A wise man once told me that when it comes to building your business and addressing your customers, you have one mouth and two ears, therefore you should listen twice
A wise man once told me that when it comes to building your business and addressing your customers, you have one mouth and two ears, therefore you should listen twice as much as you talk. As a type A personality, I could probably stand to gain the most from such noble advice -- but dammit, I have a lot to say! So as I sit here on my deck with sweat on my brow and a beer in hand, I finally have some much needed downtime to catch up on some important reader mail. Here’s one particularly awesome example:
“I have been a subscriber since the title was Musicians Hotline and was about 14-15 pages! I am a big fan of Toshi, as I am sure a lot of people into the shred/metal scene are. Someone who has REALLY done exemplarly studies the past few months is Jeff Beasley and his Lethal Guitar series [ed note – Jeff’s column is now exclusively available online]. Look at his explanation in “Full Shred Ahead”; he emphasizes how important each hand’s technique is and most importantly, and always left out, the details of what you need to do to perform the technique and build on it. Much respect to Jeff Beasley for continuing to do the kind of articles that have made PG what it is today. It continues to be better each issue. There is no other guitar or music mag like it. It has great articles and info that others can’t do. I have not doubt it will continue to be a great surprise each month. - SAMUEL”
Most (not all) of the mail we get, like the one above, suggests you really seem to like what we’re doing – a belief supported by a growing number of subscribers to Premier Guitar and by booming traffic to our website (about 16,000 visitors daily and growing).
But anecdotal feedback, subscriber surveys, web stats, while much appreciated, just doesn’t tell us what we want to know. Too many magazines and websites are run by a bunch of editors deciding what they think is cool, often with little regard for reader interests and needs. So we’re stepping up our efforts to identify what you want so we can make sure we’re giving it to you.
This issue you’re holding will be used for a huge readership study being done by Harvey Research, the leaders in audience research for over 30 years. This study (we’ll publish a summary of the findings so you can see them too) will tell us about you; your interests, your needs, and how you use Premier Guitar. “Report cards” like this can be scary stuff for editors but it is the only way we can keep on giving you what you’re looking for.
We’re also introducing reader polls to our magazine and to our websites; introducing panel research for every issue (write our Managing Editor, Adam Moore, if you’d like to be on a panel at adam@premierguitar.com); and starting research programs about, and for, manufacturers and retailers so you can tell ‘em what you think.
Keep your comments coming – both good and bad – as it’s the only way we can relentlessly pursue providing you with the best content on the planet. It keeps us on our toes and lets us know how we’re doing. Of course, if you cats dig what we are doing, I will take all the credit. If not, please blame our editors. C’mon, a little joke -- I’m here all week.
P.S. Our first big guitar Festival is coming to Boston on September 14-16, see page 164 in this issue. Featuring exhibits, entertainment, workshops – see, listen, learn and rub elbows with guitar icons like Robben Ford, Johnny A, Muriel Anderson, Monte Montgomery, Frank Vignola, Mimi Fox, Bruce Arnold, Brad Carlton, David Hamburger, Jeff Scheetz, Trey Alexander and Jeff McErlain. You can pre-register to attend at premierguitarfestivals.com. Hope to see you all at our ultimate celebration of guitars, tone, music and cold beer. Share the passion, meet for the experience! As always, tone up and throw down!
The two pedals mark the debut of the company’s new Street Series, aimed at bringing boutique tone to the gigging musician at affordable prices.
The Phat Machine
The Phat Machine is designed to deliver the tone and responsiveness of a vintage germanium fuzz with improved temperature stability with no weird powering issues. Loaded with both a germanium and a silicon transistor, the Phat Machine offers the warmth and cleanup of a germanium fuzz but with the bite of a silicon pedal. It utilizes classic Volume and Fuzz control knobs, as well as a four-position Thickness control to dial-in any guitar and amp combo. Also included is a Bias trim pot and a Kill switch that allows battery lovers to shut off the battery without pulling the input cord.
Silk Worm Deluxe Overdrive
The Silk Worm Deluxe -- along with its standard Volume/Gain/Tone controls -- has a Bottom trim pot to dial in "just the right amount of thud with no mud at all: it’s felt more than heard." It also offers a Studio/Stage diode switch that allows you to select three levels of compression.
Both pedals offer the following features:
- 9-volt operation via standard DC external supply or internal battery compartment
- True bypass switching with LED indicator
- Pedalboard-friendly top mount jacks
- Rugged, tour-ready construction and super durable powder coated finish
- Made in the USA
Static Effectors’ Street Series pedals carry a street price of $149 each. They are available at select retailers and can also be purchased directly from the Static Effectors online store at www.staticeffectors.com.
Computerized processes have given repair techs the power to deliver you a better-playing guitar. But how do they work?
When we need to get our guitars fixed by a professional, a few nagging questions run through our heads: Will the repair specialist be thorough? Will their procedures ensure an optimal sounding and easy-to-play instrument, or will they merely perform cursory work to make the guitar somewhat playable without resolving underlying issues? Have they followed the tested advancements in understanding, tools, and techniques, or are they stuck in the ideas of the ’70s?
Presently, many certified guitar-repair specialists possess the expertise required to deliver an instrument that both sounds and plays wonderfully. The standards set by manufacturers and distributors have significantly risen, safeguarded by rigorous quality protocols to guarantee the best possible acoustic experience for customers. Additionally, lutherie training has raised the bar for critical processes, and one of the most tricky is fretwork.
Traditional fretwork once involved manual labor, with technicians utilizing sandbags or similar supports to steady the neck as they straightened it with a truss rod during the filing process. A notable advancement in this field came in the mid 1970s when Don Teeter, an author and repair expert, imposed a new method: fixing the guitar body to the bench and using blocks to maintain the neck in a playing position. This refinement was one of many in the continued quest to produce superior instruments by standardized methods.
An example of the Plek’s readings from an acoustic guitar.
Photo courtesy of Galloup Guitars
In the late 1970s, another pivotal innovation was introduced by Dan Erlewine. He created an advanced fret jig with a specialized body-holding system and neck supports, adding another layer of precision to the repair process. During my collaboration with Dan in 1985, we developed a rotating neck jig that counterbalanced the forces of gravity, keeping the instrument in its playing orientation while adjusting the neck supports. This step represented a significant leap in establishing control and standardization of fretwork procedures in our industry. By 1986, our approach had evolved into a freestanding workstation coupled with a sophisticated hold-down mechanism and enhanced neck supports, culminating in increased accuracy, efficiency, and consistency. Over the decades, the Erlewine/Galloup rotating neck jig has become a benchmark in numerous shops, enhancing fretwork performance.
"This step represented a significant leap in establishing control and standardization of fretwork procedures in our industry."
By the 1990s, automated and computerized technologies permeated the guitar manufacturing and repair sectors. Initially applied by import companies in the mass production of guitars, the technology, although expediting processes, did not immediately achieve high execution standards. However, the tech dramatically improved over time, with computer-driven systems eventually transforming the industry. Contemporary automated production utilizing such advancements meets exceedingly high standards of precision. Some bespoke guitar manufacturers, such as Steve Andersen, were pioneers in adopting these methods, but it was companies like Taylor that established them in the modern era.
Inevitably, the progression of technology extended beyond the mere production of parts. Around 1995, German engineer Gerd Anke envisioned the integration of computer-assisted technology into enhancing instrument playability, giving rise to Plek technology, which uses computers to precisely measure and analyze the various components of a guitar, like neck relief, fret height, nut and bridge specs, and more. Nashville guitar-repair tech Joe Glaser was among the first to recognize the machine’s value, followed by San Francisco luthier Gary Brawer. When Heritage Guitar Inc. invested in a Plek machine, the guitar industry could no longer disregard the significance of this innovation.
“The machine’s scanning data confirmed that there was one nature of an ideal fret plane, done by hand or machine, and unsurprisingly, it conformed exactly to what physics predicts, not personal mojo.”
In the spring of 2022, Galloup Guitars obtained its first Plek machine. Promptly, our technician Adam Winarski paved the way for the Plek’s integration in our shop. Now, it’s a rarity for an instrument to leave our shop without having undergone Plek analysis and machining. Impressed by the results of our integration, we created “Intro to Plek” as a course for all students enrolled at the Galloup School of Lutherie, offering our students a practical introduction to this technology. We furthered this educational initiative with a comprehensive one-week intensive “Plek Certification Training Course” for both students and the public. This advanced Plek course serves those seeking to boost their knowledge base and employability in this high-precision field.
Plek is rapidly becoming an industry standard for major manufacturers and smaller shops alike. However, this does not mean that those without access to this technology cannot execute proficient fretwork. Personally, I continue to use my Erlewine/Galloup neck jig—not only out of nostalgia, but also because it remains an excellent method for delivering accurate and reliable guitars. Still, it’s undeniable that the process of fretting, fret dressing, and analytics of fretted instruments has undergone significant transformation, resulting in better sounding—and playing—guitars. And ultimately, that’s what it’s all about.
Plenty of excellent musicians work day jobs to put food on the family table. So where do they go to meet their music community?
Being a full-time musician is a dream that rarely comes to pass. I’ve written about music-related jobs that keep you close to the action, and how more and more musicians are working in the music-gear industry, but that’s not for everyone. Casual players and weekend warriors love music as much as the hardcore guitarists who are bent on playing full time, but they may have obligations that require more consistent employment.
I know plenty of excellent musicians who work day jobs not to support their musical dreams, but to put food on the family table. They pay mortgages, put children through school, provide services, and contribute to their community. Music may not be their vocation, but it’s never far from their minds. So where do they go to meet their music community?
A good friend of mine has studied music extensively in L.A. and New York. He’s been mentored by the pros, and he takes his playing very seriously. Like many, he always had day jobs, often in educational situations. While pro gigs were sometimes disappointing, he found that he really enjoyed working with kids and eventually studied and achieved certification as an educator. To remain in touch with his love of music, he plays evenings and weekends with as many as three groups, including a jazz trio and a country band. Not actually worrying about having a music gig that could support him in totality has changed the way he views playing out and recording. He doesn’t have to take gigs that put him in stressful situations; he can pick and choose. He’s not fretting over “making it.” In some way, he’s actually doing what we all want, to play for the music plain and simple.
Another guy I know has played in bands since his teens. He’s toured regionally and made a few records. When the time came to raise a family, he took a corporate job that is as about as far away from the music business as you can get. But it has allowed him to remain active as a player, and he regularly releases albums he records in his home studio. His longstanding presence in the music scene keeps him in touch with some famous musicians who guest on his recordings. He’s all about music head to toe, and when he retires, I’m certain he’ll keep on playing.
“Seek out music people regularly. They’re hiding in plain sight: at work, at the park, in the grocery store. They sell you insurance, they clean your teeth.”
I could go on, and I’m sure you know people in similar situations. Maybe this even describes you. So where do we all find our musical compadres? For me, and the people I’ve mentioned, our history playing in bands and gigging while young has kept us in touch with others of the same ilk, or with those who are full-time musicians. But many come to music later in life as well. How do they find community?
Somehow, we manage to find our tribe. It could be at work or a coffee shop. Some clubs still have an open mic night that isn’t trying to be a conveyor belt to commercial success. Guitarists always go up to the stage between changes to talk shop, which can lead to more connections. I like the idea of the old-school music store. Local guitar shops and music stores are great places to meet other musicians. Many have bulletin boards where you can post or find ads looking for bandmates. When I see someone wearing a band T-shirt, I usually ask if they’re a musician. Those conversations often lead to more connections down the line. Remember, building a network of musicians often requires persistence and putting yourself out there. Don’t be afraid to initiate conversations and express your interest in collaborating with others.
Of course, I’m lucky to have worked in the music sphere since I was a teen. My path led to using my knowledge of music and guitars to involve myself in so many adventures that I can hardly count them. Still, it’s the love of music at the root of everything I do, and it’s the people that make that possible. So whether you’re a pro or a beginner, seek out music people regularly. They’re hiding in plain sight: at work, at the park, in the grocery store. They sell you insurance, they clean your teeth. Maybe they’re your kid’s teacher. Musicians are everywhere, and that’s a good thing for all of us.
An amp-in-the-box pedal designed to deliver tones reminiscent of 1950s Fender Tweed amps.
Designed as an all-in-one DI amp-in-a-box solution, the ZAMP eliminates the need to lug around a traditional amplifier. You’ll get the sounds of rock legends – everything from sweet cleans to exploding overdrive – for the same cost as a set of tubes.
The ZAMP’s versatility makes it an ideal tool for a variety of uses…
- As your main amp: Plug directly into a PA or DAW for full-bodied sound with Jensen speaker emulation.
- In front of your existing amp: Use it as an overdrive/distortion pedal to impart tweed grit and grind.
- Straight into your recording setup: Achieve studio-quality sound with ease—no need to mic an amp.
- 12dB clean boost: Enhance your tone with a powerful clean boost.
- Versatile instrument compatibility: Works beautifully with harmonica, violin, mandolin, keyboards, and even vocals.
- Tube preamp for recording: Use it as an insert or on your bus for added warmth.
- Clean DI box functionality: Can be used as a reliable direct input box for live or recording applications.
See the ZAMP demo video here: https://www.youtube.com/watch?v=xJp0jE6zzS8
Key ZAMP features include:
- True analog circuitry: Faithfully emulates two 12AX7 preamp tubes, one 12AX7 driver tube, and two 6V6 output tubes.
- Simple gain and output controls make it easy to dial in the perfect tone.
- At home, on stage, or in the studio, the ZAMP delivers cranked tube amp tones at any volume.
- No need to mic your cab: Just plug in and play into a PA or your DAW.
- Operates on a standard external 9-volt power supply or up to 40 hours with a single 9-volt battery.
The ZAMP pedal is available for a street price of $199 USD and can be purchased at zashabuti.com.