When it comes to Gibson’s Flying V guitars, most V fanatics rank the Medallion model as one of the most desirable. In 1971, Gibson made a limited edition of
When it comes to Gibson’s Flying V guitars, most V fanatics rank the Medallion model as one of the most desirable. In 1971, Gibson made a limited edition of 350 of these guitars, which were intended to commemorate the then-upcoming 1972 Olympic games. The design was based on Gibson’s ’67 Flying V, with its short headstock and detailing. Added to this was a gold-colored coin inscribed with the Gibson logo and inlaid on the front bass side of the body. Each Medallion V’s 1 7/16"-diameter coin was also inscribed with a digit representing its serial and production number. (Although a few had a stamped serial number on the back of the headstock.)
The subject of this month’s column—#18—was definitely out of Gibson’s first production batch. This Medallion Flying V arrived at our shop in dire need of a finish restoration. Most of the original finish had been stripped away, and the guitar had then been covered in a light, handrubbed oil. There were slight visual signs to confirm that the original finish was once a Gibson cherry red.
I used acetone and a white (I’ll explain later why this is important), lint-free cotton cloth to remove the oils that had soaked into the Honduran mahogany. To avoid any adhesion issues, you must do this before applying any nitrocellulose lacquer. To fully clean the wood, I repeatedly wiped the body with fresh cloths, and I kept wiping an area until my cloth didn’t show any oil discoloration. When working with acetone, remember to wear protective gloves and eyewear, and be sure to have proper ventilation.
During this process, I also noticed a couple of small dents and one large body dent. I knew I needed to tend to these before I sprayed transparent cherry red finish on the guitar again. If I didn’t remove the dents, they’d glare through the finish and be an eyesore.
I knew the largest dent— which measured 1" long, 1/8" wide, and 1/16" deep—would be the biggest challenge to remove and feather in. For my first attempt at doctoring this indentation, I poured a little water into a coffee cup and brought it to a boil in a microwave. I then used a Q-Tip to apply the hot water to the damaged area, hoping to swell the compressed wood to its original state. I wanted to try this technique first, because it’s the least-abrasive option.
Before long, I could see that the wood was not going to move easily. I only achieved a 15-percent improvement, so I knew I needed to really increase the heat and begin steaming from the depths below. If you ever try this technique, I’d suggest first working on a scrap piece of wood of the same species to get a feel for the process before doing it on a guitar. This will help avoid incurring further damage.
The main tool I use for such steaming operations is my Tenma Temperature Controlled Digital Solder Station (model 21-1590), which has a temperature range of 320–900 degrees Fahrenheit. (Incidentally, if you work on guitar electronics and want to achieve clean results without damaging any components, the Tenma unit would be a fantastic addition to your workbench.)
I attached a 1/8" tip to the iron and set the temperature to 900 degrees. Then I took a white, 5" x 5", lint-free cotton cloth, moistened it heavily, and folded it in three layers to create a thick, protective pad. Laying this over the dent, I applied the soldering iron to the pad and began steaming out the wood.
Sometimes this works quickly, but for this particular indentation I needed to repeatedly moisten the cloth and reapply heat—always monitoring the cloth for mild burning or discoloration. This is why having a white cloth is so important: It helps you avoid damaging the wood, because you can see when things are beginning to really heat up and adjust the temperature accordingly.
It took about 15 cycles of moistening the cloth and applying heat to coax the dent out of the wood. After giving the body a light final sanding with 280- grit abrasive, I was finally ready to apply the finish.
I hope everyone’s summer is off to a great start, and you’ve moved your workbench onto the patio and next to the grill!
John Brown is the inventor of the Fretted/Less bass. He owns and operates Brown’s Guitar Factory, a guitar manufacturing, repair, and restoration facility staffed by a team of talented luthiers. His guitar-tool and accessory designs are used by builders all over the world. Visit brownsguitarfactory.com or email John at info@brownsguitarfactory.com.
We’re giving away pedals all month long! Enter Stompboxtober Day 11 for your chance to win today’s pedal from Hotone Audio!
Hotone Wong Press
Cory Wong Signature Volume/Wah/Expression Pedal
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!
In line with the Hotone Design Inspiration philosophy, the Wong Press represents the perfect blend of design and inspiration. Now, musicians can channel their inner Cory Wong and enjoy the freedom and joy of playing with the Wong Press!
A more affordable path to satisfying your 1176 lust.
An affordable alternative to Cali76 and 1176 comps that sounds brilliant. Effective, satisfying controls.
Big!
$269
Warm Audio Pedal76
warmaudio.com
Though compressors are often used to add excitement to flat tones, pedal compressors for guitar are often … boring. Not so theWarm Audio Pedal76. The FET-driven, CineMag transformer-equipped Pedal76 is fun to look at, fun to operate, and fun to experiment with. Well, maybe it’s not fun fitting it on a pedalboard—at a little less than 6.5” wide and about 3.25” tall, it’s big. But its potential to enliven your guitar sounds is also pretty huge.
Warm Audio already builds a very authentic and inexpensive clone of the Urei 1176, theWA76. But the font used for the model’s name, its control layout, and its dimensions all suggest a clone of Origin Effects’ much-admired first-generation Cali76, which makes this a sort of clone of an homage. Much of the 1176’s essence is retained in that evolution, however. The Pedal76 also approximates the 1176’s operational feel. The generous control spacing and the satisfying resistance in the knobs means fast, precise adjustments, which, in turn, invite fine-tuning and experimentation.
Well-worn 1176 formulas deliver very satisfying results from the Pedal76. The 10–2–4 recipe (the numbers correspond to compression ratio and “clock” positions on the ratio, attack, and release controls, respectively) illuminates lifeless tones—adding body without flab, and an effervescent, sparkly color that preserves dynamics and overtones. Less subtle compression tricks sound fantastic, too. Drive from aggressive input levels is growling and thick but retains brightness and nuance. Heavy-duty compression ratios combined with fast attack and slow release times lend otherworldly sustain to jangly parts. Impractically large? Maybe. But I’d happily consider bumping the rest of my gain devices for the Pedal76.
Check out our demo of the Reverend Vernon Reid Totem Series Shaman Model! John Bohlinger walks you through the guitar's standout features, tones, and signature style.
Reverend Vernon Reid Totem Series Electric Guitar - Shaman
Vernon Reid Totem Series, ShamanWith three voices, tap tempo, and six presets, EQD’s newest echo is an affordable, approachable master of utility.
A highly desirable combination of features and quality at a very fair price. Nice distinctions among delay voices. Controls are clear, easy to use, and can be effectively manipulated on the fly.
Analog voices may lack complexity to some ears.
$149
EarthQuaker Silos
earthquakerdevices.com
There is something satisfying, even comforting, about encountering a product of any kind that is greater than the sum of its parts—things that embody a convergence of good design decisions, solid engineering, and empathy for users that considers their budgets and real-world needs. You feel some of that spirit inEarthQuaker’s new Silos digital delay. It’s easy to use, its tone variations are practical and can provoke very different creative reactions, and at $149 it’s very inexpensive, particularly when you consider its utility.
Silos features six presets, tap tempo, one full second of delay time, and three voices—two of which are styled after bucket-brigade and tape-delay sounds. In the $150 price category, it’s not unusual for a digital delay to leave some number of those functions out. And spending the same money on a true-analog alternative usually means warm, enveloping sounds but limited functionality and delay time. Silos, improbably perhaps, offers a very elegant solution to this can’t-have-it-all dilemma in a U.S.-made effect.
A More Complete Cobbling Together
Silos’ utility is bolstered by a very unintimidating control set, which is streamlined and approachable. Three of those controls are dedicated to the same mix, time, and repeats controls you see on any delay. But saving a preset to one of the six spots on the rotary preset dial is as easy as holding the green/red illuminated button just below the mix and preset knobs. And you certainly won’t get lost in the weeds if you move to the 3-position toggle, which switches between a clear “digital” voice, darker “analog” voice, and a “tape” voice which is darker still.
“The three voices offer discernibly different response to gain devices.”
One might suspect that a tone control for the repeats offers similar functionality as the voice toggle switch. But while it’s true that the most obvious audible differences between digital, BBD, and tape delays are apparent in the relative fidelity and darkness of their echoes, the Silos’ three voices behave differently in ways that are more complex than lighter or duskier tonality. For instance, the digital voice will never exhibit runaway oscillation, even at maximum mix and repeat settings. Instead, repeats fade out after about six seconds (at the fastest time settings) or create sleepy layers of slow-decaying repeats that enhance detail in complex, sprawling, loop-like melodic phrases. The analog voice and tape voice, on the other hand, will happily feed back to psychotic extremes. Both also offer satisfying sensitivity to real-time, on-the-fly adjustments. For example, I was tickled with how I could generate Apocalypse Now helicopter-chop effects and fade them in and out of prominence as if they were approaching or receding in proximity—an effect made easier still if you assign an expression pedal to the mix control. This kind of interactivity is what makes analog machines like the Echoplex, Space Echo, and Memory Man transcend mere delay status, and the sensitivity and just-right resistance make the process of manipulating repeats endlessly engaging.
Doesn't Flinch at Filth
EarthQuaker makes a point of highlighting the Silos’ affinity for dirty and distorted sounds. I did not notice that it behaved light-years better than other delays in this regard. But the three voices most definitely offer discernibly different responses to gain devices. The super-clear first repeat in the digital mode lends clarity and melodic focus, even to hectic, unpredictable, fractured fuzzes. The analog voice, which EQD says is inspired by the tone makeup of a 1980s-vintage, Japan-made KMD bucket brigade echo, handles fuzz forgivingly inasmuch as its repeats fade warmly and evenly, but the strong midrange also keeps many overtones present as the echoes fade. The tape voice, which uses aMaestro Echoplex as its sonic inspiration, is distinctly dirtier and creates more nebulous undercurrents in the repeats. If you want to retain clarity in more melodic settings, it will create a warm glow around repeats at conservative levels. Push it, and it will summon thick, sometimes droning haze that makes a great backdrop for slower, simpler, and hooky psychedelic riffs.
In clean applications, this decay and tone profile lend the tape setting a spooky, foggy aura that suggests the cold vastness of outer space. The analog voice often displays an authentic BBD clickiness in clean repeats that’s sweet for underscoring rhythmic patterns, while the digital voice’s pronounced regularity adds a clockwork quality that supports more up-tempo, driving, electronic rhythms.
The Verdict
Silos’ combination of features seems like a very obvious and appealing one. But bringing it all together at just less than 150 bucks represents a smart, adept threading of the cost/feature needle.