 | |
 | Download Example 1 Blues |
| Download Example 2 Jazz |
| Download Example 3 Rock |
| Clips recorded through a TomasZewicz TZZ-15112 | |
I know what you’re thinking … but no, this review does not have something to do with automobiles, and you didn’t accidentally pick up a copy of Car & Driver magazine. In fact, the reference in the title is actually a street name in Redding, Calif., where the workshop of up-and-coming luthier Jason Z. Schroeder is located. But Radio Lane is not only the place where he designs and creates handcrafted electric guitars, it’s also the model name of the guitar up for review here. Judging by the way it plays—a lot like driving a finely tuned sports car zipping along an empty road—the automobile reference seems more than appropriate.
I met Schroeder at Summer NAMM and had the opportunity to learn about his background and his product line, which currently consists of four models: Chopper, Doublecut, Shorty (I love this name), and Radio Lane/Single Cutaway. Schroeder started playing guitar at an early age and was introduced to luthiery when he convinced his father to buy him materials to construct a bass. After spending hours in the exotic-woods section of the lumber yard, Jason’s fascination with tone woods and desire to build guitars was born. Despite this budding passion to build guitars, Jason went on to earn a M.S. in Hydrogeology, started a family and worked as a Geologist. By 2005, Jason’s time spent moonlighting as a luthier reached a point when he decided to reach out to senior professionals in both fields to help him make an important career decision. Luckily for us, luthiery won out—thanks to the advice of Bob Benedetto, who told Jason to, “Do what you love, the money will come.”
My first impression of the semi-hollow singlecut away Radio Lane, with its highly figured tone woods combined with its tasteful color palette, was that it was downright handsome. The Western Big Leaf Maple quilt top (5/8" thick) with its matching quilt maple headstock inlays and truss rod cover are finished in a Hazel (green/brown) nitrocellulose lacquer that highlights the exceptional grain of the maple without making it garish. The shape of the 1-3/4"-thick Honduran Mahogany body is inspired by the Les Paul with some significant differences to improve the balance and playability of this iconic body shape. The body has a “slimmer” waist and a broader (less rounded) carved upper horn that is modeled after one of Jason’s favorite archtop guitars, a D’Aquisto Solo.
This particular Radio Lane/Single Cutaway is Schroeder’s semi-hollowbody version (solidbody available) and features a Schroeder-designed “S” hole, one of several unique creative appointments that can be found on this guitar. The refined body style, combined with the chambering, provides weight relief, balance and added resonance to the instrument. The body is bound along the top and fingerboard with a strip of flawlessly applied grained ivoroid binding. The body and neck are each constructed from a single piece of Honduran mahogany finished in a medium shade of brown nitrocellouse lacquer. The control covers and knobs are carved from rosewood, and fit perfectly into the overall color scheme of this guitar. Speaking of rosewood, the 12" radius fingerboard of this guitar is carved from an awesome, straight-grained piece of Brazilian rosewood, with an equally elegant, gold pearl art deco inlay at the 12th fret. No other fret markers obstruct the stunning grain of the board.
Overall, the grain of the wood used on this guitar is exemplary. The 24-5/8"-scale neck is hand shaped with a ’59-style rounded carve that measures .860" (1st fret) and .970" (12th fret), and features 22 polished, jumbo stainless steel frets. The matching finished headstock features a single classy pearl inlaid “S”, and the top edge of the headstock is contoured with the profile of the matching Schroeder stoptail bridge.
The hardware selection for the Radio Lane is equally well thought out. The guitar is voiced with a pair of nickel-covered Duncan Antiquity humbuckers that feature aged Alnico II magnets (Duncan’s Seth Lover pickups are also an option). These PAF-style pickups are scatterwound by hand and feature aged bobbins impregnated with fine dust particles, along with treated wire and insulation to duplicate the tempering of years of use. The pickups are wired to a 3-way, white-tipped selector (Switchcraft) and a pair of volume and tone controls (CTS pots) wired as follows: Pos. 1 (Neck Humbucker), Pos. 2 (Both pickups humbucking/parallel), and Pos. 3 (Bridge Humbucker).
The Schroeder-designed aluminum bridge features fully adjustable stainless steel saddles, clips and screws. The bridge attaches to the body in traditional twin mounting stud fashion, and the chrome strap buttons feature protective bushings that match nicely with the clever “S” shaped, side-mounted input jack (talk about brand extension). The set neck attaches to the body at the 16th fret, which is consistent with this body style, therefore upper fret access on the lower strings requires some hand gymnastics. The 1.73" wide bone nut is finely cut and polished, with its edges smoothly honed. The chrome Sperzel locking tuners are well seated and add to the guitar’s classy appearance.
Schroeder’s passion for guitars does not stop at design and aesthetic considerations, however, as the Radio Lane equally excels in terms of playability and tone. The guitar is lightweight, resonant and balanced in both standing and sitting positions, which can be a drawback with this type of design. Despite its semi-hollow design, the Radio Lane was not at all neck heavy. In fact, I found the neck very comfortable due to its carve and finish. This combined with the excellent fretwork makes this guitar play very easily.
Strummed acoustically, the Radio Lane has a bold fundamental voice across the frequency range and a tremendous amount of natural sustain, which is likely a function of the quality of the overall design and chambered body. The chambered mahogany body also adds liveliness to the tone that blends well with the natural snap of a maple top. The design of the chamber appears to offer the benefit of increased resonance without the usually characteristic softness in attack one can encounter with semi-hollow instruments.
Plugging In
Taking it for a test drive, the tones are similar to that of a refined Les Paul with the added bandwidth across all pickup positions. Using a blackface Fender Bandmaster driving a 2x10 Music Man cab, clean tones exhibited the characteristic bite of a classic PAF bark with just the right amount of “airiness.” The bridge pickup exhibits a strong fundamental tone across the entire frequency range, with a slightly compressed voice that responds well to pick attack. The neck pickup is full sounding, and as I added drive to the mix the bass response spiked slightly, which may be a function of the chambering and design. The dual pickup combinations were particularly notable as the character of the guitar offered very pleasing tones (particularly blues) by adjusting each pickup volume/tone settings.
In overdrive settings using a TomasZewicz 15W combo, the guitar’s responsiveness and tones sat well in the mix and served up a bevy of usable tones. It is worth noting that the guitar had zero feedback issues when played at high volumes. In one sitting, we played a series of classic rock tunes and did find the need to adjust the settings accordingly on the amp. I adjusted the guitar settings and my pick attack and let the Radio Lane do the driving!
Jason Schroeder’s offerings have generated a considerable amount buzz on the online forums, as well as from professional acts such as Fleetwood Mac and Gavin Rossdale’s band. After driving the Radio Lane, I believe the attention is warranted, and I predict a bright future for Jason Z. Schroeder Guitars.
Buy if...
you’re seeking stellar Les Paul-type tones with silky playability and equally stunning looks.
Skip if...
you are not into some of the retro-style appointments.
Rating...
MSRP $4200 (Base); $4950 (as tested) - Jason Z. Schroeder Guitars - schroederguitars.com |
Diamond Pedals Dark Cloud
True to the Diamond design ethos of our dBBD’s hybrid analog architecture, Dark Cloud unlocks a new frontier in delay technology which was once deemed unobtainable by standard BBD circuit.
Powered by an embedded system, the Dark Cloud seamlessly blends input and output signals, crafting Tape, Harmonic, and Reverse delays with the organic warmth of analog companding and the meticulous precision of digital control.
Where analog warmth meets digital precision, the Dark Cloud redefines delay effects to create a pedal like no other
Epiphone Firebird I
When Gibson debuted the Firebird I and Firebird V in 1963, the design was as innovative as it was radical. Like the Flying V and Explorer, the Firebird seemed Martian—or at least like a work of futurist art, with its offset body shape, extended lower and upper bouts, reverse headstock, and through-body neck.
Firebirds came in three versions: The single-pickup Firebird I, the two-humbucker Firebird V, and the three-pickup Firebird VII, with the latter two featuring a Vibrola tailpiece, trapezoid inlays, and neck binding. The first time I saw a Firebird in action, it was in the hands of Johnny Winter, who gave no quarter as he ripped conflagrant solos from its fretboard, but Brian Jones, Clapton, Allen Collins, Paul Stanley, and Phil Manzanera also helped make the model a legend. Original ’60s Firebird V’s sell for as much as $35,000, and reissues peak at nearly $10,000 for the Gibson Custom Shop’s ’63 Firebird V. That’s a lot of dough to look badass on stage. But now, Epiphone—in collaboration with Gibson’s Custom Shop—has taken high-quality reissues of the 1963 Firebird I and V into a more affordable realm. They’re still pricey for an Epi’, at $1,299 and $1,699, respectively, but undeniably brimming with panache.
“I was surprised by how sweet and heavy Gibson’s Firebird Mini Humbuckers sound. There is nothing mini about their tone.”
An’ a I, an’ a V
Our review Firebirds arrived impeccably set up, with action low enough for speed, but high enough for slide—my comfort zone, coincidentally. They are handsome guitars too. The I is finished in gleaming cherry, while the V is decked out in vintage sunburst and a shiny Vibrola tailpiece.
The necks are the not-so-secret weapons on these models. They are 9-ply mahogany and walnut (original Firebirds have a 5-ply neck), sandwiched between mahogany wings, but both guitars are still fairly light. The I is 7 1/2 pounds and the V weighs about 9 pounds due to the additional pickup and bridge hardware. There are 22 comfortable, medium-jumbo frets, which allow easy navigation and elegant bends, a Graph Tech nut, dot neck inlays on the I and trapezoids on the V, a classic Gibson-scale neck length of 24 3/4", and an Indian laurel fretboard. The banjo-style Kluson Planetary tuners, as well as the reverse headstock, take time to get to use to, but contribute to the instruments sleek, clean lines. The Firebird I’s electronics are simply a master volume and tone, with CTS pots and Mallory caps inside, in service of a warm-to-cutting single alnico 5 Gibson USA Firebird Mini Humbucker. The V offers more ways to shape your tone: The Vibrola is cool and vibey and there’s a classic four-dial Gibson control set (also routed through Mallory caps and CTS pots), a 3-way pickup switch on the lower bout, and a pair of those Gibson USA Firebird Mini Humbuckers.
Epiphone Firebird V
Trial by Firebird
I was sure I would prefer the Firebird V playing experience, because I am typically a neck-pickup player, but both guitars revealed sonic charms through Carr Vincent and Telstar amps running in stereo, my vintage Marshall Super Lead, and a Positive Grid Spark.
Low-action setups on both accommodate everything from campfire chords to screaming single-note playing past the 12th fret, with the perfectly smooth fret ends and comfortable neck making it all a pleasure. The neck broadens to 2 1/4" at the body, from 1 3/4" at the nut, making it easy to hit high notes accurately. But what really excited me, besides how artful these guitars look, is the power and sound of the pickups.
I was surprised by how sweet and heavy Gibson’s Firebird Mini Humbuckers sound. There is nothing mini about their tone, whether slashing and growling through the Marshall or pouring thick honey out of the Carrs. And through the Spark, a highly pleasing snarl and juicy warmth were all on tap. Despite my predilection for neck pickups, I became really excited by the Firebird I. The simplicity and elegance of its look, streamlined controls, clean surface, and light weight made the I a joy to play, especially with the treble rolled to near-zero. There, early Clapton-esque tone was a cinch to find, and for blues and pseudo-jazz-licks (the best I can muster in that genre), the warmth and clarity were delightful. Despite its basic construction, the Epiphone Firebird I is assuredly more than a rock machine.
Sure, having the addition of a neck pickup on the Firebird V provides a wider selection of tones, but the voices achievable on the I were no less winning and, honestly, I could not find any pickup-and-dial configuration on the V that sounded all that different or better than those available on the I. But, ah, a Vibrola is a very nice appointment—not just for its grand appearance, which is like some antiquarian treasure, but for the subtle bends its enables. If atmospheric guitar tones from the Ventures to Hermanos Gutiérrez are your passion, you’d want the Vibrola, which stays remarkably in tune, given its relatively primitive design.
The Verdict
Make no mistake: With their uncommonly proportioned offset bodies and reverse headstocks, guitars like the Epiphone Firebird I and V require time to get acquainted. But if you’re unafraid to stand out from the crowd, these instruments will serve you visually and sonically. Both play well and offer a good scope of vintage tones—from aggressive to dark maple sugar—with simple dial adjustments. And while many other Epiphone models sell for less, these well-crafted copies of original Gibson designs provide custom-shop or boutique-builder quality at a much lower price. PG
