It’s not a bait and switch. This year is a throwback to the post WWII-era of instrument manufacturing, for better or worse.
As we all remember, Covid hit the music industry hard in early 2020: music stores and concert venues were closed, guitar manufacturers shut down, and in-person instruction essentially disappeared almost overnight. Fortunately, lockdowns and the resulting surge of interest in playing music at home proved that even a pandemic couldn’t kill our love for the guitar. And thanks to YouTube tutorials and Zoom lessons, the number of hours that people actually played their instruments went from hardly-ever (for some) to all-the-time. Maybe you couldn’t find that new guitar model you’d been saving for, but at least you could play the guitar(s) you already had.
For many players looking for a new instrument, 2021 began filled with hope but proved to be a year of waiting as Covid variants kept most North American guitar makers off balance. But with each new year, there’s new hope. Despite Omicron, 2022 has seen a breakthrough in guitar production, with more new instruments arriving in stores and online sources having actual instruments to ship. However, some of those new instruments aren’t exactly like the models depicted on the manufacturers’ websites: The tuners or the pickguard may be slightly different, for instance, and the case you saw with a favorite model last year is not the same as the case included today. Are guitar makers resorting to the old bait-and-switch? What gives?
Here's another look at that post-WWII D-28 headstock.
Welcome to Covid Wars, V2. We’ve more or less learned how to live with the virus, luthiers are back at their benches, and the machinery is humming. But now there’s a different problem: Getting the wood parts of a guitar machined, glued together, and finished isn’t much of an issue, but when rounding up the other parts—all the made-elsewhere stuff needed to make that beautiful wood sculpture into a functional and shippable musical instrument—there’s often something missing. Maybe the delivery of that subtle, vintage-look pickguard material is back-ordered, and where are those cases? Weren’t they supposed to have arrived weeks ago?
Perhaps we’re learning how to live with Covid rather than run and hide from it, and maybe both the manufacturing facilities that build guitars and the myriad of factories and small machine shops that make parts for guitar companies are working full time or even overtime, but that doesn’t mean we’re back to normal. Whether it’s household appliances, new cars, or new guitars, the stumbling block—and one we’re sick of hearing about—is a seemingly confused and disorganized supply chain. Skyrocketing demand is thwarted by shipping delays and off-the-charts price increases, while some parts have been discontinued simply because the manufacturer switched to making something more profitable. And then there are the parts that go into making parts, such as handles and latches for cases and even the all-important components needed in the recipe for that lustrous finish.
We’ve more or less learned how to live with the virus, luthiers are back at their benches, and the machinery is humming. But now there’s a different problem.
It might seem like the right thing for guitar manufacturers to do would be to wait out these supply-chain delays and not ship those nearly completed instruments until all of the right components have arrived. But remember that at such a late stage in production, a lot of money has been invested in those beautiful unstrung hulks hogging climate-controlled storage space that’s in short supply. For small independent builders, waiting to deliver an instrument for more than a couple of weeks simply isn’t an option. Bills and salaries must be paid.
For those who relish the historical angle, these latest parts swaps caused by supply-chain issues are a repeat of what guitar manufacturers faced 80 years ago, during WWII restrictions on the use of brass and steel, not to mention parts made overseas. Remember those 1940s Martins and Gibsons with cheesy lightweight tuners and necks with no steel reinforcement? The end of the war didn’t result in the immediate return to pre-war specs, and so it is with the war against Covid, which is still far from being over.
There’s not much you can do if your long-awaited dream guitar shows up with a few parts that are different from what you were expecting, and it’s probably best not to complain too loudly to non-guitar-playing friends. If you’re healthy and still playing music, you are a fortunate survivor of the Covid Wars and chances are good those different tuners work just fine. Keep playing and enjoy all those tunes and licks you learned while in lockdown!
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The majestic Roland Space Echo is having a bit of a resurgence. Here’s a breakdown on what makes it tick, and whether or not it’s right for you.
In this article, we delve into one of the most cherished gadgets in my guitar collection, the Roland Space Echo RE-201. This iconic piece of equipment has been used by legendary musicians like Jonny Greenwood, Brian Setzer, and Wata from Boris, which only heightened my desire to own one. A few years ago, I was fortunate to acquire a vintage RE-201 in good condition and at a reasonable price.
Using the RE-201 today has its advantages and disadvantages, particularly due to its size, which is comparable to an amplifier head. When compared to modern equivalents like delay pedals or software plugins that closely emulate the original, the vintage RE-201 can seem inefficient. Here, I share my personal and subjective experience with it.
The RE-201 is a tape echo/delay effect that gained popularity in the 1970s and ’80s. Unlike the more complex analog BBD delays or digital delays, tape delays use magnetic tape to simultaneously record and play back sound via a magnetic tape head (similar to a guitar or bass pickup). Because the recording head and playback head are in different physical locations, there is a time gap during the recording and playback process, creating the “delay” effect. This concept was first discovered by Les Paul in the 1950s using two tape machines simultaneously.
However, this method has a drawback: The magnetic tape used as a storage medium has a limited lifespan. Over time, the quality of the tape degrades, especially with continuous use. This degradation is marked by muddy, wavy sounds and unavoidable noise. Yet, this is precisely where the magic of real tape echo lies! New tapes produce clearer, hi-fi sounds, while older tapes tend to produce wavy sounds known as “modulated delay.” Additionally, increasing the number of tape-head readers extends the gap time/delay time of the output, and activating multiple tape-head readers simultaneously creates unique echo/delay patterns.
“This degradation is marked by muddy, wavy sounds and unavoidable noise. Yet, this is precisely where the magic of real tape echo/delay lies!”
Just as how fuzz and distortion effects were discovered, the “imperfections” of tape also represent a historical fact about how the creative process in music follows an absurd, non-linear, and unique pattern. In everyday practical life, signal delay is something typically avoided; however, in a musical context, delay adds a deeper dimension. Today, it’s hard to imagine a pedalboard without a delay effect at the end of the chain.
This uniqueness inspired me to create Masjidil Echo, embracing the “imperfection” of a vintage tape echo/delay with magnetic tape that hasn’t been replaced for years. Many newer pedals, such as the Boss RE-20, Strymon El Capistan, and the Catalinbread Echorec and Belle Epoch, draw inspiration from vintage tape repeat machines. Each has its unique interpretation of emulating tape echo, all in a more compact and maintenance-free format. Real tape delay requires periodic maintenance and has mostly been discontinued since the mid 1980s, with Roland ceasing production of the Space Echo entirely in 1985.
However, in recent years, interest in real tape echo has surged, perhaps due to nostalgia for past technology. As a result, many vintage delay units have appeared on marketplaces at increasingly gargantuan prices! If you’re considering acquiring one, I recommend thinking it over carefully. Are you prepared for the maintenance? Will you use it for regular performances? Are you ready for the fact that magnetic tape will become increasingly difficult to find, potentially turning your machine into a mere display piece? I don’t mean to instill fear, but the real deal, in my opinion, still can’t be fully emulated into a more practical and future-proof digital format.
So, I’ll leave you with one final question for consideration: What if the genealogy of technology were reversed chronologically, with multihead/multitap delay discovered digitally in the 1950s, and in the 2000s, a technological disruption led to the invention of mechanical tape echo to replace digital technology? Which would you choose?
In collaboration with Cory Wong, the Wong Press is a 4-in-1 Press pedal features Cory’s personal specs: blue & white color combination, customized volume control curve, fine-tuned wah Q range, and a dual-color STATUS LED strip indicating current mode/pedal position simultaneously.
In collaboration with Cory Wong, this Wong Press is a 4-in-1 Press pedal features Cory’s personal specs: Iconic blue & white color combination, customized volume control curve, fine-tuned wah Q range, and a dual-color STATUS LED strip indicating current mode/pedal position simultaneously.
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.
Features
- True Bypass
- 4 in 1 functionality (volume, expression, wah, volume/wah)
- New dual-color STATUS LED strip indicating pedal mode and position in real time
- Cory’s custom volume curve and wah Q control
- Classic-voiced wah tone with flexible tonal range
- Active volume design for keeping lossless tone
- Separate tuner and expression outputs for more connection possibilities
- 9V DC or 9V battery power supply
Introducing the Hotone Wong Press - Cory Wong's signature Volume/Wah/Expression Pedal - YouTube
Check the product page at hotone.com
“The Player II Series represents our continued evolution in design and functionality,” said Justin Norvell, EVP of Product, FMIC. “We listened to the feedback from musicians around the world and incorporated their insights to refine and innovate our instruments. The re-introduction of rosewood fingerboards is a restoration of the ‘original Fender recipe’ and will no doubt be a fan favorite - but we didn’t want to stop there. We’ve also incorporated our rolled fingerboard edges for a broken-in feel, upgraded hardware, and have some new body options as well- which underscores our commitment to providing players and creators with the tools they need to express their unique sound and style. The Player II Series is not just an upgrade, it's a detailed re-imagining of our core silhouettes, highlighting our dedication to quality and the continuous refinement of our instruments.”
Additionally, Player II offers new options for chambered ash and chambered mahogany bodies for the Player II Stratocaster and Telecaster models, which will be available in October. Designed for musicians ready to elevate their craft, the Player II Series sets a new standard for quality and performance in the mid-price range.
Fender Player II Stratocaster HSS Electric Guitar - Coral Red
Player II Strat HSS RW, Coral RedFender Player II Jaguar Electric Guitar - Aquatone Blue
Player II Jaguar RF, Aquatone BlueThis reader solicited the help of his friend, luthier Dale Nielsen, to design the perfect guitar as a 40th-birthday gift to himself.
This is really about a guy in northern Minnesota named Dale Nielsen, who I met when I moved up there in 2008 and needed somebody to reglue the bridge on my beloved first guitar (a 1992 Charvel 625c, plywood special). Dale is a luthier in his spare time—a Fender certified, maker of jazz boxes.
Anyway, we became friends and I started working on him pretty early—my 40th birthday was approaching, and that meant it was time for us to start designing his first solidbody build. If you stopped on this page, it’s because the photo of the finished product caught your eye. Beautiful, right? The 2018 CCL Deco Custom: Never shall there be another.
Old National Glenwood guitars were my design inspiration, but I wanted a slim waist like a PRS and the like. We used a solid block of korina to start, routed like MacGyver to get the knobs and switches where I wanted them. Dale builds all his own lathes and machines (usually out of lumber, y’all), as the task requires. This beast took some creativity—it’s tight wiring under that custom-steel pickguard. Many were the preliminary sketches. Four coats of Pelham blue, 11 coats of nitro. Honduran mahogany neck, Madagascar ebony fretboard with Dale’s signature not-quite-Super-400 inlays. He designed the logo; I just said, “Make it art deco.”
We sourced all the bits and bobs from StewMac and Allparts and Reverb and the like, mostly to get that chrome look I so adore. Graph Tech Ratio tuners, Duesenberg Radiator trem (had to order that one from Germany), TonePros TP6R-C roller bridge. The pickups were a genius suggestion from the builder, Guitarfetish plug ’n’ play 1/8" solderless swappable, which means I have about 10 pickups in the case to choose from: rockabilly to metal. And both slots are tapped, with the tone knobs serving as single- to double-coil switches. I put the selector on the lower horn to accommodate my tendency to accidentally flip the thing on Les Pauls—definite lifesaver.
Reader and guitar enthusiast, Cody Lindsey.
Dale offered to chamber this monster, but I said what doesn’t kill you makes you stronger. It weighs in at 11 pounds, if it’s an ounce. We carved the neck to match a ’60s SG, so it’s like the mini bat you get at the ballpark on little kids’ day. Easy peasy. 1 11/16" nut, 25" scale, jumbo frets, just 2 1/8" at the 12th fret.
Delivery in its lovely, hygrometer-equipped Cedar Creek case actually happened a month or two shy of my 41st, but hey, you can’t rush these things. We ended up with a studio Swiss Army knife; it does a bit of everything and does it effortlessly. A looker, too. Dale didn’t spend his career doing this kind of thing—he was in IT or some such—and I imagine he’s winding this “hobby” of his down these days, enjoying retirement with a bottle of Killian’s and a lawn chair at Duluth Blues Fest. But this guitar will live on as a marker of his skill and otherworldly patience. It sits at the head of the class in my practice room, welcoming any visitors and bringing a smile to my face every day. And Dale, my friend, I’ll be 50 before you know it....
Cody requested that Dale design an art deco logo for the guitar’s headstock.