Choices in replacement pickups cover a broad spectrum of possibilities, from “well, these work” to “are they smudged with beer and sweat from 1959?” Most of us don’t seek
Choices in replacement pickups cover a broad spectrum of possibilities, from “well, these work” to “are they smudged with beer and sweat from 1959?” Most of us don’t seek either extreme, but still want something that satisfies both our ears and our senses, especially when it comes to the recreation of classic components. LeoSounds, a company based in Germany, heeded that call. They provided us with two sets of their Vintage Player Strat pickups, part of their collection of meticulously hand-built yet sensibly priced pickups.
Shipping and Handling
The pickups, rolled in bubble-wrap, arrived in a plain cardboard shipping container with no additional paperwork. While this reviewer tends to look askance upon pickups sheathed in silk pouches sporting multiple hand-signed hang tags, it would be nice to see LeoSounds provide some documentation along with their product in the form of technical specs, wiring instructions, and/or some overview of the pickups and other products they offer.
Lack of paperwork aside, LeoSounds has done a brilliant job of recreating the classic pickups that made the Stratocaster such a legendary tone machine. Although based in Germany, LeoSounds uses wire manufactured in the United States with historically correct insulation to build these gems. The Vintage Player 1956 Classics are scatter-wound with AWG 42 wire insulated with dark golden Formvar and built on a baseplate of black vulcanized fibre. The Vintage Player 1966 Classics also use AWG 42 wire, but are insulated with plain enamel, giving the windings a brownish-purple hue; the baseplate is period-correct gray fibre. The hookup wires are sheathed in black and white cotton cloth and the pickups are wax potted. Claiming an accuracy of .1mm (.004”) in their reproduction of magnet polepiece lengths, LeoSounds use a special Alnico-5 derivative to copy the somewhat smaller portion of cobalt found in older pickups, then bevels the edges for a spot-on recreation of their ancestors. I’ve only handled a few vintage Strat pickups over the years (and I have one mid-sixties Strat pickup tucked away to help pay for my son’s college tuition) but, to my senses, these pups nail the vintage look and feel.
“...LeoSounds has done a brilliant job of recreating the classic pickups that made the Stratocaster such a legendary tone machine. Although based in Germany, LeoSounds uses wire manufactured in the United States with historically correct insulation to build these gems.”
For testing purposes, I loaded the pick-ups into a Yamaha Pacifica. No, it didn’t have the “F” name on the headstock, but the alder body, flat headstock, rosewood fretboard and 25-1/2” scale length are all Leo-approved. Installation was a breeze, and particular note should be made of the moderately stiff cotton-covered lead wires. Unlike the slinky vinyl of many modern replacement pickups, this stuff can be easily shaped to fit the cavity routing and it stays put – no wire ties necessary. Because of the wax potting, I had to tap the mounting screw holes before the screws would thread properly, but any techhead will be used to this small step.
The Sound of Vintage
Both sets are remarkably similar in sound and response. The dominant quality is a lacy and pleasantly metallic high end along with a very punchy midrange response. High-frequency details such as the scrape of the pick attack and fret-hand noise are prominent, yet there is no harshness evident. The mids generate both authority in picking attack and warmth behind the notes. Bass frequencies are present and accounted for, but with a tight, focused presence that underlies and supports the pickups’ fundamental personality rather than adding something that wasn’t there in Leo’s original creations. Each pickup position has its own distinct personality, and the combination positions (neck-plus-middle and middle-plus-bridge) deliver barnyards of cluck and quack.
As one would expect from a vintage-modeled pickup, the Vintage Player sets work best with amplifiers and signal paths ranging from clean to moderately distorted. I loved pairing these pups with my 50- and 100-watt rigs; a late ‘70s silverface Fender Pro Reverb and the clean channel of a Carvin V3 gave plenty of support and warmth to the Vintage Players and would be ideal candidates for amplifying these pickups in a trio or quartet setting. The Vintage Players also excelled when more gain was added with either a preamp boost or an appropriate pedal. My Lovepedal COT50 was perfect, adding appropriate sizzle and grind, but a ProCo Rat 2 pushed these transducers towards the steel-wool-in-your-ear zone, even with the low-pass filter rolled to max. By the way, microphonic feedback was never a problem, even when the gain and volume grew beyond anything Leo ever imagined back when Eisenhower was president. I also loved these pickups through headphones, whether dead clean, mildly overdriven, or garnished with a few tasteful effects. I listened extensively through both a Mesa Boogie V-Twin preamp and a Boss GT-3 multi-effects pedal using Sennheiser PX200 cans, and the underthe- microscope detail never generated anything like ear fatigue. On the contrary, the extra texture and personality that was revealed had me playing far longer than required for mere product analysis – always a sign of a great product. And all that high-end texture really paid off when I added mixes of reverbs, chorus, delay, and cotton-candy phasers and flangers with the GT-3.
The only caveat I would offer with regard to real-world use is the one thing any true single-coil fanatic will know all too well: hum. The standard Vintage Player sets come with an unreversed middle pickup, just as Leo made them for decades, and the usual sources of noise – neon lights, computer screens, dimmers, etc. – will broadcast mightily through them. A reverse-wound middle pickup is available for a modest additional charge.
The Final Mojo
With the Vintage Player series, LeoSounds offers a sensibly priced series of pickups that will satisfy the discriminating guitarist who is looking for both the classic tone and the classic look of Leo Fender’s original creations. Compare LeoSounds’ excellent build quality, tone and custom options (available on their website) to the bells and whistles of other manufacturers, and then take a look at the bottom line. You may be hearing the sound of LeoSounds in your axe very soon.
Buy if...
you love the sound, look and feel of vintage Strat pickups at a reasonable price. Skip if...
you need hum-free operation and/or high-gain metalloid sounds. Rating...
A faithful recreation of the Germanium Mosrite Fuzzrite with a modern twist.
From the years of 1966 to 1968, Mosrite produced two distinct fuzz circuits---one outfitted with silicon transistors, the other with germanium parts. Of the two, the germanium version is by far the most rare, with original designer and Mosrite employee Ed Sanner estimating that around 250 ever made it out the door. In that final year of production, Mosrite shifted exclusively to silicon parts, making germanium components a thing of the past. However, by 1968 the public was hungry for fuzz, having heard it on a handful of recordings, most notably "In-A-Gadda-Da-Vida" by Iron Butterfly and "Incense and Peppermints" by Strawberry Alarm Clock. These two buzzy, sinewy fuzz tones were part of a wave of psychedelic rock gaining traction in the mainstream, and both were recorded prior to the introduction of the silicon Fuzzrite.
Other purported users of this early Fuzzrite circuit include Ron Asheton of the Stooges, Norman Greenbaum on "Spirit in the Sky", Henry Vestine of Canned Heat, and many others. Catalinbread have a germanium version at their disposal, and we've used it as a benchmark to create an extremely faithful version with a modern twist. Just like the original, the Catalinbread Fuzzrite Germanium includes two NOS PNP germanium semiconductors with a polarity inverter IC so it plays nice with all forms of power. Unlike the original, Catalinbread added a toggle switch to shift into modern mode, significantly beefing up the low-end content to suit more contemporary rigs.
Playing The Fuzzrite Circuit For The First Time!! | Feat. Catalinbread Fuzzrite Germanium
The Fuzzrite Germanium is out now and available for $179.99 at participating retailers and catalinbread.com.
Kenny Greenberg with his main axe, a vintage Gretsch 6118 Double Anniversary that he found at Gruhn Guitars in Nashville for a mere $600. “It had the original pickups, but the finish had been taken off and the headstock had been repaired. So, it’s a great example of a ‘player’s vintage instrument,’” he says.
On his solo debut, the Nashville session wizard discovers his own musical personality in a soundtrack for a movie that wasn’t, with stops in Africa and Mississippi hill country.
Kenny Greenberg has been Nashville’s secret weapon for decades. He’s the guitarist many insiders credit with giving the Nashville sound the rock ’n’ roll edge that’s become de rigueur for big country records since the ’90s. It’s the sound that, in many ways, delivered country music from its roots to sporting events.
Greenberg’s list of album credits as a session guitarist, producer, and songwriter is as diverse as it is prolific and includes everything from working on Etta James, Willie Nelson, and Sheryl Crow records to shaping hits for mega-selling contemporary country artists Toby Keith, Faith Hill, Brooks & Dunn, and Kenny Chesney (who Greenberg also tours with on lead guitar). Greenberg’s even been kicked in the leg by Jeff Beck! (More on that later.) So, while you might not necessarily know Kenny Greenberg by name, it’s safe to say you’ve heard his guitar playing.
Since moving to Nashville in his teens, Greenberg’s kept his dance card remarkably full working on records for other artists. However, with the release of his debut solo album Blues For Arash, the decorated session veteran has finally made a statement all his own—even if he didn’t necessarily intend to.
Blues For Arash is a collection of songs that were intended for the soundtrack of a movie written and directed by Welsh-Iranian filmmaker Arash Amel. The film tells the tale of a West African musician who becomes enamored with the blues and finds himself on an odyssey through the Southern U.S. Unfortunately, the movie never quite got its production together and remains in a state of funding limbo, but Greenberg found an unexpectedly happy space within the project to create music that he feels represents his truest self as a player, and he quickly realized that these songs had the makings of a solo album.
Blues for Arash
TIDBIT: Kenny Greenberg recorded Blues For Arash at his own pace in his Nashville home studio, originally intending to make a soundtrack for a film by Emmy-winner Arash Amel.
Greenberg explains: “All my guitar player friends said, ‘This isn’t what we were expecting!’ To me, it’s really the kind of guitar music I would make for myself. I’m not really a shredder, anyway. I do a different thing.”
Blues For Arash is a remarkably musical affair that shirks the fretboard histrionics that often characterize instrumental guitar albums by players with similar resumes. The album fuses African influences, exotic percussion loops, and field recordings with Greenberg’s unique take on blues guitar in a way that’s genuinely refreshing and as cinematic as one might expect of songs written to accompany a movie. The track “Nairobi, Mississippi” acts as the album’s thesis statement and is a one-chord blues that features Greenberg’s Mississippi-hill-country-blues-informed bottleneck guitar dancing with West African musician Juldeh Camara’s brilliant nyanyero (a single-stringed fiddle) over an energetic African percussion loop.
From the ultra-lyrical slide playing on the opening track, “The Citadel,” to the fiery, fuzzed-out lead work on “Star Ngoni,” all of Greenberg’s guitar on the album is rooted in the blues. The guitarist and songwriter confesses that despite the diversity of his credits, the blues has always been his home base: “Everything I do comes out of a weird way of playing the blues. So, we had the idea to fuse African music with the blues and I started researching cool beats and stuff that I could play blues guitar over, and I would come down to my studio with samples or loops, or I’d loop actual field recordings, and I would just play over them.”
“We had the idea to fuse African music with the blues and I started researching cool beats and stuff that I could play blues guitar over.”
Greenberg played most of the instruments on the album and edited many of its loops and percussion beds, but he did have some important collaborators, including multi-instrumentalist Justin Adams, who plays in Robert Plant’s band the Sensational Space Shifters and has produced Tuareg/desert-blues greats like Tinariwen. Adams provided some of the raw material that Greenberg would throw his blues playing on top of, and the two would share ideas through email. “Justin was a good guy to call for an opinion on that African/blues fusion thing,” says Greenberg, “and he’s a very cool and knowledgeable guy about world music in general. I look forward to doing more with him.”
Greenberg’s key collaborator on the record is Wally Wilson, who he describes as a mentor and who he met while co-producing the live-performance TV show Skyville Live for CMT. “I met Arash through Wally, and we came up with this idea of the soundtrack being blues guitar, but with an African influence,” Greenberg says. “Wally was very important in this process and co-produced the record.” Wilson, who has never fancied himself a singer, even ended up providing the narrative-style vocals on “Memphis Style” and “Ain’t No Way.”
“Wally and I both love Howlin’ Wolf and all the hill country blues. I had a cheap handheld mic in my room, and I was like, ‘Put the vocal down so we have the general concept, and then we’ll get a killer soul singer to come in and re-do these,’ but it just had such a character to it! It has this lo-fi, non-professional vibe that just sounded right. It took Wally a long time to get on board with us using his vocals, but I’m glad he did!”
Kenny Greenberg’s Gear
This Gibson Custom Shop ES-335 is a favorite for Greenberg, who, after nearly 30 years in Nashville, is as comfortable onstage in stadiums and arenas as he is in clubs and studios.
Guitars
Vintage Gretsch 6118 Double Anniversary
1962 Gibson SG Special with mini-humbuckers
Russ Pahl S-style
DiPinto Galaxie
Harmony Sovereign
Dobro-made National wood-bodied resonator
1952 Les Paul goldtop
Gibson Custom Shop ES-335
Jerry Jones Baritone
Jerry Jones 12-string
Fender Telecaster with Glaser B-Bender
Fender Jazzmaster
Novo Serus J
PRS Silver Sky
PRS DGT
GFI Pedal Steel
Amps
Fender Pro Junior
1958 Fender tweed Deluxe
Hime Amplification The Rockford
Vox AC30
Matchless HC-30
Magnatone Varsity
Marshall 20-watt
’50s wide-panel, low-power tweed Twin
Effects
Mythos High Road Fuzz
J. Rockett The Dude
Karma Pedal MTN-10
J. Rockett Archer
Universal Audio Ox Box
Boss DD-200 delay
Walrus Audio D1 High Fidelity Delay
Walrus Audio Slö reverb
Boss GE-7 Equalizer modded by XAct Tone Solutions (XTS)
Line 6 M9
JHS Colour Box
JHS 3 Series OD
Keeley Dark Side Workstation
Pedalboard by XTS
Strings, Picks & Slide
D’Addario NYXL (.010–.046 for standard electrics, and .013–.068 for slide)
Ceramic and glass D’Addario slides
Dunlop Tortex Teardrop .88 mm for electrics
Fender Mediums for acoustics
Beyond rolling with a scratch vocal for the final cuts, Blues For Arash has a wonderfully playful quality that Greenberg says was “totally different” from what he typically does in the session world. “I was like, ‘I don’t give a shit! I can play anything I want to play. I’m going to make myself happy with this!’ The thing about the pandemic in Nashville is so many artists live here, and they were all off tour, obviously, and wanted to record. They wanted to put masks on and go in the studio and be careful because they couldn’t go on the road. I actually worked my way through the pandemic—and I’m grateful for that—but when I had a day off, I’d come down to my home studio and work on these songs. It’s what I really wanted to do with my own time.”
Despite the massive arsenal of guitars, amps, and effects Greenberg has at his disposal as a top-tier session player (who PG once covered with a truly comprehensive Rig Rundown), he kept it to a few choice instruments and amps to craft the fabulously organic tones on Blues For Arash. The main guitars included his trusty vintage, stripped-down “players-style” Gretsch 6118 Double Anniversary and a custom S-style build by famed Nashville steel guitarist Russ Pahl. For the album’s killer electric slide playing, Greenberg used a 1962 Gibson SG that he literally found in a garbage can and loaded with vintage mini-humbuckers, and a DiPinto Galaxie. A vintage Harmony Sovereign and a wood-bodied Dobro resonator guitar handled the acoustic slide work.
“Richard [Bennett] was the first guy that I saw use a Gretsch and it sounded like Duane Eddy, but modern. It had a real bell-like-but-not-bright sound. I immediately thought, ‘I got to get in on some of that!’”
While Gretsch guitars have become a popular choice for pros in Nashville these days, that wasn’t always the case. Greenberg caught the Gretsch bug from session guitarist Richard Bennett—another unbelievably prolific and important player/producer that you may know as Mark Knopfler’s longtime right-hand man, who has influenced Greenberg’s path tremendously.
“Richard Bennett played on my wife’s [singer-songwriter Ashley Cleveland] first record and brought me in because I played live with her. Richard would hire me, and I’d be the second guitar player on sessions with him a lot, and watching him was like, ‘Motherfucker, that is the way you do it!’ Richard’s Gretsch playing and acoustic playing were huge, huge influences on me. Richard was the first guy that I saw use a Gretsch, and it sounded like Duane Eddy but modern. It had a real bell-like-but-not-bright sound. I immediately thought, ‘I got to get in on some of that!’ Gretsches do a unique thing and I also really like them for distorted solos. Mine is not that bright of a guitar and it has this great upper midrange kind of twang that’s somehow not a twang. I’ve got a couple of different ones, but that old Double Anniversary I use a lot. It was the first Gretsch I bought, and it’s really good. I went down to Gruhn’s and they had it on the wall for $600. It had the original pickups, but the finish had been taken off and the headstock had been repaired. So, it’s a great example of a ‘player’s vintage instrument,’ where it’s got the old wood and the sound, but it’s not $5,000. I just fell in love with playing it. Also, the Bigsby bar is huge for me.”
Rig Rundown - Kenny Greenberg
For amps, Greenberg looked exclusively to the Fender realm to conjure Blues For Arash’s lush tones. A ’90s Pro Junior mated to a 4x12 cab, a black-panel Deluxe Reverb-style amp made by Jeff Hime called the Rockford, and a ’58 tweed Deluxe all made important appearances. The tweed was even used to amplify and layer some of the acoustic tracks—a trick Greenberg picked up as a Neil Young fan. “Neil Young’s playing is right up there at the very tip-top for me, and his acoustic sounds are, too. There’s a record he made called Le Noise with Daniel Lanois, and I think those are some of the best acoustic guitar sounds ever. I’m never going to sound as raw as Neil sounds because when I’m playing on someone’s record, it’s a service for their music, so I don’t get to go completely crazy. But I’ve always been the guy that gets called when they want it a little rough around the edges. I aspire to play as raw as Neil plays and intend to have it be as emotional as that. I always feel like, when I’m in the room with all these other amazing guitar players, that my playing is a little craggier and looser. That used to really bother me, but now I really like it. I never really spent that much time trying to be what I’m not. I used to try to pull off some super-clean Brent Mason kind of things and they would go ‘No, no, we’ll call Brent when we want that. You do the thing that you do!’”
Among Greenberg’s numerous credits is his ongoing gig playing lead guitar for country star Kenny Chesney.
Photo by Jill Trunnell
If you sift through Greenberg’s album credits—which is a full day—it becomes apparent that many of the records he’s played on over the years telegraphed the rock-oriented direction popular country music ultimately took. However, Greenberg makes it clear that being “Nashville’s rock guy” was never intentional.
“I grew up playing in rock bands and I moved here because I loved things like Hank Williams Jr.’s ‘Feelin’ Better.’ I think it’s Reggie Young, Hank, and Waylon Jennings all playing on that record. It’s very homemade sounding and when I heard that kind of country guitar playing, I said, ‘I want to do that!’ But I’m really just playing the blues still, and I just fell into playing on some records. I wasn’t trying to. And I never felt like I’d be a session player because I’m too imperfect, and I don’t have versatile chops like some of those guys do. I just brought some good ideas to the table with my playing.”
YouTube It
In a 2019 Skyville Live performance, Kenny Greenberg flexes his blues and rock chops on a Gibson ES-335 in a rendition of “Whipping Post” with guest Chris Stapleton.
That said, Greenberg’s still elated to be doing session and production work and proud of where he’s landed. With the release of his first bona fide solo record, one might expect him to be looking back, taking stock of the journey, and ruminating on his many, many years in the business of making hits. However, when asked what songs and contributions he’s proudest of, Greenberg stays in the present. “That’s a hard thing for me because the last thing I did is always my favorite thing. I’m so excited that I got to just do something. The great thing about recording is you play with all these great different people!”
When pressed again, Greenberg points to his work on Hayes Carll’s recent album, You Get It All. “My playing on that record feels like that’s who I am. There’s a blues solo on a song called ‘Different Boats’ that’s really where I’m at. And the song from my record ‘Star Ngoni’ is who I am as a player. If I’m going to open up and really play, that’s the way I play. And I would mention one other moment I’m really proud of: On my birthday one year, I did a version of Bob Dylan’s ‘Gotta Serve Somebody’ with Willie Nelson. We played our parts live and Willie was in there with Trigger [Nelson’s famous Martin acoustic] and that Baldwin amp he uses, and you could hear the radio station through the amp, and we sat there and played it together. That was huge. It was the best birthday a guy could have—playing a Dylan song, looking through the glass at Willie Nelson. I’m very, very aware of how fortunate I am to be doing this. I think about that a lot.”
Playing with Jeff Beck is a kick!
Greenberg and El Becko: On a gig with vocalist and harmonica player Jimmy Hall, Hall’s occasional boss Jeff Beck sat in, leaving Greenberg with an indelible memory.
There are quite a few parts on Blues For Arash that recall Jeff Beck’s lyrical, fluid playing at its best, particularly Kenny Greenberg’s vocal slide phrasing. It turns out Greenberg isn’t just a massive Jeff Beck fan. He’s had a remarkable run-in with the man himself.
“I’ve got a guitar that Jeff Beck carved his name into! Jeff came and sat in at a gig I was playing with Jimmy Hall, and he broke a string and played my guitar. Afterwards, he got a knife and ornately carved his name in the back of my Tele. How can you not be a fan? He’s the most vocal guitar player there is! My other little Jeff Beck story is from that same night—it’s the only time I’ve ever played with him—and we did ‘Rock My Plimsoul.’ We were playing that song, and he takes the solo. And, of course, it’s the way he plays now—improv where you just can’t fucking believe what he’s doing. Then he looks at me to take a solo, and that’s one of my favorite early Jeff Beck songs, and I actually know that solo note-for-note. So, I played his solo from the original and he looked at me, and he kicked me when I finished the solo! He reached out his leg and he kicked me, and I’m like, ‘Alright! Jeff Beck just kicked me! This is a watershed moment I’m having!’
“I remember standing right next to him, and, of course, I’m nervous. He’s like the greatest guitar player alive. He’s a savant and just looks down at the guitar and fingers and taps on it, and then he’ll use his thumb or his middle finger. It’s just like a kid screwing around. I just watched him, and I didn’t even know what he was doing, but it’s a beautiful, wonderful thing to watch.”
Choices in replacement pickups cover a broad spectrum of possibilities, from “well, these work” to “are they smudged with beer and sweat from 1959?” Most of us don’t seek either extreme, but still want something that satisfies both our ears and our senses, especially when it comes to the recreation of classic components. LeoSounds, a company based in Germany, heeded that call. They provided us with two sets of their Vintage Player Strat pickups, part of their collection of meticulously hand-built yet sensibly priced pickups. 
For testing purposes, I loaded the pick-ups into a Yamaha Pacifica. No, it didn’t have the “F” name on the headstock, but the alder body, flat headstock, rosewood fretboard and 25-1/2” scale length are all Leo-approved. Installation was a breeze, and particular note should be made of the moderately stiff cotton-covered lead wires. Unlike the slinky vinyl of many modern replacement pickups, this stuff can be easily shaped to fit the cavity routing and it stays put – no wire ties necessary. Because of the wax potting, I had to tap the mounting screw holes before the screws would thread properly, but any techhead will be used to this small step. 
