Name: Bill Follett
Hometown: Calabasas, California
Guitar: Plectron Labs Prototype #1
So, I came up with a new plan for my newfound free time: start building guitars. I started off with the basics—I found myself an inexpensive guitar that I could modify without fear of damaging it. My theory was that 90 percent of the tone is due to the electronics, so this would be my prototyping unit.
I spent $150 each on boutique pickups, settling on a Curtis Novak Gold Foil in the bridge position, (thanks to a demo by PG’s John Bohlinger: “You can’t get a bad tone with these pickups”) for those awesome-sounding distorted tones, and a TV Jones Classic in the neck for that sweet Gretsch-like clean sound. I used a Seymour Duncan Liberator volume pot, since it has solder-free connections which allow for easy pickup swaps. I used top-notch push-pull pots, capacitors, switches, and jacks. The gold-foil pickup sounds great but has lots of treble, so a good tone-knob circuit is essential. I’ve never been a fan of the tone knob on any of my guitars, so I figured I needed to do something different. I tried ’50s wiring, along with a lower capacitance “warmth knob” (both with guidance from PG’s Dirk Wacker). For the first time ever, I loved using the tone knob!
With a background in the aeronautical industry and Malibu beaches, I wanted a body shape with hints of surf, space, and aerodynamics. I took a napkin sketch and started plotting it using Excel. That quickly got out of hand. Next thing I knew, I had a full design spreadsheet, complete with pulldown menus for scale length, pickups, tremolo, body thickness, etc. I was even calculating guitar weight and center of gravity because the last thing I wanted to do was invest all my hopes and dreams into this guitar and find out that it constantly falls off my lap.
After iterating on the design for far too long, I got to work. I wanted the first prototype to be cheap; I knew there would be mistakes. I got the cheapest body blank I could find (poplar) for $60. I wanted a Jaguar-like 24"-scale neck, but those aren’t cheap, so I got a 25 1/2"-scale Mighty Mite neck for $100 and will do the 24" version next time. The first bolt-up revealed that the body and neck resonated shockingly well when I tried them acoustically, but the body required some reshaping for better upper fret access. I finished the body with Rust-Oleum spray paint: primer, metallic blue base coat, blue sparkle, and clear glaze on top. This cost $40 and I’m very happy with the result.
I went with a Staytrem bridge, a Jazzmaster-style tremolo (placed relatively close to the bridge to minimize string buzz), and Steinberger tuners. Finally, I added two additional push-pull pots with solder-free connections for future exploration and wiring adventures.
I love the sound of this prototype, and it fed into my other Covid project, which was to release my first ever EP under the name “Plectromatics.” I learned so much on this journey and can’t wait to see how the 24"-scale version comes out, and what songs it will inspire!
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The Ariel Posen Signature String Set from Stringjoy
Ideal for B Standard, Open C, and other lower tunings, this set offers exceptional tone and feel for players who want to explore new sonic territory while maintaining their guitar's unique voice.
Each string in this set is built with Stringjoy’s trademark quality: wound at tension with high compression winds for maximum output, durability, and smooth playability. The result? Strings that hold up under pressure while delivering a natural, expressive voice—perfect for hybrid playing and expressive slide work.
Ariel Posen Signature Set Specs:
• .014 – .018p – .026w – .038 – .050 – .062
• Wound 3rd string
“If you didn’t know these were 14-62 gauges, you’d swear they were just 11s tuned down,” said Ariel Posen. “They feel like home and preserve the sound of the guitar, even in lower tunings. That’s the biggest thing—it still sounds like guitar.”
“We’ve spent ten years experimenting and testing together to find the right combination,” said Scott Marquart, Stringjoy Founder & President. “This release is more than just a new product—it’s the culmination of a shared journey between friends and musicians. Ariel’s set is uniquely him, and I think players will love how it feels and responds.”
Stringjoy’s Ariel Posen signature string set carry a street price of $13.99. Learn more at at stringjoy.com.
There’s nothing subtle about Billy Idol, so it tracks that there’d be nothing subtle about the guitars used onstage by his longtime guitarist, Steve Stevens. Famous for his guitar work with Idol and the Grammy-winning symphony of sustain “Top Gun Anthem,” Stevens brought a brigade of eye-popping signature electrics and some choice other jewels out on the road with Idol this spring.
The tour touched down at Bridgestone Arena in downtown Nashville in May, and while Stevens was jetting into town, PG’s John Bohlinger met up with tech and guitar builder Frank Falbo to learn the ins and outs of Stevens’ rig.
Brought to you by D’Addario
Cherry Pie
This cherryburst is one of a score of single-cut Knaggs Steve Stevens signature models in Stevens’ arsenal. He plays with heavier Tortex picks and uses Ernie Ball strings, usually .010–.048s.
More, More, More (Sustain)
This Knaggs Steve Stevens Severn XF, complete with a Sustainiac pickup system, was designed to mimic the look of one of his old guitars, and the stage lights make this finish go insane. It comes out for three to four songs in any given set, including “Rebel Yell.”
Songs from the Sparkle Lounge
This Knaggs Steve Stevens, finished in silver sparkle, is outfitted with a killswitch, push-pull control knobs, and Fishman Fluence pickups. Falbo was on the R&D team that helped design the Fluences.
Other guitars backstage include a red sparkle Knaggs with PAFs, a Godin LGXT with piezo saddles and Seymour Duncan pickups that sends three signals (synth, electric, and piezo), a pair of piezo- and MIDI-equipped Godin nylon-string guitars, a dazzling Gibson Les Paul with stock Gibson pickups, a Suhr T-style electric, and a Ciari Ascender for travel and dressing-room rehearsal.
Tube Heart, Digital Brains
Stevens runs through a pair of Friedman heads—a B100 and Steve Stevens SS100, plus a third backup—with each panned hard to either the left or right. Both signals run through a Neve 8803 rack EQ into two RedSeven Amplification Amp Central Evo loadboxes, and through their impulse response programs to front of house. A Neural Quad Cortex is on hand as a backup and for fly dates.
Steve Stevens’ Pedalboard
Stevens’ pedal playground is masterminded by an RJM Mastermind GT, which lives on its own board alongside a Fractal FM3 MK II. He orchestrates most of the changes himself, but Falbo is ready to flip switches backstage in case Stevens is away from his board for a key moment.
The centre hub, built on a Tone Merchants board, carries a TC Electronic PolyTune2 Noir, Xotic Effects Super Sweet Booster, Vox wah, Ernie Ball volume pedal, Mission Engineering expression pedal, DigiTech Whammy Ricochet, Suhr Discovery, JHS Muffuletta, DigiTech Drop, ISP DECI-MATE, Walrus Voyager, Suhr Koji Comp, Zvex Super Ringtone, DryBell Vibe Machine, and Ammoon EX EQ7. An Ebtech Hum Eliminator, two Strymon Ojais, and a Strymon Zuma keep the wheels greased.
The board to the right carries a Boss RV-500, Fender Smolder Acoustic OD, Lehle Dual Expression, Boss GM-800, Empress Bass Compressor, Grace Design ALiX preamp, Fishman Aura, and a Peterson tuner. Utility boxes include an Ernie Ball Volt and a Radial J48.
