Jol Dantzig's Esoterica Electrica: Hugs, Counsel, and Confronting Blind Spots
Here’s a blast to the past: a list of almost 10 things about the guitar-building biz that our columnist would have shared with his younger self.
As we slither into this relatively new year, many of us consider what we can do better than before. It’s natural to want to improve things for ourselves, our friends, and our families. And, in the case of guitar builders, our customers. No matter how old you are, there are always things to discover. But who among us hasn’t wondered what it would be like to have known back then, what we know now? Was there ever a point when the wisdom of experience was offered, but our child-brain chose to ignore it?
I recently stumbled across a video interview of John Mayer, during which the interviewer asks the guitarist what advice he would give to his younger self. To my surprise, Mayer responded, “I’d just give him a hug, I guess—there’s nothing you could tell that kid.” It was a delightful admission that cost Mayer nothing, and it’s so true for almost all of us. So, in the spirit of our inveterate desire to change what cannot be changed, I offer you a list of things I might impart to my own young self, should I have the misfortune to meet him. Please feel free to ignore these points, just as I did.
Practice your craft. Don’t mistake natural ability for excellence. This is the domain of the small-town football hero who gets crushed in college. If you are good at something, put in the time—I’m talking years—to get really great at it. You can’t download an app for mastery. If you don’t have the guts for that, here’s a spatula, because Burger World awaits.
Realize your strengths. I’ve always been a jack-of-all-trades sort of guy who was adept at a lot of things, but quickly tired of the routine (see above). If that’s your personality, you might make a good manager of those who are better than you at specific tasks. My favorite realization was that the best managers surround themselves with great people, set a direction, and then get out of the way. The conundrum here, of course, is that you have to avoid getting bored with learning to be a manager.
Don’t be afraid to ask for assistance. I know, this is starting to sound like a self-help column, right? Your natural ability will also trick you into thinking that you can figure everything out yourself, which really wastes a lot of time. If you are interested in doing inlay work, for example, offer to help a knowledgeable inlay artist in exchange for some instruction. It’s flattering for him or her, and every shop has work that needs to be done, so it’s a win-win. The time you donate to someone’s shop will be less than what you would have wasted trying to learn on your own.
Figure out how to be different in your own way. Realize that anybody can do what you do. No matter how great your skills are, there are others who are doing the exact same thing—and maybe better. The key is being true to your own personality. If you are a guitar builder, it’s the same as being a guitarist. Find a way to twist those tired, old riffs that you are rubber-stamping all over your reputation and get your own thing. The world simply doesn’t need another Firebird clone at the moment, so change more than the pickguard shape.
Learn to sell. The simple truth is that anyone can make a guitar, but not everyone can sell a guitar. It used to piss me off that salespeople were paid more than vice presidents (let alone builders), but if you want to make products that sit in a warehouse or your storage locker, go right ahead and ignore salesmanship. You can build the most kick-ass website, but that won’t close a sale like a handshake.
Learn how to sharpen your own tools. Even if you send bits and blades out to be re-tipped and sharpened, you won’t know if your vendor is skimping on you if you don’t know how to do this yourself. Also, it helps to speak the same language if you have a complaint about tools that don’t perform correctly.
Take some spray-painting classes. Most of the big automotive coatings companies have workshops to help sharpen your skills. I’d been painting—and teaching painting—for a long time when I took a series of classes at PPG. In a few weeks, I unlearned mistakes and problems that I’d been muddling through for decades. There is real science behind the art.
Don’t believe your own hype. Maybe you can be a politician with no real credentials, but if you try to fake your way into the guitar market, trust me, you won’t last long. I was unlucky enough to watch someone in my organization destroy himself this way, and it wasn’t pretty. Everyone loves a story, but if you push the envelope too far from who you are, you’ll implode. Remember: What you think is being clever and edgy, others just think “asshole.” It’s a small industry, so make your bed carefully.
Don’t feel compelled to finish everything before its time. Everything is a process, and when you pay attention, the work tells you what to do … like ending this list before reaching 10.
And here’s that hug. You’re gonna need it.
An amp-in-the-box pedal designed to deliver tones reminiscent of 1950s Fender Tweed amps.
Designed as an all-in-one DI amp-in-a-box solution, the ZAMP eliminates the need to lug around a traditional amplifier. You’ll get the sounds of rock legends – everything from sweet cleans to exploding overdrive – for the same cost as a set of tubes.
The ZAMP’s versatility makes it an ideal tool for a variety of uses…
- As your main amp: Plug directly into a PA or DAW for full-bodied sound with Jensen speaker emulation.
- In front of your existing amp: Use it as an overdrive/distortion pedal to impart tweed grit and grind.
- Straight into your recording setup: Achieve studio-quality sound with ease—no need to mic an amp.
- 12dB clean boost: Enhance your tone with a powerful clean boost.
- Versatile instrument compatibility: Works beautifully with harmonica, violin, mandolin, keyboards, and even vocals.
- Tube preamp for recording: Use it as an insert or on your bus for added warmth.
- Clean DI box functionality: Can be used as a reliable direct input box for live or recording applications.
See the ZAMP demo video here: https://www.youtube.com/watch?v=xJp0jE6zzS8
Key ZAMP features include:
- True analog circuitry: Faithfully emulates two 12AX7 preamp tubes, one 12AX7 driver tube, and two 6V6 output tubes.
- Simple gain and output controls make it easy to dial in the perfect tone.
- At home, on stage, or in the studio, the ZAMP delivers cranked tube amp tones at any volume.
- No need to mic your cab: Just plug in and play into a PA or your DAW.
- Operates on a standard external 9-volt power supply or up to 40 hours with a single 9-volt battery.
The ZAMP pedal is available for a street price of $199 USD and can be purchased at zashabuti.com.
You may know the Gibson EB-6, but what you may not know is that its first iteration looked nothing like its latest.
When many guitarists first encounter Gibson’s EB-6, a rare, vintage 6-string bass, they assume it must be a response to the Fender Bass VI. And manyEB-6 basses sport an SG-style body shape, so they do look exceedingly modern. (It’s easy to imagine a stoner-rock or doom-metal band keeping one amid an arsenal of Dunables and EGCs.) But the earliest EB-6 basses didn’t look anything like SGs, and they arrived a full year before the more famous Fender.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as you’re able to find today. “Why?” you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ’56), the Longhorn 4623 (’58), and the Shorthorn 3612 (’58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses “baritone guitars,” to add to our confusion today. But these vintage “baritones” were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the “tic-tac” bass sound of Nashville records produced by Chet Atkins, or the “click-bass” tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
“When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye.”
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button “Tone Selector Switch” that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
It’s sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
It’s sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? That’s because the model’s single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul ’Bursts. So as people repaired broken ’Bursts, converted other LPs to ’Bursts, or otherwise sought to give other Gibsons a “Golden Era” sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isn’t original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesn’t have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald City’s $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Bacon’s “Danelectro’s UB-2 and the Early Days of 6-String Basses” Reverb News article, Gruhn’s Guide to Vintage Guitars, Tom Wheeler’s American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
An '80s-era cult favorite is back.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Victory Figured Top Iguana BurstThe SDE-3 fuses the vintage digital character of the legendary Roland SDE-3000 rackmount delay into a pedalboard-friendly stompbox with a host of modern features.
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.