
Plus—Zakk Wylde's favorite emojis, that time I was Kurt Russell in Antarctica, and what I said to Rodney D. at his house party.
Although there have been times when I thought, "Maybe I should, for posterity's sake," I don't keep a personal journal. A) Who's actually gonna read it? And B) am I really going to stick with it? (I do keep a dream journal for my own amusement from time to time, though. There's some weird shit in there.)
Looking back over nearly 12 years at Premier Guitar, there are a fair number of funny/batshit things that've happened on the job, too. Not as bizarre as my dreams, but unusual enough that PG "posterity" might get a laugh or two out of them. Here's a handful of standouts.
1) We've done Rig Rundowns with some pretty high-profile players over the years. Pretty much all of them get that YouTube is full of d-bag trolls. Even everyday idiots like you and me know that. So imagine my surprise one day when a call was patched through from one of the most well-known guitarists of the '80s (name withheld to protect the thin-skinned/arrogant). We'd recently published a Rig Rundown with said artist, and—despite being in the public eye for close to half a century—they were apparently unaware people shit-talk on the internet.
Them: I want the comments deleted or the video down.
Me: That's what people do online. I recommend not reading the comments.
Them: I'm fucking pissed. These people are assholes. They have no respect. I'd like to see them do what I do.
Me: Yes, there are a lot of assholes. But if they're not engaging in hate speech or libel, we let them be—they're impossible to keep up with.
Them: Okay, then I want the video down.
Me: We invested a lot of time and money in this, and the overwhelming majority of viewers are being respectful and complimentary. It's better for you and us if we just let it be.
Them: This is fucking bullshit. You guys suck. [Line goes dead.]
Me: Good talk.
It felt like John Carpenter's The Thing, minus fluid-gushing creatures.
2) Thankfully, most interactions with artists are quite the opposite—famous or not, they're overwhelmingly positive, friendly, and grateful. But nothing quite compares to texting or emailing the mighty Zakk Wylde. When we approached him about penning his Fret 'n' Wylde column, he was all in. The series was short-lived due to his hectic schedule, yet while it lasted, all our interactions, whether via email or text, were a hoot. Full of familial sentiments ("Father Shawn!"), brimming with enthusiasm, and replete with devil-horn and flexing-muscle emojis. (Hope you're well, Father Zakk!)
3) Late one deadline night about 10 years ago, alone in the office, I decided to take a break and crank up our Vox AC30—not in our sound room, in my own office. Twenty minutes later, I almost pooped myself when a security team appeared unannounced in the darkened hallway. Note to self: AC30s set off alarm systems.
4) Also about a decade ago, in the middle of a brutal Midwest snowstorm, our power went out the night of another big deadline. Art director Meghan Molumby, managing editor Tessa Jeffers, and I had to unplug our computers and a couple lamps, and lug them to a neighboring business that had a generator. We spent most the night pounding away at keyboards with half-numb, fingerless-gloved hands and watching our breath puff up into darkness as tiny space heaters almost kept our teeth from chattering audibly. It felt like John Carpenter's The Thing, minus fluid-gushing creatures.
5) Not too long after PG started our annual Mystery Stocking promotion, we received as a donation a bizarre headless, double-sidedinstrument—guitar on one side, bass on the other—from a company none of us had heard of before. The 6-string side was missing a bridge saddle, and both sides were pretty much ergonomically unplayable, so we didn't include it in the booty. The next year, we received the updated model, complete with headstock and the proper number of saddles. Both remain heavily guarded at PG HQ.
As with your job, I'm sure, there are countless other memories that bring a laugh, a cringe, or a tear to the eye … maybe all three. Some can't be shared without implicating the guilty more than is advisable. Some—like coworkers heating cans of soup on a space heater,helping themselves to subordinate employees' lunches, or lying about smoking in the office despite ashes being all over their desk—aren't as funny if you don't know the people. Others are maybe slightly too mundane for publication—cramping into darkened tornado shelters as sirens blare, or combing through rubble from raccoon break-ins with fellow employees—but they're no less memorable or endearing, if not simply for the (mostly) lovely people they're tied to.
Anyway, thanks for listening. Maybe next time I'll fill you in on that time I dreamt I was at Rodney Dangerfield's house party and stupidly said, "Hey Rodney—did somebody step on a duck!?"
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A satin finish with serious style. Join PG contributor Tom Butwin as he dives into the PRS Standard 24 Satin—a guitar that blends classic PRS craftsmanship with modern versatility. From its D-MO pickups to its fast-playing neck, this one’s a must-see.
PRS Standard 24 Satin Electric Guitar - Satin Red Apple Metallic
Standard 24 Satin, Red App MetIntroducing the new Firebird Platypus, a tribute to the rare transitional models of 1965.
In early 1965, the original Firebird design transitioned through several different iterations. One of the significant transitions that occurred flipped the headstock to the Non-Reverse shape. Unlike the original Reverse Firebird headstock design, which featured a two-layered headstock with a holly veneer, the new headstock was flat, like the bill of a platypus.
Mahogany body and glued-in mahogany neck
The Firebird Platypus has a mahogany body with the appearance of a traditional neck-through Reverse Firebird body for that classic Reverse Firebird appearance, while the neck of the Firebird Platypus uses glued-in, set neck construction like the Les Paul and SG and delivers outstanding sustain and resonance.
Platypus transitional headstock design
The headstock features the flat, transitional style “platypus” design that was found only on rare models from the 1965 transitional period when the Firebird was gradually switching over from the features found on the original models that were released in 1963 to the features that were used for the later Non-Reverse Firebird models.
Firebird humbucker pickups
It’s outfitted with two Firebird humbucker pickups. These pickups are equipped with Alnico 5 magnets and have a unique sound that is not quite like any other humbucking pickup, with unmatched clarity, chime, and bite. They sound great for both clean and overdriven tones.
Exclusive Cherry Sunburst finish
This exclusive Cherry Sunburst finish is available only on Gibson.com and at the Gibson Garage.
For more information, please visit gibson.com.
The exquisite BilT Brothers collaborative guitar: a Frank Brothers Ultra Light in BilT eggplant sparkleburst with Arcane 3x3 Gold Foil Humbuckers and loaded with a Caroline Custom Cannonball Distortion.
This forward-thinking custom guitar commissioned by our columnist makes a special case for partnership in the guitar building community.
Owning a guitar shop, your brain is full of to-do lists, questions, and plenty of compulsive thoughts over details. And when you run a shop that specializes in custom builds that you spec out from boutique companies, the ideas for these guitars often come at the most random times of day (and night). While I don’t subscribe to the notion of fate, the following makes a case for its existence.
It was like any other random day at work: We had customers coming in, items shipping out, services on the bench. I was simultaneously working on a pedalboard for a customer and making plans with some vendors. I was on the phone with Brandon Darner of BilT Guitars when DHL dropped off our latest Frank Brothers guitar. Now, I’m never shy about talking up builds from any of our vendors. Spec’ing guitars for our shop, seeing their execution exceed my expectations, and then getting it into the hands of its new owner is one of my absolute favorite parts of my job. So, naturally I mentioned that we just got a new Frank Brothers in. Brandon told me how much he loved their stuff—sort of a “game recognizing game” kind of thing.
After we unboxed the guitar, I called Tim Frank to let him know how we continue to be impressed with their work and how much we loved the new arrival. I also mentioned Brandon had some very nice things to say about their work. Tim’s response was something like, “Oh wow! That’s really cool. Their stuff is amazing and we have a lot of respect for those guys.” At first, I thought he was just being polite, but I’ve gotten to know him pretty well. I knew that the compliment and sentiment was genuine and past the point of his wonderful Canadian pleasantness. One thing led to another, and I started a group text. Very quickly, they became friends. In fact, Brandon even ordered a Frank Brothers shortly after the introduction.
The Frank Brothers and BilT team, left to right: Tim Frank, Tim Thelen (BilT), Nick Frank, and Brandon Darner (BilT).
My last call of the day was to Philippe Herndon from Caroline Guitar Company. As we talked, he was glowing about the pedal building community and how friendly and collaborative it is, and obvious questions popped into my head: “Why aren’t guitar companies like that?” “Why can’t we do a collab guitar?”
Long story extremely short, with tons of excitement, I got Brandon and Tim on the phone and proposed the idea of doing a guitar together. Without hesitation, the response from both was “Hell yeah, let’s do it!” and it was time for us to spec it. We decided on a Frank Brothers Ultra Light. BilT would apply their world-class fit/finish as well as their signature effects treatment. I picked my favorite finish in the BilT repertoire called eggplant sparkleburst, selected Arcane 3x3 Gold Foil Humbuckers, and tapped Philippe on the shoulder to ask if he had any Custom Cannonball Distortions—the first pedal I bought from Caroline in 2013—that he could provide for the build, to which he happily obliged.
A year or so later, the BilT Brothers was born. Of course, it is exceptional beyond words and is a true testament to the results of these incredible companies working together to produce something truly remarkable. We decided, with custom shirts and all, to proudly debut our creation at Fretboard Summit in Chicago. The reaction from everyone exceeded our expectations and showed me that the level of mutual respect and admiration in this business can lead to phenomenal results.
This project has opened a lot of doors that I’m not sure anyone knew existed. For me, the most exciting part of all of this is the fact that, like the smaller pedal companies, there is an actual community here filled with like-minded, pure enthusiasts who also happen to be master craftsmen—and who truly geek out over each other’s work.
Never was this more evident than at the Wood Wire Volts show this January, where not only did the BilT and Frank Brothers crews travel and stay together, they were also often in deep chats with fellow luminaries Sacha Dunable (Dunable Guitars) and Carlos Lopez (Castedosa Guitars), discussing the trade, the work, and ideas for the future. If the vibe is any indicator, we can safely assume that while the BilT Brothers was, by all accounts, the first ever collab guitar of its kind, it will not be the last.
This entire experience is reminiscent of the DIY community ethos that I’ve clung to and has inspired me for most of my life. There is a cliché about the journey being greater than the destination, and while the destination in this case is one of the finest guitars I’ve ever laid my hands on, I’d have to say it holds true
Introducing the new Gibson Acoustic Special models, handcrafted in Bozeman, Montana, featuring solid wood construction, satin nitrocellulose lacquer finishes, and L.R. Baggs electronics.
Solid Wood Construction
Each of the three Acoustic Special models from Gibson are crafted using solid mahogany for the back and sides, solid Sitka spruce for the tops, utile for the necks, and rosewood for the fretboards for a sound that will only get better and better as they age.
Satin Nitrocellulose Lacquer Finishes
All three Gibson Acoustic Special models are finished in satin nitrocellulose lacquer for a finish that breathes, ages gracefully, and lets the natural beauty–both in sound and appearance–of the quality tonewoods come through.
L.R. Baggs Electronics
The Gibson Acoustic Special guitars come with L.R. Baggs Element Bronze under-saddle piezo pickups and active preamps pre-installed, making them stage and studio-ready from the moment you pick them up.
For more information, please visit gibson.com.