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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Huge shocker incoming: Zach Broyles made a Tube Screamer. The Mythos Envy Pro Overdrive is Zach’s take on the green apple of his eye, with some special tweaks including increased output, more drive sounds, and a low-end boost option. Does this mean he can clear out his collection of TS-9s? Of course not.
This time on Dipped in Tone, Rhett and Zach welcome Tyler Bryant, the Texas-bred and Nashville-based rocker who has made waves with his band the Shakedown, who Rhett credits as one of his favorite groups. Bryant, it turns out, is a TS-head himself, having learned to love the pedal thanks to its being found everywhere in Texas guitar circles.Bryant shares how he scraped together a band after dropping out of high school and moving to Nashville, including the rigors of 15-hour drives for 30-minute sets in a trusty Ford Expedition. He’s lived the dream (or nightmare, depending on the day) and has the wisdom to show it.
Throughout the chat, the gang covers modeling amps and why modern rock bands still need amps on stage; the ins and outs of recording-gear rabbit holes and getting great sounds; and the differences between American and European audiences. Tune in to hear it all.
Get 10% off your order at stewmac.com/dippedintone
Hats off to Carmen Vandenberg of Bones UK, our celebrity Question of the Month respondent.
Guest Picker - Carmen Vandenberg, Bones UK
The cover of Soft, Bones UK’s new album, due in mid-September.
A: My favorite method these days (and to be honest, from when I started playing) is to put on my favorite blues records, listen with my eyes closed, and, at the end, see what my brain compartmentalizes and keeps stored away. Then, I try and play back what I heard and what my fingers or brain decided they liked!
Bone UK’s labelmade, Des Rocks.
Obsession: Right now, I am into anyone trying to create sounds that haven’t been made before—bands like Queens of the Stone Age, Jack White, and our labelmate, Des Rocs! There’s a Colombian band called Diamanté Electrico who I’ve been really into recently. Really anyone who’s trying to create innovative and inspiring sounds.
Reader of the Month - Sam C. Schiff.
Sam spent endless hours trying to learn the solo Leslie West played on “Long Red,” off of The Road Goes Ever On.
A: The best way to learn guitar is to listen to some good guitar playing! Put on a record, hear something tasty, and play on repeat until it comes out of your fingers. For me, it was Leslie West playing “Long Red” on the Mountain album, The Road Goes Ever On. I stayed up all night listening to that track until I could match Leslie’s phrasing. I still can’t, no one can, but I learned a lot!
Smith’s own low-wattage amp build.
Obsession: My latest musical obsession is low-wattage tube amps like the 5-watt Fender Champ heard on the Laylaalbum. Crank it up all the way for great tube distortion and sustain, and it’s still not loud enough to wake up the neighbors!
Gear Editor - Charles Saufley
Charles Saufley takes to gear like a duck to water!
A: Learning by ear and feel is most fun for me. I write and free-form jam more than I learn other people’s licks. When I do want to learn something specific, I’ll poke around on YouTube for a demo or a lesson or watch films of a player I like, and then typically mangle that in my own “special” way that yields something else. But I rarely have patience for tabs or notation.
The Grateful Dead’s 1967 debut album.
Obsession: Distorted and overdriven sounds with very little sustain—Keith Richards’ Between the Buttons tones, for example. Jerry Garcia’s plonky tones on the first Grateful Dead LP are another cool, less-fuzzy version of that texture.
Publisher - Jon Levy
A: I’m a primitive beast: The only way I can learn new music is by ear, so it’s a good thing I find that method enjoyable. I’m entirely illiterate with staff notation. Put sheet music in front of me and I’ll stare at it with twitchy, fearful incomprehension like an ape gaping at the monolith in 2001: A Space Odyssey. I’m almost as clueless with tab, but I can follow along with chord charts if I’m under duress.
The two-hit wonders behind the early ’70s soft-rock hits, “Fallin’ in Love” and “Don't Pull Your Love.”
Obsession: Revisiting and learning AM-radio pop hits circa 1966–1972. The Grass Roots, Edison Lighthouse, the Association, the Archies, and Hamilton, Joe Frank & Reynolds—nothing is too cheesy for me to dissect and savor. Yes, I admit I have a serious problem.
