Our Last Call columnist reflects on a big birthday with some thoughts about living one’s best life.
“Life is what happens to you while you’re busy making other plans.” —Allen Saunders (via John Lennon’s “Beautiful Boy”)
By the time this is published, I will be 60 years of age. I’ve been writing this bit of infotainment for nearly 18 years, so it feels like I should have some life lessons to share. Let me preface it by reminding you I’m not particularly wise, nor have I accomplished much. But I have been gigging for 44 years, and I’m still standing, so here are a few tips that might help fellow musicians on the long journey.
Although ageism is the last socially acceptable prejudice, I no longer sweat it. Because music is marketed primarily to kids, I worried I’d be aged out when my hair began transitioning from black to white in my 30s. I’d dyed it Elvis black for nearly two embarrassing decades to extend my imagined expiration date. By 50, the jig was up; I’d have to dye my hair every four minutes to maintain the illusion. That’s when I realized there are two options: grow old or look creepy.
Turns out, all the anxiety and wringing of hands fearing the inevitable was a huge waste of time and bad feelings. Sure, now I wake up every morning feeling like I have been beaten by a bag of doorknobs. And on a long gig, the weight of my guitar is more important than the tone. And my hearing, vision, and stamina are no longer at their peak. But honestly, life is, for the most part, better now.
I definitely am a better musician today than when I was younger. If you put in the time playing, you will inevitably improve. The key is, you have to work to push past what you already know. A lot of players hit their plateau early and never surpass it. They built a tool kit of riffs and tricks that got the job done, started working professionally, and then stopped working to improve beyond that. If you want to get to the next level in anything, you’ll need to get out of your comfort zone. Want to play better? Do something hard you’ve never done, like learning jazz, bluegrass, or metal tunes and practicing them with a metronome.
“The key is, you have to work to push past what you already know..”
Apply the same technique to other parts of your life. Want to feel better? Get off the couch and push your body with regular exercise, even if it’s just walking for 15 minutes. Want to be better off financially? Invest as much as you can, even if it means you will not be able to afford some creature comforts in the present. Or have that super uncomfortable conversation with your boss and ask for a raise. Want a better relationship? Be vulnerable. Nobody has ever improved their life without going through something uncomfortable. Life will pay you back for the work you put into it.
There’s a common fallacy about youth's fearlessness versus the wisdom of age. I was terrified through much of my youth. I was way too concerned about what other people thought about me. I was constantly comparing myself to others. I did not know what I was doing, and I was broke. I was always scheming and planning to improve life, and then was crestfallen when it never went as planned.
Life became much easier when I learned:
• Nobody is thinking about me. (People are generally thinking about themselves.)
• Comparison is the thief of joy.
• Nobody really knows what they are doing. (We are all just trying to figure it out.)
• If you work hard and live simply, the money thing works out.
• Plans lead to a betrayal of expectation. It’s good to have a plan to motivate you to work toward something, but be fluid. Failed plans will lead you to where you are supposed to be.
• Wisdom does not come with age unless you learn something along the way. If you live your entire life with a closed mind, too afraid or too lazy to think, you are missing out.
• Probably the biggest improvement that’s come with age is I’m learning to live in the moment. Most mental health professionals agree that depression often involves ruminating on the past, whereas anxiety is caused by spending a lot of time worrying about the future. But if you can stay in the eternal now, which really is all there is, then you’re living, not worrying.
I realize this reads like a string of cliché maxims, but that doesn’t make them less true. Let me leave you with a few more.
• Forgiveness is the gift you give yourself.
• It’s okay to not be okay. Life will inevitably hurt. Good or bad, this too shall pass.
Everybody has their theory of spirituality. Mine is, if there is a higher power, how we live our life is how God experiences his creation. I want to use up all my tickets and ride every ride at the carnival. If life has a point, the point is to live it. The Titanic sinks; we in the band play on.
Silvertone Guitars introduces the new Silvertone Lipstick pickup and 1373 Baritone guitar.
Silvertone Guitars is thrilled to announce a groundbreaking collaboration with Rio Grande Pickups to introduce a new Silvertone Lipstick pickup. This partnership combines Silvertone’s iconic legacy with Rio Grande’s expert craftsmanship to create a pickup that delivers a bold, traditional single-coil tone while retaining the classic Lipstick look.
The original Lipstick pickup, invented by Nathan Daniels, is celebrated for its distinctive sound with a bright, trebly top end and scooped midrange, offering a unique sonic character that stands out both in recordings and live performances. While the classic Silvertone Lipstick pickups are known for capturing this vintage tone, the new Silvertone/Rio Grande Lipstick pickups provide an exciting twist for players seeking a higher-output, traditional single-coil sound.
Designed and handmade in Houston, Texas, the new Silvertone Lipstick pickup features an Alnico 5bar magnet, plain enamel 44AWG pure copper wire, and a shielded 2-wire connection for versatile wiring options. This pickup strikes a perfect balance between a '60s Strat®-style sound and the powerful punch of a P90, offering a beefy midrange and enhanced output for dynamic lead playing and driving effects pedals.
“We’re thrilled to be working with Rio Grande Pickups on this new Lipstick design,” says Rick Taylor, Guitar Product Manager at Silvertone Guitars. “This collaboration has allowed us to expand the tonal palette of our Lipstick pickups while preserving the visual appeal that players love. The new pickups deliver rich, powerful sound that will inspire musicians to explore new creative possibilities.”
These new pickups are the perfect way to supercharge your guitar, combining the distinctive look of the Lipstick design with the versatile, high-output tone that modern players demand.
Pricing is $279 for the calibrated set, and $159 for the neck or bridge alone.
Silvertone Guitars proudly introduces the 1373 Baritone, a contemporary reimagining of the iconic 1958 6-string bass.
In 1958, Silvertone made waves with the revolutionary 1373 model, a 6-string bass tuned low E to E, paving the way for the distinctive tic-tac technique in Nashville. This technique involved doubling acoustic bass lines with the six-string bass played with a pick. This unique tuning was also famously featured in Glen Campbell's iconic six-string bass solo on the hit single "Wichita Lineman."
With the 1373 Baritone, Silvertone pays homage to this rich history by transforming the instrument into a baritone tuning marvel. The 28” scale neck is meticulously designed for B to B tuning, echoing the popular baritone tuning that left an indelible mark on 1960s surf rock and spaghetti western soundtracks.
Crafted with a solid mahogany body, the 1373 Baritone delivers unparalleled punch and sustain. The string-through body bridge enhances resonance, and the 28” scale strikes the perfect balance, allowing the lower strings to resonate authentically without sacrificing the comfort of standard tuning guitars.
Equipped with the new Alnico 5 Silvertone Lipstick pickups, the 1373 Baritone retains the clean tones and bell-like top end of the original pickups, with a bit more output. This additional output provides the flexibility to comfortably drive pedals, tube amps, or digital modelers, making the 1373 Baritone a versatile instrument across various musical genres.
The 1373 Baritone carries a $449 street price and is available in three striking colors: Black SilverFlake, Pelham Blue, and Silver Metal Flake.
For more information, please visit silvertoneguitars.com.
Orange Amplification announces the arrival of its new Babies: the newly analogue designed Dual Baby, Tour Baby and Gain Baby guitar amps, plus the O Tone combo.
The Babies
Each lightweight, studio grade 100W, twin channel, Class A/B, solid state amp weighs only 3kg and is compact, reliable and tour ready. Watch the launch video here.
The 2-channel, Tour Baby guitar amp is incredibly versatile in a variety of playing situations. The onboard studio grade VCA compressor of Tour Baby’s refined clean channel, offers pristine clean tones with active or passive pickups. It provides a consistent dynamic range and low noise in extreme settings without the need for separate pedals. It includes precise bass and treble EQ controls.
The naturally voiced dirty channel of this tone machine allows players to easily get that sought after ‘point of breakup’ sound . A custom voiced presence control and powerful 3-band EQ control means the Tour Baby’s tone can be shaped to cut-through the mix. Add to that a footswitchable volume control, that provides a stage-friendly volume boost option for live applications. Watch the Tour Baby video here.
The Gain Baby clean channel is the same as that of the Tour Baby with its integrated VCA Compressor to alleviate the need for an additional stomp box and incorporates bass and treble EQ controls to dial in a desired frequency. The compressor provides smooth, transparent compression for dynamic control without compromising tone.
Four distinct stages are available on the high gain channel allowing players to dial in their preferred level of crunch and saturation. Like the Dual Baby, Gain Baby’s Tight Switch operates as a bright switch, boosting the upper mid at lower gain levels, to give shredding solos a little something extra. Volume control is footswitchable, the buffered FX allows effects from pedals to be patched in and the onboard 3-band EQ allows tone to be tweaked even further.
With multiple output options such as a balanced XLR output with no Cab Sim, as well as dual speaker outputs, the Gain Baby is equally comfortable on stage or in the studio. Watch the Gain Baby video here.
The Dual Baby is a powerhouse in a pint-sized package. It’s simple A and B channel design offers duelling tones and alternating rhythm opportunities. Channel A mimics the rich responsive tones of the Orange flagship Rockerverb amps in a reliable solid-state design. From clean to classic crunch to full-on saturation, there is no shortage of Orange mojo. The brand-new Tubby Switch, which boosts the bottom end early in the signal path, offers a much ‘rounder’ tone when playing clean or when searching for just the right ‘dirty-clean’ sound.
Channel B allows players to dial in the desired level of grit, with ample saturation and a valve-like high-gain tone, unheard of in any other solid-state unit. The ‘bright boost’ of the Tight Switch gives the amp spring and bounce and raises the top end at lower gain levels for players who want to tighten up, shred and play blistering solos with plenty of cut. The 3-band sweepable EQ presence control allows frequencies to be tweaked, shimmer added and mids that sit perfectly in the mix to be dialled in. Watch the Dual Baby video here.
Pack or rack any of the three Baby amps with included gig bag or an available rack ear kit. Each Baby is a mighty unit that delivers100-Watts into 8 ohms or 70-Watts into 16 ohms, to power any full-sized guitar amp with ease!
Check out the triplets, Dual Baby, Tour Baby and Gain Baby and all the other Orange products at
https://orangeamps.com/
The O Tone 40 Combo Amp
Watch the launch video here.
The single channel, 40-Watt Class A/B solid state combo has onboard tremolo and reverb controls, a buffered effects loop and plenty of punchy volume. With a distinctive clean tone, it is an ideal amp for any pedal set-up or a small venue workhorse for guitarists who are fond of warm, vintage tones.
The amp’s bias-wobbled, single-ended JFET tremolo circuit offers huge depth and breadth, delivering everything from grand sweeps to a staccato sonic character via insistent, whirling helicopter patterns. The effect is footswitchable, allowing for even more adaptability during performances.
Modelling a classic spring reverb, the O Tone 40 incorporates a digital reverb module to add a warm spaciousness to sounds, ranging from subtle shimmer to ethereal trails.
The combo’s fully buffered, low-impedance FX Loop allows for any number of effects and cables to be patched between the amp’s input and output sections without sacrificing tone, making it an excellent pedal platform.
The powerful volume of the 12” Voice of the World speaker, combined with the amazingly sweet tones and harmonic chimes of the new O Tone 40, makes it ideal for rock, country, blues and so many more music genres. A direct output is included to facilitate studio and live non-miked situations.
The amp is finished in trademark Orange Tolex with Orange’s signature basket- weave grill and Crest badge. Check out the O Tone 40 and all the other Orange products at https://orangeamps.com/
The Los Angeles League of Musicians—LA LOM for short—brought the vintage vibe with them on the road last year.
It wasn’t long ago that LA LOM—guitarist Zac Sokolow, bassist Jake Faulkner, and percussionist Nicholas Baker—were cutting their teeth together as the house band at the Roosevelt Hotel in Hollywood, playing poolside for guests. Now, with eight EPs and a full-length record (2024’s The Los Angeles League of Musicians) since 2021, they’re a full-blown sensation, celebrating and interpreting instrumental tropical guitar traditions.
The trio played Nashville’s The Basement back in December, where PG’s John Bohlinger caught up with Sokolow and Faulkner to see what road rigs they use to bring their psychedelic cumbia and Peruvian chicha dreams to life.
Brought to you by D’Addario.Red Rider
This vintage National Val-Pro, circa 1960 to 1962, belongs to Faulkner, who received it as his very first electric. When he switched to bass, the Val-Pro took a backseat, so Sokolow had been more than happy to borrow it long-term. All the controls are disconnected except for the volume knob. Sokolow strings it with a .012–.052 gauge set of roundwounds, and he’s partial to D’Andrea Pro Plec 1.5 mm picks.
Leader of the Pack
Sokolow’s other sidekick is this Kay Style Leader from 1960. Each of the three pickups has a volume and tone control. The body’s been mostly routed out, so it lends the resonance and darkness of a semi-hollowbody.
Live and Loud
While he’ll often play through Fender Deluxe Reverbs at home, Sokolow trusts the Twin Reverb to get the job done in performance settings. The stage volume is loud enough that he and his bandmates often don’t need monitors: They can just listen to each other’s instruments onstage.
Zac Sokolow's Pedalboard
From his guitar, Sokolow’s signal runs through a spicy-red Voltage Cable Co. coil cable into his board. A TC Electronic Polytune 2 starts things off, followed by a Fulltone Full-Drive 3 for just a hint of dirt, then a Boss DM-3 delay, followed by a Catalinbread Topanga spring reverb. A TC Helicon VoiceTone handles some more echo work along with the DM-3.
Flight-Friendly Upright
Jake Faulkner’s traveling upright is thisJohnson bass, which has been modded by Tom at Fantastic Musical Instruments in Pasadena, California. Tom gave the upright a bolt-on neck that comes off easily, making it a perfect travel mate. For amplification, Faulkner uses pickups from Underwood, based in Palm Springs. On a tip from Tom, he glued a small piece of wood to the side of the pickups to reduce noise issues, and two sound posts have been installed inside the body to reduce feedback concerns.
Thumbin' Through
For electric needs, Faulkner uses this Fender Vintera II ’60s Precision Bass; he’ll switch between the two basses depending on what he feels best suits the song. He uses a thumb pick from time to time to accentuate certain rhythms.
Lightweight Low End
Faulkner’s been converted to this Ampeg Venture V12, a compact bass head weighing less than nine pounds—a godsend for sore-backed bassists. It’s set for a pretty neutral, SVT-style sound and runs into a Fender Bassman 410 Neo cabinet, which has four neodymium-loaded speakers.
Jake Faulkner's Pedalboard
Rather than at the start of his chain, his Korg Pitchblack Advance tuner goes at the end, with everything running out of it to the Venture V12. An Origin Effects Bassrig Super Vintage lends color and tone to the V12, then the Fire-Eye Development Red-Eye Twin acts as an A/B switch to maintain output and gain between the Johnson and the P-bass. An MXR Ten Band EQ helps balance out the upright’s tone.