This vintage Tele’s neck and frets show lots of road wear, but it’s straight and dry.
This was not something that could be seen at the point of purchase. But at some point, that company wasn’t drying the wood, because my experience with instruments built around 1964 is that they didn’t have this problem. I’ve never seen a vintage Fender built before 1964 where the frets were sticking out the side of the neck because they hadn’t dried the fretboard well enough, and it shrank.
For the most part, there’s an extraordinary amount of trust when you’re buying an instrument. For example, customers trust that the frets are installed in the correct positions without checking each fret position with a tuner. This trust is mostly deserved, as most frets are generally installed in the right places. What’s sometimes not installed in the correct place is the nut. This controls how open chords play in tune down in the first position. I’m going to make a list of the things I believe you cansee when you buy a guitar, and the things you can’t. My hope is that it helps you make your next purchase with confidence.
Tuning pegs are among the easy-to-inspect items when shopping for a guitar. The peg at far left has clearly seen better days.
In general, here’s a list of what you can see:
- Tuning pegs and how they operate
- If the nut was cut well in terms of string height over the frets
- The neck shape as regarding how it is comfortable in your hand
- How the truss rod adjusts
- How well the instrument was inlaid in the fretboard
- How the side dots look
- How professional the binding is
- If the neck angle is generally acceptable
- If you like the shape and comfort of the body
- The beauty of the finish
- Overall aesthetic quality
- The sound of the pickups
- The electronic controllability
- Comfort of the bridge
- If the guitar intonates at the 12th fret
- How well is the guitar set up
The “skunk stripe” on this old Tele’s neck remains well-seated.
In general, here’s a list of what you can’t see:
- Are the woods wet under the finish
- How well are the woods dried?
- Will the fretboard shrink so the frets stick out of the neck over time?
- Are the tuning pegs deadening the tone?
- What’s the nut made of and how well it is glued on?
- Are the nut slots too narrow, creating tuning problems?
- Are the frets level?
- Is the truss rod deadening the neck?
- Do the pickups squeal at really high volume? (You may not know this until testing the guitar in a live setting.)
- How thick and how soft is the finish?
- Will the finish last a lifetime?
- Will all the glue joints hold up over time?
- How well does the instrument record?
- Will the frets move over time from reactions to things like sweat?
So, it comes down to trust. Did the guitar-making company tend to all the things that you can’t see when you buy the instrument?
“My goal, as a guitar maker, is that you can take the guitar out of the case and play a gig or a recording session without a repairman working on it first.”
The best way to tell if you want to buy a guitar is to play it! If an instrument is built really well, your experience of playing it will give you a good indication of how well the things you can’t see were done. If the instrument is really trebly and has no bass or midrange, maybe you should walk away from that purchase. If you strum the instrument and go, “Oh my god, that sounds great,” and then you plug it in, and it sounds beautiful—buy it. By the way, online shopping has made this process fairly painless as well, so you can play guitars in stores as well as shop as on the internet.
My goal, as a guitar maker, is that you can take the guitar out of the case and play a gig or a recording session without a repairman working on it first. That said, my personal guitars are often in our PTC (tech center) because of little tweaks that I want done. To tinker, in my mind, is normal. To have to pay for a setup on a brand-new guitar is not. Happy shopping.
The features of the Debut 30E have been carefully selected to cover all the needs of an aspiring guitarist; two footswitchable channels, our patented ISF(Infinite Shape Feature) tone control, series effects loop, and a built-in tape delay. This amp is available in two gorgeous vintage finishes; cream covering with oxblood fret, or black and ‘biscuit’ basketweave.
Debut 30E Combo Features
- 30 Watt combo
- 2 Channels – Clean + Overdrive
- Patented ISF tone control
- Line In for jamming along or listening to music
- Speaker emulated Line Out for ‘silent’ practice or recording
- 1x10" custom-designed speaker, producing true Blackstar tones
- Series effects loop
- Stereo playback of Line In sources through headphones
- Dual footswitch control for channel switching
- Compatible with any 2-button latching footswitch (available separately)
- Vintage styling in cream and black options
Debut 30E | No Talking, Just Tones | Blackstar - YouTube
With the Messthetics, Anthony Pirog is a melodic and harmonic wildcard, who has few peers in the scope and imagination he brings to the instrument.
But the Messthetics can, and do, which makes their three albums and live performances joyful journeys through the inner and outer sanctums of sound and melody. Like the Mahavishnu Orchestra or ’80s King Crimson, they create instrumental landscapes that astound, punch, and transport.
The heartbeat of the band is the rhythm section of Brendan Canty on drums and Joe Lally on bass, who were already legends in the indie-rock world before the Washington, D.C.-based trio formed in 2016, thanks to their history in Fugazi. The melodic and harmonic wildcard is guitarist Anthony Pirog, who has few peers in the scope and imagination he brings to the instrument. He is an omnivorous student and musician, with a command of rock, jazz, blues, folk, ambient, and contemporary classical music. The documentation is in his substantial catalog of recordings, which, besides the Messthetics’ releases, range from solo albums and various duos including Janel & Anthony; guest turns with drummer William Hooker and other cutting-edge players; the Mahavishnu tribute Five Time Surprise with fellow outsider-guitar-giant Henry Kaiser; and the Spellcasters, a project steeped in the styles of Danny Gatton and Roy Buchanan.
The Messthetics—bassist Joe Lally, drummer Brendan Canty, and guitarist Anthony Pirog—onstage with James Brandon Lewis at Washington D.C.’s Black Cat in March 2023.
Photo by David LaMason
Recently, Pirog has been gigging and touring behind two new keystone works: Janel & Anthony’s New Moon in the Evil Age and The Messthetics and James Brandon Lewis. His partner in Janel & Anthony, and in life, is Janel Leppin, a cellist and composer with an equally free-ranging sensibility. And New Moon in the Evil Ageis an entrancing double album that balances melodic exploration with a modernist folk-rock sensibility. It’s easy to get lost in its 20 compositions. On The Messthetics and James Brandon Lewis, the band enlists the saxophonist, who is deep in the post-Coltrane-and-Ayler school of free-jazz horn and composition, as Pirog’s melodic and harmonic foil. And the results are astounding. Imagine Sonny Sharrock’s ’60s-inclined Ask the Ages with a more bare-knuckled but equally exceptional rhythm section. The balance of beauty and brutality is perfect within its jazz-informed structure. Some pieces, like “Moreso,” are essentially heads with plenty of space for these daring improvisors to unfurl. Others, like “Railroad Tracks Home,” are textural beasts with strong melodic spines.
“We took two or three months to write and arrange the record,” explains Pirog, who brought Lewis into the fold after he and Lewis metworking with William Hooker. “When the Messthetics are not touring, we usually meet twice a week to rehearse, and the rehearsals are essentially writing sessions—a good chance to just bounce ideas around and get a kind of group vocabulary going. So, this album is different from our first two records, where we were trying to explore the possibilities of what the guitar trio can do, in more of a through-composed way. As soon as we knew James was involved, that opened up the whole realm of different textures where I could be part of the rhythm section, or I could stop playing altogether.
“Being in the Messthetics has fueled me to do what I wanted to do,” Pirog continues. “Joe and Brendan play with an intensity I find very inspiring. And the same is true with James. He’s the perfect fit, energetically. We have a similar approach to melody—a kind of free playing and weaving in and out, so when we’re soloing together it’s amazingly fun. That’s really what it amounts to: Everyone’s having a great time and you have an understanding that you’re on the same page and things just flow, without any discussion. I could step on an Octavia and double a melody with James with a close tone that really balances well with the sound of his saxophone. At some points on the album, I can’t even really tell where the line is between James’ sound and my sound.”
On their new album, the band enlists the saxophonist James Brandon Lewis as Anthony Pirog’s melodic and harmonic foil. The balance of beauty and brutality is perfect within its jazz-informed structure.
And as any guitarist knows, sound is an important element of the magic—arguably more important than the notes plotting its course. Pirog is an avid and highly attuned pedal user, with a huge vocabulary of tones and effects at his disposal. He is quite precise in how his stompboxes are deployed. Pirog can turn his Abernethy Sonic Empress, which he runs through a flexible, punchy two-channel, 30-watt Benson Vincent head (“It has incredible clarity and presence to every aspect of the tone”) and cab, into a spacecraft or a growling tiger, utterly annihilate his tone or make it buttery and voice-like, or simply rock out like a maniac, with the push of a few buttons and carefully set dials.
For that reason, and because of the wide range of playing styles under his command, we asked Pirog to share his pedalboards for various gigs: rock, improv, jazz, and roots. “When I’m putting a pedalboard together,” he explains, “there’s nothing too crazy going on. I’m thinking about the source material, which can kind of be pitch-related or timbre-based. Then sometimes I’ll add compression or noise pedals. I’ll put anything that I want to control as the source sound before the volume pedal. Sometimes that can oscillate and create feedback, so I use the volume pedal so it won’t just be blaring. What comes to mind is William Hooker. I did a duo show with him in D.C., and he wanted me to play feedback. So, I put my fuzz pedal on with the gate wide open. Then I’ll consider gain pedals, distortions, sometimes modulation. I don’t have an exact method for modulation. Sometimes it’s before drive and sometimes it’s after, based on the pedal or the pedal type. Then, ambient delay, reverb, and I’ll get into looping stuff at the end of my chain. That’s the basic idea.”
While Anthony’s preferences might change gig to gig, as he’s always on the lookout for new pedals, here are his current pedalboard setups by genre.
Messthetics/Rock Board
Some of Pirog’s favorite pedals include the Strymon Flint, JAM Pedals Delay Llama, Red Panda Tensor, JAM Pedals Rattler LTD, and Greer Amps Lightspeed.
Since the Messthetics’ recent compositions from The Messthetics and James Brandon Lewis are essentially heads with lots of room for free-ranging improvisation, Pirog has to be ready to create sounds and travel in different musical directions at less than a moment’s notice. To that end, he needs a wide array of overdrive/fuzz, pitch shifting, modulation, and volume effects.
This is currently what’s at his feet:
• Collector Effectors Zonk Machine (octave fuzz)
• DigiTech Whammy
• Classic Amplification CV-2 (Uni-Vibe clone)
• Klon Centaur
• Lehle volume pedal
• Greer Amps Lightspeed Organic Overdrive
• JAM Pedals Rattler LTD
• Red Panda Tensor
• JAM Pedals Delay Llama
• Strymon Flint (’60s reverb and ’61 harmonic tremolo setting)
• Eventide H9
• Neunaber Immerse Reverberator
Experimental/Improv Board
While the Lehle volume pedal is a staple, the Neunaber Immerse Reverberator and Eventide H9 show up on Pirog’s rock and experimental/improv pedalboards.
Of course, experimentation is a big part of the Messthetics’ aesthetic, but for free-improv gigs, Pirog needs some additional, very specific tools for layering sounds and generating atmospheric elements.
Let’s call this pedal roster his improv/experimental board:
• Collector Effectors Zonk Machine (octave fuzz)
• 4ms Nocto Loco (oscillating octave pedal)
• DigiTech Whammy
• Classic Amplification CV-2 (Uni-Vibe clone)
• Klon Centaur
• Lehle volume pedal
• Gamechanger Audio Plus (sustain)
• MASF Possessed (glitch/oscillation)
• Greer Amps Lightspeed Organic Overdrive
• JAM Pedals Rattler LTD
• Red Panda Tensor
• Montreal Assembly Count to 5 (delay/sampler/octave)
• JAM Pedals Delay Llama
• Strymon Flint (’60s reverb and ’61 harmonic tremolo setting)
• Eventide H9
• Neunaber Immerse Reverberator
• 4ms Noise Swash (oscillating noise pedal)
• EHX 16 Second Digital Delay reissue with additional foot controller (sound-on-sound looper)
• Zvex Lo-Fi Loop Junky
Jazz Board
Excuse the pun: This Klon Centaur is Pirog’s workhorse pedal—part of all his stomp rigs.
Sure, the Messthetics are a rock band, but they often border on jazz—or cross that border. And Anthony’s playing, along with fellow guitarist Henry Kaiser’s, is stellar in the Mahavishnu Orchestra tribute fusion band Five Times Surprise, who’ve so far made just one album, also called Five Times Surprise. But Pirog is also an ace at playing traditional, post-bop jazz as well as the more radical approaches minted by his musical heroes Bill Frisell and Sonny Sharrock.
“When I was in my 20s, playing jazz gigs around the D.C. area and improv gigs in New York, I would just bring my entire, huge pedalboard,” Pirog relates. “Now I’m trying to be more mobile. I can use the Klon’s tone knob to dial back some of the top end even more than I probably would in any other setting. And I will sometimes use the gain knob to boost the signal, which also increases some low end, And then I like to use delay and reverb.”
His pedal array for jazz gigs:
• Klon Centaur
• Lehle volume pedal
• Pro Co RAT
• JAM Pedals Delay Llama (set at 16 ms, to fatten tone)
• Strymon Flint
Roots Board
Roots Board
Pirog is among the rare guitarists who can play in the style of Danny Gatton with the same finesse, touch, and balance of emotional restraint and blues-and-country-based wailing. And gorgeous tone. You can hear him exercise this side of his playing as part of the Spellcasters, in the group’s tribute to Gatton and another D.C.-area Tele giant, Roy Buchanan, on the album Anacostia Delta.
His board for Gatton-style gigs:
• Lehle volume pedal
• Klon Centaur (gain set at 10)
• JAM Pedals Delay Llama
• Strymon Flint (’60s reverb and ’61 harmonic tremolo settings)
And his amp of choice in this playing mode is a ’65 Fender Deluxe Reverb, with volume on 3, approximately.
Rig Rundown - Henry Kaiser's Five Times Surprise
Although he’s currently using a different array of pedals and amps, and a different guitar, too, this look at Anthony Pirog’s rig for the Five Time Surprise recording session is nonetheless fascinating. He leads us through it, at the start of this Rig Rundown.