Jol Dantzig’s Esoterica Electrica: Upgrades are Always a Matter of Perception

Get to know and appreciate what your guitar has to offer before the hack job.
The business of designing and building musical instruments requires patience, especially when starting from scratch. It's true that not every guitar model ever produced has hit the mark. Even the celebrated Leo Fender had a few duds in his lineup. Still, there's a huge amount of sweat that goes into every design.
I've spent weeks evaluating pickups for a single model, and infinite hours auditioning wood, hardware, pots, and tone capacitors. The larger companies relentlessly prototype ideas to fine-tune their outcomes. I've been part of focus-group blindfold tests with first-call studio musicians and other working pros. This kind of scrutiny leads to endless prototyping and tweaking. Rest assured that many of these working models don't see the light of day, but meet the bandsaw instead. So, with all of the resources, experience, and knowledge builders bring to bear on their products, why do players insist on undoing all that effort?
Hack: Transitive verb meaning to cut or sever using irregular or unskillful blows.
The first hack is the deepest.
It begins with string gauges. Choosing your personal set is a rite of passage. Not everyone has the same touch and attack, so string companies naturally offer a multitude of string combinations. Several decades ago, manufacturers strung electrics with a standard .009 set. Then came what some refer to as the "SRV effect," and the average set for a new guitar was upped to .010s. This was primarily to make retail showroom guitars conform to the current trends (and therefore expectations) of shoppers. Today, we think nothing of personalizing our string preferences as soon as the guitar is in our possession. It's sort of like cinching up your belt on a pair of pants.
Setting yourself up.
Guitar factories are like big sausage-making plants, and somebody's got to tie the string. As your instrument comes down the conveyor, its last stop before the case and cardboard box is the setup bench. At this juncture, an employee has less than 20 minutes to put strings on your guitar, tune it, set the string height, maybe cut the nut slots a little deeper, and adjust the intonation.
Warning: This could be the first toke of lifelong addiction to understanding the nuances of coil winding and magnet composition.
People who do this day in and day out get very good at it, but the clock is ticking, so it won't be perfect every time. A more laborious, expert setup is an upgrade worth paying for. Even when you buy used or vintage, it's a good idea. Just be certain that your repair person understands your preferences and style of playing.
Chasing the dragon.
Once the new wears off, you may opt for some different pickups from the bobbin jockey of your choice. Warning: This could be the first toke of lifelong addiction to understanding the nuances of coil winding and magnet composition. I'm not saying that pickups don't make a difference. I've spent a lot of time swapping pickups as part of my job, but you might not want to make it your life's work.
One sure bet is that if your guitar costs under $2,000, you'll probably be buying some upgrade pickups—most any of which will be better than the originals. Despite the focus groups, I actually heard a marketing guy say, "Who cares what we put in there; the customer is going to change it anyway." He also called customer upgrades "putting their own stink on it." Remember: There is a lot of emphasis for a guitar to have its original parts when it's for sale, so always hang on to the old ones.
Building a relationship.
If you ask my wife, she'll tell you I've modified almost everything in our home. I can't count the times when I've barely gotten a new tool or appliance out of the packaging before I'm taking it apart to make it better, or I should say, "more to my liking." After a lifetime of building, repairing, and manufacturing stuff, my eyes are trained to see where corners have been cut and avenues for improvement. Yet, guitars are notoriously impervious to my glare.
I have vintage instruments that need a string change, and I play daily on a guitar that could have used a fret job years ago. I think of guitars as tools, but also as old friends whose personalities I've come to love, warts and all. I don't try to engineer them into Stepford Wives or Swiss Army knives. Despite your temptation to single-handedly support the engine of the economy, I suggest spending lots of time with your guitar the way it is instead. I may be pissing into the wind here, but get to know, understand, and appreciate what it has to offer before you attempt to hack it into your dream date. You can buy some fancy capacitors as an anniversary present later.
[Updated 7/28/21]
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On our season two finale, the country legend details his lead-guitar tricks on one of his biggest hits.
Get out the Kleenex, hankies, or whatever you use to wipe away your tears: It’s the last episode of this season of Shred With Shifty, a media event more consequential and profound than the finales of White Lotus and Severance combined. But there’ll be some tears of joy, too, because on this season two closer, Chris Shiflett talks with one of country music’s greatest players: Vince Gill.
Gill’s illustrious solo career speaks for itself, and he’s played with everyone from Reba McEntire and Patty Loveless to Ricky Skaggs and Dolly Parton. He even replaced Glenn Frey in the Eagles after Frey’s death in 2017. His singing prowess is matched by his grace and precision on the fretboard, skills which are on display on the melodic solo for “One More Last Chance.” He used the same blackguard 1953 Fender Telecaster that you see in this interview to record the lead, although he might not play the solo the exact way he did back in 1992.
Tune in to learn how Gill dialed his clean tone with a tip from Roy Nichols, why he loves early blackguard Telecasters and doesn’t love shredders, and why you never want to be the best player during a studio session.
If you’re able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:
https://guitarcenterfoundation.org
https://www.cciarts.org/relief.html
https://www.musiciansfoundation.org
https://fireaidla.org
https://www.musicares.org
https://www.sweetrelief.org
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
Super versatile EQ. Punchy and powerful in tracking situations. Surprisingly sweet clean tones. Useful DI features. Fun!
Midrange focus comes at expense of airiness. Push button switches can be noisy.
$299
Peavey Joshua Homme Decade Too
The punchy and potent practice amp that propelled many classic QOTSA tracks proves surprisingly versatile thanks to a flexible EQ section and cool clean tones.
One of the reasons classic Queens of the Stone Age tracks leap from radio speakers like striking vipers is because Josh Homme is a true recording artist—an individual that chases and realizes the sounds in his mind by any means necessary. When you play the 10-watt, solid-state Peavey Decade Too with Homme and QOTSA in mind you understand why the original Peavey Decade became integral to that process. It’s feral, present, nasty, bursting with punky attitude, and when tracked and mixed with a booming bass, sounds positively menacing. But it’s also a lovely clean jangle machine that will lend energy to paisley psych pop or punch to a Bakersfield Telecaster solo.
Objectively speaking, if you’ve played an ’80s Peavey practice amp before, you will know many of these sounds well. (Many of my own early amplified experiences came courtesy of a borrowed Backstage 30, so they are etched deep in my marrow and consciousness.) Like any small amp with a little speaker and cabinet, it’s marked by an inherent, pronounced midrange honk—no doubt, an ingredient that Homme found appealing in his original Decade. The saturation is thick and surprisingly dimensional. But it’s the 3-band EQ, with added bass and top-end boost buttons, that really extends the versatility of the Decade Too. In many contexts, it made a cherished vintage Fender Champ sound like a one-trick pony. The Decade Too may not excel at cooking-tubes-style distortion, but in terms of punch, clarity, and versatility in the studio environment, it delivers the goods.
Peavey Josh Homme Decade Too 10-watt 1 x 8-inch Combo Amplifier
Decade Too 1x8" 10w Combo AmpNew RAT Sound Solution Offers a Refined Evolution of Distortion
ACT Entertainment ’s iconic RAT brand has unveiledthe Sterling Vermin, a boutique distortion guitar pedal that blends heritage tone with modernrefinement. With a new take on RAT’s unmistakable sound, Sterling Vermin delivers a new levelof precision and versatility.
“The Sterling Vermin was born from a desire for something different — something refined, withthe soul of a traditional RAT pedal, but with a voice all its own,” says Shawn Wells, MarketManager—Sound, ACT Entertainment, who designed the pedal along with his colleague MattGates. “Built in small batches and hand-soldered in ACT’s Jackson, Missouri headquarters, theSterling Vermin is a work of pure beauty that honors the brand legacy while taking a bold stepforward for creativity.”
The Sterling Vermin features the LM741 Op-Amp and a pair of selectable clipping diodes.Players can toggle between the traditional RAT silicon diode configuration for a punchy, mid-range bite, or the BAT41 option for a smoother, more balanced response. The result is a pedalthat’s equally at home delivering snarling distortion or articulate, low-gain overdrive, with a wide,usable tonal range throughout the entire gain spectrum.
The pedal also features CTS pots and oversized knobs for even, responsive control that affordsa satisfying smoothness to the rotation, with just the right amount of tension. Additionally, thepolished stainless-steel enclosure with laser-annealed graphics showcases the merging of thepedal’s vintage flavor and striking design.
“From low-gain tones reminiscent of a Klon or Bluesbreaker, to high-gain settings that flirt withBig Muff territory — yet stay tight and controlled — the Sterling Vermin is a masterclass indynamic distortion,” says Gates, an ACT Entertainment Sales Representative. “With premiumcomponents, deliberate design and a focus on feel, the Sterling Vermin is more than a pedal, it’sa new chapter for RAT.”
The RAT Sterling Vermin is available immediately and retails for $349 USD. For moreinformation about this solution, visit: actentertainment.com/rat-distortion .
Two guitars, two amps, and two people is all it takes to bring the noise.
The day before they played the coveted Blue Room at Third Man Records in Nashville, the Washington, D.C.-based garage-punk duo Teen Mortgage released their debut record, Devil Ultrasonic Dream. Not a bad couple of days for a young band.
PG’s Chris Kies caught up with guitarist and vocalist James Guile at the Blue Room to find out how he builds the band’s bombastic guitar attack.
Brought to you by D’Addario.
Devilish Dunable
Guile has been known to use Telecasters and Gretsches in the past, but this time out he’s sticking with this Dunable Cyclops DE, courtesy of Gwarsenio Hall—aka Jordan Olds of metal-themed comedy talk show Two Minutes to Late Night. Guile digs the Dunable’s lightness on his shoulders, and its balance of high and low frequencies.
Storm Warning
What does Guile like about this Squier Cyclone? Simple: its color. This one is also nice and easy on the back, and Guile picked it up from Atomic Music in Beltsville, Maryland.
Crushing It
Guile also scooped this Music Man 410-HD from Atomic, which he got just for this tour for a pretty sweet deal. It runs alongside an Orange Crush Bass 100 to rumble out the low end.
James Guile’s Pedalboard
The Electro-Harmonix Micro POG and Hiwatt Filter Fuzz MkII run to the Orange, while everything else—a DigiTech Whammy, Pro Co Lil’ RAT, and Death by Audio Echo Dream 2—runs to the Music Man. A TC Helicon Mic Mechanic is on board for vocal assistance, and a TC Electronic PolyTune 3, Morley ABY, and Voodoo Labs Pedal Power 3 Plus keep the ship afloat.