Name: Rany Eskinazi
Hometown: Netanya, Israel
Guitar: Early-1980s Gherson SG copy, nicknamed “Candy-O”
My story starts about two decades ago, when I bought my first (and last) bass guitar. I was trying my luck as a bassist. However, I’ve found out that it’s rather hard for me to sing and play bass at the same time. I also realized that I’m a much better guitarist than bassist. So, I put the bass in its gigbag and left it in the closet for a long time.
One day, I asked a friend if he’d fancy having a bass (he’s the lead guitarist in one of the bands I play in). He jumped on the opportunity and brought me an early-’80s, walnut-finished, Italian-made Gherson SG copy. He said he liked it, but it was too heavy for him. He also said his Gibson SG is much lighter and so it became his go-to guitar.
The Gherson wasn’t in its best shape and needed to be serviced. The humbucker rings were swollen, the original bridge was replaced (it had a black Gotoh ABR-1 bridge), the logo was almost completely gone, and the electronics were rather dusty. Nevertheless, the guitar was still in a playable state.
As someone who really likes power pop and post-punk music, I saw a late-’70s performance of the Cars playing “Just What I Needed.” At the first palm-muted chord, I noticed that the late Ric Ocasek played a heavily modified, walnut-finished ’70s Gibson SG.
The Gherson looked rather similar, so I decided to modify it as a tribute to Ocasek’s guitar (at least visually).
I bought the following parts: a cream-colored DiMarzio PAF ’59 humbuckers set, cream pickup rings, cream toggle knob, cream toggle surround, chrome Gotoh Nashville bridge, faux pearl Gherson logo for headstock restoration, a dead spot 75 mm mirror, four aged black speed knobs, and a relic-style Cars’ logo.
I took the guitar to my local tech, Yotam Harduf, for modifications. He remarked that I bought the correct parts and matched everything rather well. Still, he needed to do some mods, especially with the pickups’ legs as these were rather long (like in old PAFs). He also set the guitar up to perfection.
The coolest part is that I’ve befriended Elliot Easton, who was the lead guitarist in the Cars. I sent the guitar scratch plate to him in California to be personally signed by him.
Although this is by no means an exact replica of Ocasek’s guitar, the first song I played once I got it back was (you guessed it) … “Just What I Needed.”
The guitar sounds fatter and punchier with some balls (I didn’t have a twin humbuckers guitar before). It’s a sound that I haven’t experienced as I’m accustomed to a brighter sound. (I play mostly Telecasters.) It made me want to bash a lot of chords and palm mute the strings. Also, due to the generally hot nature of the pickups, it made me turn up the amp volume and overdrive the amp.
I really love the new sound and feel that the guitar is really mine now that I’ve given it my own personal touch. I’ve nicknamed my guitar “Candy-O,” after the Cars’ hit from 1979.
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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.
