A PG fan designs a killer 5-way circuit for all his tonal needs.
Name: Travis Johnson
Hometown: Minneapolis, MinnesotaGuitar: Jade
I started making āguitarsā at age 12, when I figured out I could glue headphones into wood and plug them into a mic input on a tape recorder that had its headphone jack plugged into the aux input on my old stereo. I still have the cassette recording of me playing to Led Zeppelin II on one nylon string and no frets.
This is my most recent, and satisfying, rebuild project. I found the original (Indy Customs, according to the headstock) at a local shop for $100, with a mix of quirks and minor issues. But the neck felt good with fresh frets and locking tuners, so I wanted to make something unique. The first step was to get through the standard thick red paint, and reshape the generic S-type body. I sanded through the veneer top to get to the multi-piece body grain, hoping for something interesting. I had a shade of green in mind, and let the wood do its thing.
The kicker is the circuit I designed for the Screaminā Demon bridge humbucker and Golden Age neck humbucker. I used a 5-way Megaswitch and push-pull, so I have three output levels. Positions 1, 2, and 3 are the standard bridge, both parallel, neck; coil cut for singles. Position 4 is a series connection of neck humbucker into the bridge humbucker, with the pot acting as a blend mix. In a happy accident, thereās some phase cancellation that makes for a calming of the signal in the middle of the blend. Coil cut to bridge single-coil. Position 5 is an uninterrupted series connection of the bridge into neck; coil cut to neck single-coil. This pickup combo, with a treble bleed on the volume, is well balanced and with a dynamic moderate gain goes from Tele clean, to LP distortion, to sweet fuzz. I blocked the trem with a tailstop stud, so pointed contact lets full vibrations ring.
Itās my No. 1 guitar. I play soulful post-punk with my band Lottery Store and this guitar lets me get to any tone or noise without running to my pedalboard.
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Our columnist has journeyed through blizzards and hurricanes to scoop up rare, weird guitars, like this axe of unknown origin.
Collecting rare classic guitars isnāt for the faint of heartāa reality confirmed by the case of this Japanese axe of unknown provenance.
If youāve been reading this column regularly, youāll know that my kids are getting older and gearing up for life after high school. Cars, insurance, tuition, and independence are really giving me agita these days! As a result, Iāve been slowly selling off my large collection of guitars, amps, and effects. When Iām looking for things to sell, I often find stuff I forgot I hadāitās crazy town! Finding rare gear was such a passion of mine for so many years. I braved snowstorms, sketchy situations, shady characters, slimy shop owners, and even hurricane Sandy! If you think about it, itās sort of easy to buy gear. All you have to do is be patient and search. Even payments nowadays are simple. I mean, when I got my first credit cardā¦. Forget about it!
Now, selling, which is what I mainly do now, is a different story. Packing, shipping, and taking photos is time consuming. And man, potential buyers can be really exhausting. Iāve learned that shipping costs are way higher, but buyers are still the same. You have the happy buyer, the tire kicker, the endless questioner, the ghoster, and the grump. Sometimes there are even combinations of the above. Itās an interesting lesson in human psychology, if youāre so inclined. For me, vintage guitars are like vintage cars and have some quirks that a modern player might not appreciate. Like, can you play around buzzing or dead frets? How about really tiny frets? Or humps and bumps on a fretboard? What about controlling high feedback and squealing pickups by keeping your fingers on the metal parts of the guitar? Not everyone can be like Jack White, fighting his old, red, Valco-made fiberglass Airline. It had one working pickup and original frets! I guess my point is: Buyer beware!
āThey all sound greatāall made from the same type of wood and all wired similarlyābut since real quality control didnāt really exist at that time, the fate of guitars was left up to chance.ā
Take, for instance, the crazy-cool guitar presented here. Itās a total unknown as far as the maker goes, but it is Japanese and from the 1960s. Iāve had a few similar models and they all feature metal pickguards and interesting designs. Iāve also seen this same guitar with four pickups, which is a rare find. But hereās the rub: Every one of the guitars Iāve had from the unknown maker were all a bit different as far as playability. They all sound greatāall made from the same type of wood and all wired similarlyābut since real quality control didnāt exist at that time, the final state of guitars was left up to chance. Like, what if the person carving necks had a hangover that day? Or had a fight that morning? Seriously, each one of these guitars is like a fingerprint. Itās not like today where almost every guitar has a similar feel. Itās like the rare Teisco T-60, one of Glen Campbellās favorite guitars. I have three, and one has a deep V-shaped neck, and the other two are more rounded and slim. Same guitars, all built in 1960 by just a few Teisco employees that worked there at the time.
When I got this guitar, I expected all the usual things, like a neck shim (to get a better break-over string angle), rewire, possible refret, neck planing, and other usual stuff that I or my great tech Dave DāAmelio have to deal with. Sometimes Dave dreads seeing me show up with problems I canāt handle, but just like a good mechanic, a good tech is hard to come by when it comes to vintage gear. Recently, I sold a guitar that I set up and Dave spent a few more hours getting it playable. When it arrived at the buyerās home, he sent me an email saying the guitar wasnāt playable and the pickups kept cutting out. He took the guitar to his tech who also said the guitar was unplayable. So what can you do? Every sale has different circumstances.
Anyway, I still have this guitar and still enjoy playing it, but it does fight me a little, and thatās fine with me. The pickup switches get finicky and the volume and tone knobs have to be rolled back and forth to work out the dust, but it simply sounds great! Itās as unique as a snowflakeākinda like the ones I often braved back when I was searching for old gear!
Bergantino revolutionizes the bass amp scene with the groundbreaking HP Ultra 2000 watts bass amplifier, unlocking unprecedented creative possibilities for artists to redefine the boundaries of sound.
Bergantino Audio Systems, renowned for its innovative and high-performance bass amplification, is proud to announce the release of the HP Ultra 2000W Bass Amplifier. Designed for the professional bassist seeking unparalleled power and tonal flexibility, the HP Ultra combines cutting-edge technology with the signature sound quality that Bergantino is known for.
Operating at 1000W with an 8-ohm load and 2000W with a 4-ohm load, the HPUltra offers exceptional headroom and output, ensuring a commanding presence on stage and in the studio. This powerhouse amplifier is engineered to deliver crystal-clear sound and deep, punchy bass with ease, making it the perfect choice for demanding performances across any genre.
The HP Ultra incorporates the same EQ and feature set as the acclaimedBergantino FortĆ© HP series, offering advanced tonal control and versatility. It includes a highly responsive 4-band EQ, Bergantinoās signature Variable RatioCompressor, Lo-Pass, and Hi-Pass Filters, and a re-imagined firmware thatās optimally tuned for the HP Ultraās power module. The intuitive user interface allows for quick adjustments and seamless integration with any rig, making it an ideal solution for both seasoned professionals and rising stars.
As compared to previous forte HP iterations (HP, HP2, HP2X), Ultra is truly its own amp. Its behavior, feel, and tonal capabilities will be well noted for bass players seeking the ultimate playing experience. If youāve been wishing for that extreme lead sled-type heft/force and punch, along with a choice of modern or vintage voicings, on-board parallel compressor, overdrive; high pass and lowpass filters, and moreāall in a 6.9 lb., 2ru (8ā depth) package...the BergantinoHP Ultra is worth checking out.
Building on the forteā HP2Xās leading edge platform (including a harmonic enriching output transformer (X) and 3.5db of additional dynamic headroom (2),the HP Ultraās power focus is not about playing louder...itās about the ability to play fuller and richer at similar or lower volumes. Many players will be able to achieve a very pleasing bass fill, with less volume, allowing the guitars and vocals to shine thru better in a dense mix. This in turn could easily contribute to a lower stage volume...win-win!
Key Features of the Bergantino HP Ultra 2000W Bass Amplifier:
- Power Output: 1000W @ 8ohms / 2000W @ 4ohms, 1200W RMS @2-Ohms (or 1700W RMS @2.67-Ohms-firmware optimizable via USB
- Dual Voicing Circuits: offer a choice between vintage warmth and modern clarity.
- Custom Cinemag Transformer: elevates harmonic enrichment to new heights
- Variable Low-Pass (VLPF) and Variable High-Pass (VHPF) filters, critical for precise tone shaping and taming of the most challenging gigging environments.
- 4-Band Tone Controls: Bass: +/-10db @40hz, Lo-Mid:+/-10db @250hz,Hi-Mid: +/-10db @ 1khz, Treble: +/-10db @ 3.5khz
- Punch Switch: +4db @110hz
- Bright Switch: +7db @7kHz or +6db @2khz ā user selectableā Built-in parallel compression - VRC
- 3.5dB of additional dynamic headroom
- New Drive Circuit featuring our proprietary B.S.D (Bergantino SmartDrive) technology
- Auxiliary Input and Headphone Jack: for personal monitor and practice
- Rack Mountable with optional rack ears
- Effects send and return loop
- Studio quality Direct Output: software selectable Pre or Post EQ
- UPS ā Universal power supply 115VAC ā 240VAC 50/60Hz
- Weight: 6.9 pounds
- Dimensions: 13.25āW x 8.375āD x 3.75āH
- Street Price: $1895.00
For more information, please visit bergantino.com
The NEW Bergantino FortƩ HP ULTRA!!! - YouTube
When you imagine the tools of a guitar shredder, chances are you see a sharp-angled electric 6-string running into a smokinā-hot, fully saturated British halfstack of sortsāthe type of thing thatāll blow your hair back. You might not be picturing an acoustic steel-string or a banjo, and thatās a mistake, because some of the most face-melting players to walk this earth work unpluggedālike Molly Tuttle.
The 31-year old Californian bluegrass and folk artist has been performing live for roughly 20 years, following in a deep family tradition of roots-music players. Tuttle studied at Berklee College of Music, and has gone on to collaborate with some of the biggest names in bluegrass and folk, including BĆ©la Fleck, Billy Strings, Buddy Miller, Sierra Hull, and Old Crow Medicine Show. Her 2023 record, City of Gold, won the Grammy for Best Bluegrass Album.
The furious flatpicking solo on āSan Joaquin,ā off of that Grammy-winning record, is the subject of this unplugged episode of Shred With Shifty. Shiflett can shred on electric alright, but how does he hold up running leads on acoustic? Itās a whole different ballgame. Thankfully, Tuttle is on hand, equipped with a Pre-War Guitars Co. 6-string, to demystify the techniques and gear that let her tear up the fretboard.
Tune in to hear plenty of insider knowledge on how to amplify and EQ acoustics, what instruments can stand in for percussion in bluegrass groups, and how to improvise in bluegrass music.
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
A touch-sensitive, all-tube combo amp perfect for clean & edge of breakup tones. Featuring a custom aesthetic, new voicing, & Celestion Creamback 75 speaker.
Debuted in Spring 2023, the Revv D25 is a clean/crunch combo amplifier perfect for pedals that released to widespread critical claim for its combination of touch-sensitive all-tube tone & modern features that make gigging & recording a breeze. 'D' stands for Dynamis, a series of classic-voiced amplifiers dating back to the early days of Revv Amplification, when A-list artists like Joey Landreth helped give feedback on voicings & designs. Joey is a longtime Revv user & personal friend of the company, & the D25 immediately became a favorite of his upon release.
While the D25 already had features Joey was looking for, we wanted to collaborate to celebrate our long relationship & give players a unique option. Weāre proud to announce the D25 - Joey Landreth Edition. Featuring custom aesthetic, new voicing & a Celestion Creamback 75 speaker. The D25 is designed to solve problems & remove the barrier between you & your music - but more importantly, it just plain sounds great. It features a simple single-channel layout perfect for clean & edge of breakup tones. With organic tone you can take anywhere, the D25 - Joey Landreth Edition empowers you to focus on your music on stage, in the studio, & at home.
The D25 - Joey Landreth Edition 1x12 Combo Amplifier features:
- All-tube design with two 12AX7, two 6V6, & selectable 25w or 5w operation.
- Level, treble, middle, bass, & volume controls with switchable gain boost voice.
- Perfect for clean & edge of breakup tones
- Organic, touch-sensitive feel, perfect for pedals.
- Pristine digital reverb & transparent buffered effects loop.
- Two-notes Torpedo-embedded mono direct XLR out reactive load & impulse. responses for zero-compromise direct performance & recording.
- Celestion 75W Creamback Driver
- 32 lbs. Lightweight open-back construction
- Manufactured in Canada.
- 2 year limited warranty
Revvās D25 Joey Landreth Edition has a street price of $1899 & can be ordered immediately through many fine dealers worldwide or directly at revvamplification.com.
For more information, please visit revvamplification.com.
