Reader: Daniel Creeron
Hometown: Charlton, Massachusetts
Guitar: Big Mamie
Built with wood from a World War II battleship, this reader’s guitar holds a lot of history.
I love it when guitars and history come together.
My newest guitar, “Big Mamie,” was built with original teak from the deck of the USS Massachusetts (BB-59). This wood saw action in World War II, during multiple campaigns in the 1940s.
I was checking Facebook one day and I saw a post from Battleship Cove (located in Fall River, Massachusetts) where they were auctioning off this Telecaster-style body crafted by Rhode Island luthier Vincent Goulart. The proceeds of the auction would go to helping restore the battleship.
I knew I had to have it. Not only was this a piece of United States and Massachusetts history, but it held a special place in my memories. When I was a kid, my grandparents would take us to Battleship Cove where we’d explore the ships, the submarine, and the historical displays. Later, when I had my own kids, we’d visit and do overnight sleepovers with Scouts. We slept on “Big Mamie” and walked the decks from where this wood was taken.
Daniel had Big Mamie’s neckplate custom laser-engraved with a silhouette of the USS Massachusetts (BB-59), and the dates that can be seen on the battleship’s plaque.
After winning the auction, I was connected to Vincent and he told me the story of how he came to build this body for the restoration fundraiser. He’s a talented luthier, but each of his guitars has to have a unique history/story. This was right up his alley!
We spoke a few times, discussing what I liked to play, and how I’d like the finished guitar to look and sound. In the end, I decided on some standard Fender chrome components for tuners, neck plate, ferrules, etc. For the pickups, I went with Lindy Fralin Blues Specials. The controls are also from Fralin; I decided on the flipped-control orientation with the push-pull mods for the volume engage/disengage and tone caps (.02 MFD and 0.047 MFD, film and oil, respectively).
The vintage/modern roasted-flame-maple neck, with an ebony fretboard, was custom ordered from Warmoth. The neck had an adventure all of its own after initially being lost in shipment. It finally showed up about a week or two after being written off as lost (and after a new order was placed).
“Now I have a piece of history here in my room that I can pass down to my family.”
For the neck plate, I had it custom laser-engraved with a silhouette of the battleship and dates from an onboard plaque. The strap, from Well-Hung Guitar Straps in Canada, fits the patriotic theme. I’m also using oversized strap buttons from Well-Hung.
Over a couple visits to Vincent’s place, he helped me put together all the components and bring “Big Mamie” to life. Now I have a piece of history here in my room that I can pass down to my family. It also gives me a reason to work on my admittedly novice guitar skills.
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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.
The new AD200 is still designed on the premise that the best tone comes from the shortest signal path from bass to speaker. Whatever type of bass, playing style, or genre of music, the AD200 faithfully retains the tone of that instrument.
The addition of a new clean switch, in combination with a powerful three-band EQ, gives AD200 players an even broader frequency spectrum to dial into their amp. In addition, a brand new output transformer, with 3 inches of laminations, harnesses double the power at 30Hz, offering better response at low frequencies. ‘It now pushes more air, flaps more trouser leg — simple as that,’ explains Orange Amps Technical Director Ade Emsley. From mellow hues to heavy, percussive growl and even slap bass, the ultimate incarnation of the AD200, has just become even more versatile.
Internal changes make the amp easier to service and maintain. Each output valve now has its own 12 turn bias pot, so unmatched valves can sit side by side. ‘Now, any tech with a multimeter can bias the amp and match the valves into the amp,’ explains Emsley. ‘So, if you’re on the road with a band, you can go swap a worn valve for a new one, dial it in and you’re good to go.’ Whilst the four KT88 output valves push 200 Watts of power, the amp will run equally as well on 6550s or a combination of the two.
‘It’s a big improvement on the previous version,’ says Ade Emsley, of his work on the updated AD200. ‘It still does everything the old one does, it’s still the industry standard, but it’s now simpler, easier to use, easier to service and futureproof.’
The new, decluttered front panel design is reminiscent of the company’s iconic 1970’s amps with its original ‘bubble-writing’ Orange logo and the ‘pics-only’ hieroglyphs, all wrapped in the company’s distinctive orange Tolex covering.
Over the last forty years, the Orange Bass Cabinets have become an undeniable industry standard. They have been remodelled to use Celestion Pulse XL bass speakers across the OBC810C, OBC410HC, and OBC115C cabs. The upgrade delivers a tight, punchy low-end with a warm mid-range that’s full of presence. The premium build of these cabinets remains, delivering players, bands and techs the road-worthy dependability they demand. In addition, the popular OBC410HC has been modified by removing one vertical partition and strengthening the horizontal one to be lighter and tighten up low-end response.
For more information, please visit orangeamps.com.
"This bass is a reflection of everything I love about playing," said Blu DeTiger. "I wanted an instrument that could handle the diversity of sounds I create, from deep, funky grooves to melodic lines that cut through the mix. Fender and I worked closely together to make sure this bass not only looks amazing but sounds incredible in any setting."
Featured as the cover of the Forbes 30 Under 30 music list, Blu, who defines her musical style in the "groovy Indie” genre blending elements of Pop, Rock, and Funk, represents the next generation of pop music, earning accolades and a dedicated global fanbase with her work alongside top artists and successful solo releases. Bringing her signature sound and style, Blu marks a new milestone in her storied partnership with Fender and solidifying her influence on the future of music in creating the Limited Edition Blu DeTiger x Player Plus Jazz Bass.
Limited Edition Blu DeTiger x Player Plus Jazz Bass ($1,599.99) - From the Sky Burst Sparkle to the chrome hardware and mirrored pickguard, every detail on this Jazz Bass echoes Blu’s artistic vision. The offset ash body is chambered to keep this bass as lightweight and comfortable as possible. The satin finished maple neck, bound 9.5” rosewood fingerboard and vintage tall frets provide smooth playability. The Custom Blu DeTiger Fireball bass humbucker and Player Plus Noiseless Jazz Bass Pickups fuse vintage charm with modern punch. The bass also includes an 18V Player Plus preamp with 3-band EQ and active/passive toggle, great for sculpting your tone and ideal for capturing the funky snap and growl that defines Blu’s sound. With its inspired aesthetics, signature sonics and Blu-approved features, the Limited Edition Blu DeTiger x Player Plus Jazz Bass lets you tap into the infectious pop energy that keeps this star shining!
Her successful releases including "Figure It Out,” "Vintage," and recent album “All I Ever Want is Everything” have earned her accolades and sent her on the road to tour across the world to perform for her dedicated fanbase. Her distinct style of playing has also seen her play live with top tier artists such as Olivia Rodrigo, Bleachers, Dominic Fike, Caroline Polachek, Chromeo, and more.