Name: Rog and Ed Rowan
Hometown: Belfast, Ireland
Guitar: Woodie
Woodie was born during lockdown when my Uncle Ed combined a number of very special woods into one guitar. I’d never thought about how a guitar was made before, so it was a real combination of my “guitarist ideas,” and Ed’s ingenuity and patience. That, combined with a worldwide pandemic and time to try something new.
Ed gave me free rein to choose any design I wanted. This is a daunting proposition, so I did my research and decided on the “tone” that Ed kept talking about. All my other electric guitars have a whammy bar, so I thought it might be interesting to not have one. I knew I’d miss the dive bends and the portamento, but I’d been reading about Vivian Campbell’s vibrato, and I’d tried a Malmsteen Strat in a guitar shop. So, I asked Ed if he would go down the thicker tone route and scallop all the frets so I could still get lots of bend out of any note. I asked for a kill switch so I could try out some rhythmic things.
The woods used in this build are a mixture of reclaimed tropical and locally sourced hardwoods. The most personal wood is from a chestnut tree that my father planted when I was born (it is full-size now). The neck is made from a holly tree from where I grew up in Ireland. Irish guitarist Pat McManus was an early inspiration as he lived close by. Ed made the body from a piece of mahogany that a friend gave him about 10 years ago. He knew it was from a significant building in Belfast but couldn’t remember where. Turns out, the mahogany came from the old reception desk in Belfast City Hospital ... this was the hospital I was born in! There is also a little bit of rowan wood on the back: Rowan is Ed’s surname. Obviously, I named this guitar “Woodie.”
The scalloped frets took a little time to get used to, especially when keeping barre chords in tune—you’ve got to keep a light touch. I’ve settled on Ernie Ball .010s and use thick picks made of wood or bone. My other guitars are D- and C-shaped necks, but Woodie could be described as a U-shaped neck—it’s seriously thick. It took some time, but my fingers became much stronger and there is so much tone.
Rog Rowan's uncle, Ed, contemplates the task at hand.
The hardware switches and electrical components were procured from various U.K. and Irish suppliers:
• Tune-o-matic bridge and tailpiece
• Kluson machine heads
• Japanese nickel alloy fret wire
• Double humbucker pickups
• Logarithmic potentiometers (500k log pots)
• Orange drop capacitors (.022 µF)
• Tesi gold kill switch
• 3-way pickup selector switch
• Jack plug socket and cover
• Double-action truss rod
• Oversized brass strap buttons
• Australian abalone shell fretboard side markers
• Vintage braided cloth 22awg wiring
To thank him for his beautiful work, I bought Uncle Ed an Appalachian dulcimer and posh whiskey! PG
Send your guitar story to submissions@premierguitar.com.
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Billy Gibbons is an undisputable guitar force whose feel, tone, and all-around vibe make him the highest level of hero. But that’s not to say he hasn’t made some odd choices in his career, like when ZZ Top re-recorded parts of their classic albums for CD release. And fans will argue which era of the band’s career is best. Some of us love drum machines and synths and others don’t, but we all love Billy.
This episode is sponsored by Magnatone
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
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.