Tommy Colletti, Music Zoo founder & owner, starts a new journey with his own USA-built custom guitars.
Flame Top Mandolin Burst
The Speed of Sound is a bolt-on construction instrument featuring the Patent-Pending "ResoLink" - a brass plate which links the body and neck to aid in resonance, sustain and articulation. The 'Reso-Link' is tuned specifically to sonically connect the neck and body to aid in the sympathetic resonance of each note. There's a defined note separation and sparkle added to the tones of the guitar that make it reminiscent of the touch-sensitive response of vintage guitars that have had decades to acclimate as a musical instrument and vibrate as one whole piece.
The tone woods of the guitars (fretboards to necks and tops to bodies) are joined together using hot hide glue. The use of hide glue is a process adapted from vintage guitar construction, violin makers, and stringed instruments from decades and centuries past. Hot hide glue adds sustain and brilliance and brings out the natural tonal properties of the wood. The pickups are designed in collaboration with Mark Stow of OX4, a well-respected pickup winder known for his incredibly accurate PAF replicas.
The pickups are a blend of some of Tommy and Mark’s favorite original PAF pickups from the late 1950s. The introductory sets also include a reverse magnet neck pickup to replicate the Peter Green & Gary Moore-owned Burst pickup that has become popular over the last few years. It delivers out-of-phase single coil sounds as well as blistering humbucking tones. The bridge pickup not only takes the best attributes from those early PAFs pickups, but combined with a slightly degaussed Alnico 5 magnet and 42 enamel wire, delivers a sound unmatched in current handmade pickups today.
The hardware and electronics of the guitar are also built of the highest quality materials. The Speed of Sound features a brass tremolo design made popular in the late '70s through early '80s. They are constructed from 360 brass, and the bridges are available in hard-tail and tremolo models. They provide a unique tone and sustain tuning stability due to the unique shape of the bridge saddle. Of course, models are available with Floyd Rose tremolos upon request. The Speed of Sound is wired with vintage-accurate cloth-covered 22-gauge wire with authentic paper-in-oil capacitors and vintage-taper potentiometers designed to get great tones delivered from zero to ten.
Roasted Birdseye Top Merlot Finish
Features
- Solidbody Electric Guitar
- Maple Top (Options for Roasted, Quilt & Flame Maple)
- More Top Wood Options include Ash & Mahogany
- Colletti Carve Neck with Heavily Rolled Shoulders
- 5 Degree Headstock Angle • Brass Side Dots
- 25.5" or 24-3/4" Scale Length Options
- 1.65” Width Brass Nut • Jumbo Nickel Frets
- Specially-Voiced OX4 Pickups with Reverse Magnet Neck Pickup
- Emerson Paper in Oil .022 capacitor
- Mojotone Vintage taper volume and tone potentiometers with Cloth Wiring
- Brass Ground and Jack Plates, , Legacy Control Cavity
- Patent-Pending Reso-Link
Introducing the Colletti Guitars 'Speed of Sound': Vintage-Inspired & American-Made!
Currently, the Colletti Guitars Speed of Sound is available exclusively at The Music Zoo. You can shop at The Music Zoo's website, or make an appointment to the showroom in Farmingdale, New York.
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EBS BassIQ Blue Label Triple Envelope Filter Pedal
The EBS BassIQ produces sounds ranging from classic auto-wah effects to spaced-out "Funkadelic" and synth-bass sounds. It is for everyone looking for a fun, fat-sounding, and responsive envelope filter that reacts to how you play in a musical way.
Reverend Vernon Reid Totem Series Electric Guitar - Shaman
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.
EarthQuaker Devices Silos Multi-generational Time Reflection Delay Pedal
