Josh Homme with his newest guitar thanks to Gabriel Currie of Echopark Guitars.
Before Facebook, Twitter, and YouTube, marketing was done through business cards. A well-done business card demands respect and attention. Case in point: Patrick Bateman in American Psycho shriveling when his business card was outdone by his colleague's.
For luthiers, it's a bit more complicated than logo placement, font selection, and what background color exudes more confidence. Their business card is their axe, and the most beneficial way for a luthier to exchange credentials is by getting their guitar directly into a pro's hands. That's exactly what Gabriel Currie of Echopark Guitars did when given the chance.
The reclaimed Honduran mahogany body of Homme's guitar is a chambered, one-piece slab. The top is a 300-year-old burl walnut (the knots still have moss and earth in them) and it was outfitted with a trapeze-style tailpiece like one from a very rare '50s Kay guitar.
In early May, Currie received an out-of-the-blue call from friend Rob Timmons of Arcane Pickups, notifying him that Queens of the Stone Age were rehearsing nearby and he should stop over. "I couldn't go over empty-handed because I'm a guitar builder—that'd be embarrassing—so I grabbed a few pieces that I recently completed to introduce myself and my brand," Currie remembers. "I met Josh, we shared a laugh, and I welcomed him to try out one of my guitars." Homme was immediately taken aback by the Downtowner Custom Koa's beefy neck size (he has a tough time finding necks to fit his hands) and its feedback-resistant P-90s. Homme asked if he could borrow them for a few days to show the rest of the band—Currie excitingly obliged.
"We didn't chamber it simply for weight-reduction. We agreed during our conversations that the tone of a semi-hollow instrument has the best warmth and growl without the howl [laughs]." The headstock is made of nitrate celluloid−tortoiseshell−with a custom-made sterling silver crow skull inlaid in the center. The tuners are aged nickel, pre-war-style, 18:1-ratio Grovers.
The next week during tour rehearsals, Homme pulled Currie aside and told him that he, Troy Van Leeuwen, and Dean Fertita were all interested in buying guitars, but only one of the guitars was available for purchase. So Currie agreed to build Troy his own model. "That's when Josh's eyes lit up and he asked me to build him a custom model, too." Van Leeuwen's guitar was fairly easy because Currie had an idea in his head and the templates were based on the Trisonic he found in Leo Fender's shop while working at G&L. But Homme's guitar was custom from the ground-up.
"I had no safety net or platform to go off of because of the organic nature of this build. I usually have the benefit of knowing the design and how it'll balance tonally with all the different woods and pickups." confesses Currie. "So other than the aged-neck timbre and the body-chambering, I had no actual knowledge of how the end result would sound, just a familiarity with all the pieces individually."
Currie and Homme had several conversations about feel, look, vibe, tones, body size, shapes, pickups, and playability. After hearing the custom Gold Coil in the neck position of Currie's '59 Custom model, Homme insisted that it be part of the equation. For the bridge position, Currie went with a customwound Arcane Ultra'Tron. Homme wanted a big neck profile so Currie based it on his early '59 double-cut Les Paul Jr.—about .980" at the nut and 1.15" at the 13th fret. "I like to do a 1938-style 'soft V' carve and roll it into a '59 'D' carve at the 9th fret so that it feels natural and fills your hand but remains playable for long gigs," Currie says. "It's carved from a 200-year-old piece of Honduran mahogany that came out of the Los Angeles library and the fretboard is old-stock Brazilian I had stashed."
For his custom builds, Currie uses old mahogany he amassed while working in the historic restoration of old buildings around Los Angeles and Southern California. "All of it is very old, very mature, very dry, and very bell-like," he says. "I started using it for two reasons: One, because it was old, stable, and resonate. And two, because it was readily available and the best way to get a new guitar to feel, behave, and sound old."
The reclaimed Honduran mahogany body of Homme's guitar is a chambered, one-piece slab. "We didn't chamber it simply for weight-reduction. We agreed during our conversations that the tone of a semi-hollow instrument has the best warmth and growl without the howl [laughs]." The top is a 300-year-old burl walnut (the knots still have moss and earth in them) and it was outfitted with a trapeze-style tailpiece like one from a very rare '50s Kay guitar. The headstock is made of nitrate celluloid—tortoiseshell—with a custom-made sterling silver crow skull inlaid in the center. The tuners are aged nickel, pre-war-style, 18:1-ratio Grovers.
"Josh freaked when I finally gave it to him the night they taped the KCRW special in L.A.," says Currie. "It was great seeing him playing it that night at the showcase and it sounded better than I hoped and planned because of its round, creamy articulation. I've been a big fan of the band and I'm honored to get the unusual request from an artist like Josh—that's the type of guitar building I live for."
A special thanks to Gabriel Currie of Echopark Guitars for allowing us to feature this fine piece of gear and its story.
[Updated 10/7/21]
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Peterson StroboStomp Mini Pedal Tuner
| The StroboStomp Mini delivers the unmatched 0.1 cent tuning accuracy of all authentic Peterson Strobe Tuners in a mini pedal tuner format. We designed StroboStomp Mini around the most requested features from our customers: a mini form factor, and top mounted jacks. |
But by gosh, if delay—and its sister effect, reverb—haven’t always been perfect for the music I like to write and play. Which brings us to the Fishman EchoBack Mini Delay. The EchoBack, along with the standard delay controls of level, time, and repeats—as well as a tap tempo—has a toggle to alternate between analog, tape, and digital-delay voices.
I hooked up my Washburn Bella Tono Elegante to my Blues Junior to give the EchoBack a test run. We love a medium delay—my usual preference for delay settings is to have both level and repeats at 1 o’clock, and time at 11 o’clock. With the analog voice switched on, I heard some pillowy warmth in the processed signal, as well as a familiar degradation with each repeat—until their wake gave way to a gentle, distant, crinkly ticking. Staying on analog and adjusting delay time down to 8 o’clock and repeats to about 11:30, some cozy slapback enveloped my rendition of Johnny Marr’s part to “Back to the Old House,” conjuring up thoughts of Elvis trapped in a small chamber, but in a good way. It sounded indubitably authentic. The one drawback of analog delay for me, generally, is that its roundness can feel a bit under water at times.
Switching over to tape, that pillowy warmth evaporated, and in its place came a very clear replication of my tone—but with just a bit of the highs shaved off the top. With the settings at the medium-length mode listed above, I could see the empty, glass hall the pedal sent my sound bouncing down. I heard several pronounced pings of repeats before the signal fully faded out. On slapback settings (time at 8 o’clock, repeats at 11:30), rather than Elvis, I heard something more along the lines of a honky-tonk mic in a glass bottle. Still relatively crystalline, which actually was not my favorite. I like a bit more crinkle—so maybe analog is my bag....“That pillowy warmth evaporated, and in its place came a very clear, pristine replication of my tone—but with just a bit of the highs shaved off the top.”
Next up, digital. Here we have the brightest voice, and as expected, the most faithful repeats. They ping just a few times before shifting to a smooth, single undulating wave. When putting its slapback hat on, I found that the effect was a bit less alluring than I’d observed for the analog and tape voices. This is where the digital delay felt a little too sterile, with the cleanly preserved signal feeling a bit unnatural.
All in all, I dig the EchoBack for its replications of analog and tape voices, and ultimately, lean towards tape. While it’s nice having the digital delay there as an option, it feels a bit too clean when meddling with time of any given length. Nonetheless, this is surely a handy stomp for any acoustic player looking to venture into the land of live effects, or for those who are already there.
