Name: Ira Weiner
Hometown: Los Angeles, California
Guitar: Bertha
Bertha started out as a 1980 Ibanez Musician with the 5-piece neck-through series. After figuring out what I wanted, I went to my friend and luthier, Tim Huenke of Superior Guitars (Washington, Pennsylvania), and we put her together. He did the work; I did the scavenger hunt for the parts.
We stripped out the body and most of the parts, then shaved down the body area (including the neck-through part) by 1/8". Being in the Philly area at the time, I was literally able to “pull into Nazareth” and get a book-matched Indian rosewood back set from the 1833 Shop to overlay the top.
The original fretboard was replaced with a triple-bound ebony board with 24 medium-jumbo, stainless-steel frets and, of course, banjo-style inlays. There was enough rosewood left to also redo the headstock overlay. The top was then given a “bathtub” route for the pickups and the rear switch cover was re-routed for a 9V battery box.
All the mechanical parts are either lacquered brass or gold-plated. Starting with Dunlop strap locks and an Electrosocket jack, I found a top-load Aria tailpiece with locking studs feeding a harmonica Tune-o-matic bridge sitting on the original stainless-steel sustain block, also with locking studs. A brass pickup surround was mounted along with a brass “flatworm” switch cover. The knobs are Tele-style, and the nut is an original bone/brass nut. The tuners are top-lock Grover 18:1 Rotomatics with imperial buttons.
The electronics start with a stereo jack (to turn on the preamp when plugged in) with three DiMarzio Super 2 pickups, three knob push-pull pots (for coil cuts), and a 5-way selector switch. The fourth knob control (pull-push) turns on the variable 0-20 db preamp. The three remaining switches are for phase reverse, series/parallel switching (when the middle pickup is on), and a switch that overrides the main selector to give a choice of bridge/neck, all three pickups, or the standard 5-way selector.
This has been my main axe for the last 15 years, and obviously you know who my favorite guitarist was.
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Keith Urban has spent decades traveling the world and topping global country-music charts, and on this episode of Wong Notes, the country-guitar hero tells host Cory Wong how he conquered the world—and what keeps him chasing new sounds on his 6-string via a new record, High, which releases on September 20.
Urban came up as guitarist and singer at the same time, and he details how his playing and singing have always worked as a duet in service of the song: “When I stop singing, [my guitar] wants to say something, and he says it in a different way.” Those traits served him well when he made his move into the American music industry, a story that begins in part with a fateful meeting with a 6-string banjo in a Nashville music store in 1995.
It’s a different world for working musicians now, and Urban weighs in on the state of radio, social media, and podcasts for modern guitarists, but he still believes in word-of-mouth over the algorithm when it comes to discovering exciting new players.
And in case you didn’t know, Keith Urban is a total gearhead. He shares his essential budget stomps and admits he’s a pedal hound, chasing new sounds week in and week out, but what role does new gear play in his routine? Urban puts it simply: “I’m not chasing tone, I’m pursuing inspiration.”
Wong Notes is presented by DistroKid.
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LR Baggs HiFi Duet High-fidelity Pickup and Microphone Mixing System
