It’s easy to gripe about change, but us guitarists have always had to embrace new technology.
California has always been the place of dreams for young Americans: Hollywood, surf music, pop music, psychedelia, hot rods, biker culture, and glam metal. The Golden State’s only real pop-culture competition has traditionally been New York City, and we know that the beaches and forests are better on the Pacific side. Recently, California Governor Gavin Newsom signed an executive order requiring that, starting in 2035, all new passenger cars and light trucks sold in the state must be zero-emissions vehicles. Once again, Cali leads by example, and what once was unthinkable becomes reality. Strangely, this EV revolution reminds me of the emergence of the electric guitar.
The electric was born both out of a technological opportunity and a genuine need. Guitarists in orchestras and big horn-driven bands suffered from a volume deficit compared to the piercing tones of brass instruments. Even in smaller settings, the piano’s booming voice could easily bury the sound of a 6-string. As is traditional now, guitarists just wanted more volume, and electricity was the answer. Long before electric blues or rock, pioneering jazz guitarists like Tiny Grimes and Charlie Christian embraced the new tech. In doing so, they wrote the book on how guitarists could be standout soloists in any surrounding.
I’m old enough to remember thinking an electric guitar was weird, but somehow space-age cool. How did it work? Did you plug it into a wall socket, and it just performed like a table radio? It seems laughable now, but electric guitars were the target of derision from “serious” musicians because they were used in that new-fangled rock ’n’ roll, a decidedly low-brow form of entertainment. Electrics weren’t found in music schools either. Consigned as the vulgar musical cousin of the hot rod and motorbike, this naturally raised its appeal to some. The electric guitar was at the center of the burgeoning rock sound, so volume levels escalated with crowd sizes. But the transition wasn’t always smooth. As bands grappled for more and more decibels, big amp stacks and massive sound systems with power-hungry amps sometimes exceeded the capacity of the venue’s stage outlets. Eventually, the situation was sorted out, and even the smallest clubs put significant wiring upgrades in place. Festivals and tours sported massive piles of speaker cabinets to reach levels that dazzled the crowds.
If back in the day you had told me that I could play a gig with gear that could be stowed in the trunk of a mid-sized SUV, I would have considered you insane.
Later, something counterintuitive happened. Technology intervened again. Sound systems became smaller, lighter, and more efficient. Guitarists could play theaters with a 50-watt half-stack, then a 2x10 combo. Now, a band can play an arena without any amplifiers on stage. What a difference a couple decades can make.
Modern battery-powered portable systems can sound better than the piles of folded-horn cabinets bands used to haul around in a 24-foot box truck. If back in the day you had told me that I could play a gig with gear that could be stowed in the trunk of a mid-sized SUV, I would have considered you insane. But that’s the way the future always is. Some were terrified of the locomotive when it was invented, and otherwise intelligent people swore that humans could not travel faster than 50 miles per hour without dying.
We can have this mindset when it comes to musical instruments. I’ve been the biggest snob about vintage guitars since they were just called “used” gear. But I have to concede that there’s a lot to like about new instruments and modeling amplifiers. I have a digital pedal that is 90 percent of the way to my analog ideal but weighs a tiny fraction of a Leslie 147. When you don’t have the space (or the physical strength) to justify giant piles of gear, you begin to appreciate new technology.
That’s not to say I think that there aren’t trade-offs. Yes, you can stuff 5000 songs into your phone, or stream anything ever recorded, but when you listen to analog recordings on a proper sound system at full chat, it’s a whole other experience. When you stand next to a real rotary speaker you witness something that still hasn’t been bettered, but audiences don’t notice. I used to think that until you stood on a stage and felt the power of two 100-watt stacks, you hadn’t really lived. And so it goes. We move ahead with efficiency and convenience while sacrificing something that can’t always be measured—and we get used to it. As much as I yearn to pull those big amps out of storage and shake the walls, maybe I’ll just roll down the Pacific Coast Highway in an electric car listening to an old recording and enjoy the memory instead.
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.