Due to some recent health problems, I’m doing everything I can to push back my expiration date. I think it’s helping me become a better guitar player, too.
A friend of mine owned an NBA team and an NFL team. Once, I overheard him talking on the phone about trading a player. When asked what goes into that, he told me that although actuaries cannot accurately predict your life span, there are hard numbers that show a highly accurate decline of muscle with age. This inevitable muscle loss leads to injuries and a general decline in performance. The numbers make it clear that there’s an expiration date on every professional athlete, even factoring in the outliers. Every time I groan as I load my amp into my car, I think about that conversation to fuel my anxiety and fatalism on the weary drive to and from the gig. If professional athletes in their late 20s are physically past their prime, how long can the average musician keep going, factoring in our proclivity toward late nights and the adjacent vices?
I don’t want to be the guy moaning, “Oh, my aching back,” but the reality is, mountains turn to dust and so do we. That’s the price of admission. I’m doing everything I can to push back my expiration date: exercise, yoga, acupuncture, constant stretching, massage, practicing physical awareness, and trying not to eat poison. Despite these precautions, my hands have new issues with numbness and stiffness, and there’s a lot of pain in my lower back, forearms, neck, and shoulders. Many paranoia-driven Google searches later, I’ve narrowed my newish ailments down to a blend of carpal tunnel, arthritis, gout, vitamin B12 deficiency, lupus, rickets, Long Covid, and/or an adverse response to my multiple Covid vaccinations.
It could be a natural part of the aging process that has recently accelerated, or it could be something else. I’m just hoping to fix it if it’s fixable.
I’m reluctant to even mention the latter. Eric Clapton told his friend, Italian architect Robin Monotti Graziadei, “My hands and feet were either frozen, numb or burning, and pretty much useless for two weeks. I feared I would never play again.” Graziadei shared this info on social media and Clapton was immediately labeled an old crank and became a pariah. These are strange times where an opinion shared even in private can undermine your personal and professional life. To be clear, I’m not saying the vaccine is the cause of my physical glitches. I’m saying Clapton’s issues sound very similar to mine.
Diagnosing a physical problem is the most difficult task of any healthcare professional because we’re all physiologically unique. On top of that, this is not a lab; there’s no control group in the real world. Everyone has their own lifestyle, genetics, diet, and stress that combine to affect us differently. It could be a natural part of the aging process that has recently accelerated, or it could be something else. I’m just hoping to fix it if it’s fixable.
What has helped the most is trying to be more present all the time, checking in with my body throughout the day, but particularly when I’m playing music, like the body awareness you’re supposed to be focusing on while doing yoga. I’m noticing how I’m holding too much tension, hitting too hard, trying too hard, tensing up my neck, arms, and hands when I’m playing. I’m trying to be aware of tension and letting it go. I’m attempting to do the same thing with my brain … let go of those thoughts that undermine a performance, or basic happiness. That may be a secret to life— knowing what to hold onto and what to let go of.
Maybe it’s because Basie was so in tune with the band and the music that he placed that note at the perfect place with the perfect volume, with the perfect attack and decay.
Honestly, although my hands are not at their prime, being more aware of what they’re doing probably makes me sound better. I’m more relaxed. I try to slow down and feel it, which improves my pocket. Maybe that’s the way it works. You get older, your body disintegrates but you learn enough along the journey that you can compensate. I read an interview with Les Paul, who said:
“It was a great pleasure playing with Count Basie just before he died. Talking about him, he’d just lift his left hand and take one finger and hit one note. It was the best damn note I ever heard. It’s not how many notes you play; you just have to play the right ones!”
Maybe Les felt it was the best note because of the emotional context of watching a dying friend performing. Or maybe it’s because Basie was so in tune with the band and the music that he placed that note at the perfect place with the perfect volume, with the perfect attack and decay. The Count wasn’t counting bars or reading. That old dude was going full Jedi-Yogi and connected to the universe. Les Paul recognized it because he, too, was Jedi-Yogi.
So, if someday my hands turn to blocks, I will try to hit my one note in the perfect place, with just the right feel and volume to make it sing.
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Selenium, an alternative to silicon and germanium, helps make an overdrive of great nuance and delectable boost and low-gain overdrive tones.
Clever application of alternative materials that results in a simple, make-everything-sound-better boost and low-gain overdrive.
Might not have enough overdrive for some tastes (although that’s kind of the idea).
$240 street
Cusack Project 34 Selenium Rectifier Pre/Drive Pedal
cusackmusic.com
The term “selenium rectifier” might be Greek to most guitarists, but if it rings a bell with any vintage-amp enthusiasts that’s likely because you pulled one of these green, sugar-cube-sized components out of your amp’s tube-biasing network to replace it with a silicon diode.
That’s a long-winded way of saying that, just like silicon or germanium diodes—aka “rectifiers”—the lesser-seen selenium can also be used for gain stages in a preamp or drive pedal. Enter the new Project 34 Selenium Rectifier Pre/Drive from Michigan-based boutique maker Cusack, named after the element’s atomic number, of course.
An Ounce of Pre-Vention
As quirky as the Project 34 might seem, it’s not the first time that company founder Jon Cusack indulged his long-standing interest in the element. In 2021, he tested the waters with a small 20-unit run of the Screamer Fuzz Selenium pedal and has now tamed the stuff further to tap levels of gain running from pre-boost to light overdrive. Having used up his supply of selenium rectifiers on the fuzz run, however, Cusack had to search far and wide to find more before the Project 34 could launch.
“Today they are usually relegated to just a few larger industrial and military applications,” Cusack reports, “but after over a year of searching we finally located what we needed to make another pedal. While they are a very expensive component, they certainly do have a sound of their own.”
The control interface comprises gain, level, and a traditional bright-to-bassy tone knob, the range of which is increased exponentially by the 3-position contour switch: Up summons medium bass response, middle is flat response with no bass boost, and down is maximum bass boost. The soft-touch, non-latching footswitch taps a true-bypass on/off state, and power requires a standard center-negative 9V supply rated at for least 5 mA of current draw, but you can run the Project 34 on up to 18V DC.
Going Nuclear
Tested with a Telecaster and an ES-355 into a tweed Deluxe-style 1x12 combo and a 65 Amps London head and 2x12 cab, the Project 34 is a very natural-sounding low-gain overdrive with a dynamic response and just enough compression that it doesn’t flatten the touchy-feely pick attack. The key adjectives here are juicy, sweet, rich, and full. It’s never harsh or grating.
“The gain knob is pretty subtle from 10 o’clock up, which actually helps keep the Project 34 in character.”
There’s plenty of output available via the level control, but the gain knob is pretty subtle from 10 o’clock up, which actually helps keep the Project 34 in character. Settings below there remain relatively clean—amp-setting dependent, of course—and from that point on up the overdrive ramps up very gradually, which, in amp-like fashion, is heard as a slight increase in saturation and compression. The pedal was especially fantastic with the Telecaster and the tweed-style combo, but also interacted really well with humbuckers into EL84s, which certainly can’t be said for all overdrives.
The Verdict
Although I almost hate to use the term, the Project 34 is a very organic gain stage that just makes everything sound better, and does so with a selenium-driven voice that’s an interesting twist on the standard preamp/drive. For all the variations on boost and low/medium-gain overdrive out there it’s still a very welcome addition to the market, and definitely worth checking out—particularly if you’re looking for subtler shades of overdrive.
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.