lot of international customers, many of them being first-time buyers. Usually people expect their parts to be shipped out immediately. Most customers were not keen on paying $64 for shipping on some parts that cost less than half of that, and most of them were totally relaxed about the situation and agreed that we should send out their parts when shipping prices returned to normal. I think the worldwide pandemic slowed down most of us to a certain degree, but I was really honored that so many people trusted us in such a way. Our storage room started to fill up with packages that couldn't be shipped yet. For weeks we were creative in storing away and piling shipping boxes, but this “Guitar Parts Tetris" game couldn't last. At the end of August, we had to face that we were out of storage room. Since some of the orders were from late March, we decided to look for an alternative shipping solution, and UPS offered us a very fair deal if we shipped out all the boxes at the same time. We took the lemon and pulled the trigger, and within 10 days all orders reached their destination without any problems.
As I write this, we're in the middle of what's being called a “second wave" over here, with rising COVID-19 infections daily. DHL is offering shipping with extended arrival times, but for a reasonable price again, our guitar storage room is staying full, and our local DHL driver is going in and out several times a day.
So, is everything bad about the pandemic? Mostly yes. But it was a good lesson for many people to slow down in such a way to be able to think about the important things in life. My impression is that humanity and good will are more natural again. I hope you could get a little insight into the situation over here. Please stay well and mighty, and we will try and do the same.
Next month we'll discuss what I like to call “Alien Tasks in Lutherie," which refers to a typical task where two arms and two hands are not enough. This time it's about installing humbuckers in a plastic frame or a pickguard, so stay tuned.
Until then ... keep on modding!
The majestic Roland Space Echo is having a bit of a resurgence. Here’s a breakdown on what makes it tick, and whether or not it’s right for you.
In this article, we delve into one of the most cherished gadgets in my guitar collection, the Roland Space Echo RE-201. This iconic piece of equipment has been used by legendary musicians like Jonny Greenwood, Brian Setzer, and Wata from Boris, which only heightened my desire to own one. A few years ago, I was fortunate to acquire a vintage RE-201 in good condition and at a reasonable price.
Using the RE-201 today has its advantages and disadvantages, particularly due to its size, which is comparable to an amplifier head. When compared to modern equivalents like delay pedals or software plugins that closely emulate the original, the vintage RE-201 can seem inefficient. Here, I share my personal and subjective experience with it.
The RE-201 is a tape echo/delay effect that gained popularity in the 1970s and ’80s. Unlike the more complex analog BBD delays or digital delays, tape delays use magnetic tape to simultaneously record and play back sound via a magnetic tape head (similar to a guitar or bass pickup). Because the recording head and playback head are in different physical locations, there is a time gap during the recording and playback process, creating the “delay” effect. This concept was first discovered by Les Paul in the 1950s using two tape machines simultaneously.
However, this method has a drawback: The magnetic tape used as a storage medium has a limited lifespan. Over time, the quality of the tape degrades, especially with continuous use. This degradation is marked by muddy, wavy sounds and unavoidable noise. Yet, this is precisely where the magic of real tape echo lies! New tapes produce clearer, hi-fi sounds, while older tapes tend to produce wavy sounds known as “modulated delay.” Additionally, increasing the number of tape-head readers extends the gap time/delay time of the output, and activating multiple tape-head readers simultaneously creates unique echo/delay patterns.
“This degradation is marked by muddy, wavy sounds and unavoidable noise. Yet, this is precisely where the magic of real tape echo/delay lies!”
Just as how fuzz and distortion effects were discovered, the “imperfections” of tape also represent a historical fact about how the creative process in music follows an absurd, non-linear, and unique pattern. In everyday practical life, signal delay is something typically avoided; however, in a musical context, delay adds a deeper dimension. Today, it’s hard to imagine a pedalboard without a delay effect at the end of the chain.
This uniqueness inspired me to create Masjidil Echo, embracing the “imperfection” of a vintage tape echo/delay with magnetic tape that hasn’t been replaced for years. Many newer pedals, such as the Boss RE-20, Strymon El Capistan, and the Catalinbread Echorec and Belle Epoch, draw inspiration from vintage tape repeat machines. Each has its unique interpretation of emulating tape echo, all in a more compact and maintenance-free format. Real tape delay requires periodic maintenance and has mostly been discontinued since the mid 1980s, with Roland ceasing production of the Space Echo entirely in 1985.
However, in recent years, interest in real tape echo has surged, perhaps due to nostalgia for past technology. As a result, many vintage delay units have appeared on marketplaces at increasingly gargantuan prices! If you’re considering acquiring one, I recommend thinking it over carefully. Are you prepared for the maintenance? Will you use it for regular performances? Are you ready for the fact that magnetic tape will become increasingly difficult to find, potentially turning your machine into a mere display piece? I don’t mean to instill fear, but the real deal, in my opinion, still can’t be fully emulated into a more practical and future-proof digital format.
So, I’ll leave you with one final question for consideration: What if the genealogy of technology were reversed chronologically, with multihead/multitap delay discovered digitally in the 1950s, and in the 2000s, a technological disruption led to the invention of mechanical tape echo to replace digital technology? Which would you choose?
In collaboration with Cory Wong, the Wong Press is a 4-in-1 Press pedal features Cory’s personal specs: blue & white color combination, customized volume control curve, fine-tuned wah Q range, and a dual-color STATUS LED strip indicating current mode/pedal position simultaneously.
In collaboration with Cory Wong, this Wong Press is a 4-in-1 Press pedal features Cory’s personal specs: Iconic blue & white color combination, customized volume control curve, fine-tuned wah Q range, and a dual-color STATUS LED strip indicating current mode/pedal position simultaneously.
Renowned international funk guitar maestro and 63rd Grammy nominee Cory Wong is celebrated for his unique playing style and unmistakable crisp tone. Known for his expressive technique, he’s been acclaimed across the globe by all audiences for his unique blend of energy and soul. In 2022, Cory discovered the multi-functional Soul Press II pedal from Hotone and instantly fell in love. Since then, it has become his go-to pedal for live performances.Now, two years later, the Hotone team has meticulously crafted the Wong Press, a pedal tailored specifically for Cory Wong. Building on the multi-functional design philosophy of the Soul Press series, this new pedal includes Cory’s custom requests: a signature blue and white color scheme, a customized volume pedal curve, an adjustable wah Q value range, and travel lights that indicate both pedal position and working mode.
Cory’s near-perfect pursuit of tone and pedal feel presented a significant challenge for our development team. After countless adjustments to the Q value range, Hotone engineers achieved the precise WAH tone Cory desired while minimizing the risk of accidental Q value changes affecting the sound. Additionally, based on Cory’s feedback, the volume control was fine-tuned for a smoother, more musical transition, enhancing the overall feel of volume swells. The team also upgraded the iconic travel lights of the Soul Press II to dual-color travel lights—blue for Wah mode and green for Volume mode—making live performances more intuitive and visually striking.
Features
- True Bypass
- 4 in 1 functionality (volume, expression, wah, volume/wah)
- New dual-color STATUS LED strip indicating pedal mode and position in real time
- Cory’s custom volume curve and wah Q control
- Classic-voiced wah tone with flexible tonal range
- Active volume design for keeping lossless tone
- Separate tuner and expression outputs for more connection possibilities
- 9V DC or 9V battery power supply
Introducing the Hotone Wong Press - Cory Wong's signature Volume/Wah/Expression Pedal - YouTube
Check the product page at hotone.com
“The Player II Series represents our continued evolution in design and functionality,” said Justin Norvell, EVP of Product, FMIC. “We listened to the feedback from musicians around the world and incorporated their insights to refine and innovate our instruments. The re-introduction of rosewood fingerboards is a restoration of the ‘original Fender recipe’ and will no doubt be a fan favorite - but we didn’t want to stop there. We’ve also incorporated our rolled fingerboard edges for a broken-in feel, upgraded hardware, and have some new body options as well- which underscores our commitment to providing players and creators with the tools they need to express their unique sound and style. The Player II Series is not just an upgrade, it's a detailed re-imagining of our core silhouettes, highlighting our dedication to quality and the continuous refinement of our instruments.”
Additionally, Player II offers new options for chambered ash and chambered mahogany bodies for the Player II Stratocaster and Telecaster models, which will be available in October. Designed for musicians ready to elevate their craft, the Player II Series sets a new standard for quality and performance in the mid-price range.
Fender Player II Stratocaster HSS Electric Guitar - Coral Red
Player II Strat HSS RW, Coral RedFender Player II Jaguar Electric Guitar - Aquatone Blue
Player II Jaguar RF, Aquatone BlueThis reader solicited the help of his friend, luthier Dale Nielsen, to design the perfect guitar as a 40th-birthday gift to himself.
This is really about a guy in northern Minnesota named Dale Nielsen, who I met when I moved up there in 2008 and needed somebody to reglue the bridge on my beloved first guitar (a 1992 Charvel 625c, plywood special). Dale is a luthier in his spare time—a Fender certified, maker of jazz boxes.
Anyway, we became friends and I started working on him pretty early—my 40th birthday was approaching, and that meant it was time for us to start designing his first solidbody build. If you stopped on this page, it’s because the photo of the finished product caught your eye. Beautiful, right? The 2018 CCL Deco Custom: Never shall there be another.
Old National Glenwood guitars were my design inspiration, but I wanted a slim waist like a PRS and the like. We used a solid block of korina to start, routed like MacGyver to get the knobs and switches where I wanted them. Dale builds all his own lathes and machines (usually out of lumber, y’all), as the task requires. This beast took some creativity—it’s tight wiring under that custom-steel pickguard. Many were the preliminary sketches. Four coats of Pelham blue, 11 coats of nitro. Honduran mahogany neck, Madagascar ebony fretboard with Dale’s signature not-quite-Super-400 inlays. He designed the logo; I just said, “Make it art deco.”
We sourced all the bits and bobs from StewMac and Allparts and Reverb and the like, mostly to get that chrome look I so adore. Graph Tech Ratio tuners, Duesenberg Radiator trem (had to order that one from Germany), TonePros TP6R-C roller bridge. The pickups were a genius suggestion from the builder, Guitarfetish plug ’n’ play 1/8" solderless swappable, which means I have about 10 pickups in the case to choose from: rockabilly to metal. And both slots are tapped, with the tone knobs serving as single- to double-coil switches. I put the selector on the lower horn to accommodate my tendency to accidentally flip the thing on Les Pauls—definite lifesaver.
Reader and guitar enthusiast, Cody Lindsey.
Dale offered to chamber this monster, but I said what doesn’t kill you makes you stronger. It weighs in at 11 pounds, if it’s an ounce. We carved the neck to match a ’60s SG, so it’s like the mini bat you get at the ballpark on little kids’ day. Easy peasy. 1 11/16" nut, 25" scale, jumbo frets, just 2 1/8" at the 12th fret.
Delivery in its lovely, hygrometer-equipped Cedar Creek case actually happened a month or two shy of my 41st, but hey, you can’t rush these things. We ended up with a studio Swiss Army knife; it does a bit of everything and does it effortlessly. A looker, too. Dale didn’t spend his career doing this kind of thing—he was in IT or some such—and I imagine he’s winding this “hobby” of his down these days, enjoying retirement with a bottle of Killian’s and a lawn chair at Duluth Blues Fest. But this guitar will live on as a marker of his skill and otherworldly patience. It sits at the head of the class in my practice room, welcoming any visitors and bringing a smile to my face every day. And Dale, my friend, I’ll be 50 before you know it....
Cody requested that Dale design an art deco logo for the guitar’s headstock.