Clip 2: Ashdown Saint, fingerstyle. Bass at 2 o'clock, mid at 11 o'clock, treble at 1 o'clock
After making a big splash with the itsy-bitsy Elf amp head a few years back, Trace Elliot has taken the next logical step with a pair of light, and I mean really light, bass combos. The 18-pound 1x10 we checked out impressed with its elegantly simple feature set and deep voice for such a small fellow.
When I powered up the Elf with the EQ set flat, the mid-leaning amp filled up my high-ceiling room with an articulate and rich modern bass sound that made the old windows shake.
Like it's standalone-amp cousin, this 200-watt combo houses controls for gain (with signal-level LED), a 3-band EQ, tone, and volume—all located topside along with 1/4" jacks for the input and headphone/line out. Around back lives an XLR out (with ground lift) and an additional speaker output. When I powered up the Elf with the EQ set flat, the mid-leaning amp filled up my high-ceiling room with an articulate and rich modern bass sound that made the old windows shake. After I bumped up both the bass and treble to 1 o'clock-ish and took a pinch from the mids, I got to a warmer, yet still punchy, tone I called home. The Elf has a deceiving amount of headroom for its featherweight build and can get loud. It also pushed an external 2x12 cabinet with ease and makes for a convenient silent practice and recording tool. (I appreciate the speaker on/off switch.) If you're after onboard effects, look elsewhere, but if a straight-ahead amp you can easily carry with one hand from bedroom practice to gigs to studio work and in between appeals, this combo may have some Elfin magic for you.
We're getting close to the end of our journey. We've aged most of the metal parts on our project guitar, so now let's take care of the output jack, knobs, back plate, and pickguard.
Hello and welcome back to Mod Garage. This month, we'll continue with the aging process of our Harley Benton DC-Junior project guitar (which is a copy of a 1958 Les Paul Junior Double Cut), taking a closer look at the pickguard while aging the rest of the hardware discussed in the last part of this series ["DIY Relic'ing: Harley Benton DC-Junior Electronics"]. If you need a refresher on our aging process for hardware, refer back to "DIY Relic'ing: Break the Shine" for guidance. You can see the parts we'll be discussing today in their "finished" form, aka relic'd, in Photo 1.
1. Output Jack
I'm not a big fan of aging the complete output jack or applying any corrosion to it because it's the transfer point of the signal to the guitar cable. We want this as clean as possible and without any avoidable contact resistance to keep the signal as strong and as fresh as possible. So, aging the parts you can see from the outside is the way to go, meaning the collar, the washer, and the hex nut.
You often see shiny new output jacks on vintage guitars, but why is this? Output jacks don't last forever, and chances are good that a vintage guitar has a replaced output jack that looks new because it is new. If the original output jack is still in a vintage guitar, it's usually dull, often showing some slight rust on the edges of the hex nut. To mimic this appearance, first take off the shine with some steel wool or fine sandpaper as we did before with many other parts. Then use an iron (III) oxide (ferric oxide) liquid to create some patina until you like the result. If you want to mimic some rust on the edges of the hex nut, sand off the nickel until you see the metal underneath—the ferric oxide will do the rest. Just let it sit for soak for a few minutes on these spots.
2. Knobs and Pointers
Photo 2
The top-hat knobs on vintage guitars also usually look shiny and new, but for a different reason. Because the knobs are touched and used very often, they get a kind of self-polishing from our fingers through the years, keeping them shiny with a greasy touch. Have a look at the original knobs of a '58 Les Paul Junior, shown in Photo 2, to see what I mean.
To mimic this, you can use a solvent and rub the knobs carefully with a paper towel, the surface will get slightly dull. Afterwards use a polish for plastics (or simply some of your toothpaste) and polish up the knobs a little bit until you like the result. The goal is to find the right mixture between old and new regarding the look. If you like a more beaten-up look, you can add some light scratches and file down some of the edges.
Photo 3
As you can see in Photo 3 of an original Junior from 1958, the pointers usually look dark and rusty. You can use the same process as aging the output jack to give them an old look.
3. Jack Plate and Screws
If you've been following along, you already know how to age screw heads. Nickel works out much better and looks much more authentic compared to chrome, so it's always a good idea to substitute chromed screws like on our Harley Benton with nickel before you proceed.
The jack plate usually shows some dings and scratches from botched attempts to plug in the guitar cable. You can simulate that by scrubbing off the shine with the steel wool, creating some random scratches with sandpaper, and hitting the plastic with the tip of the plug of your guitar cable while the jack plate is lying on a flat and even surface. If you want the jack plate cracked like on the photo of our vintage guitar, as seen in Photo 3, you can sketch out the cracking lines with a fine X-Acto knife on the back of the jack plate. Afterwards, screw it to a flat piece of paper and bolt on the screws very tight until the line cracks. If it doesn't crack, repeat the process and cut deeper with your knife, then install the output jack by fastening the hex nut very tightly.
If you decided to swap the modern 1-ply solid black jack plate for a more authentic 3-ply plate (black/white/black), some more work is required. On vintage guitars, the white sometimes turns to a kind of "nicotine white" or ivory color. To mimic this color, first take off the shine with some steel wool. Now you need something we haven't discussed before: concentrated liquid stain you can mix with alcohol. This is something we'll need again in the future, but as a basis some alcohol like isopropyl or naphtha works great. You also need a stain mixing cup (a small glass) and a spatula or anything else to stir the mixture. To mimic an aged white color, I like to use a stain in amber or vintage amber. Put some alcohol in your glass and add a drop of the stain, stir it, and see what it looks like. If it's too bright, add another drop of the stain and stir again. If it's too dark, add some more alcohol until you like the color.
You can get such stains in almost every luthier supply store. I like to use ColorTone Concentrated Liquid Stain from StewMac. After you finish your mix, take a Q-tip and wipe some of the liquid onto the white layer of your jack plate. Let it dry for a few minutes and watch the result. If it's still too bright, repeat the process. If it's too heavy, use some alcohol to wipe some of it off. You can also use this mix on black plastic parts if you want to mimic some stain spots, with excellent results. Lastly, we use the same mixture of dirt, dust, and ashes that we used for the plastic buttons of the tuners ["DIY Relic'ing Tuners, Part 2"]. I use a mixture of the contents from my vacuum cleaner bag, spiced up with some ashes from my open fireplace. Use your fingers to wipe some dirt onto the white part of the jack plate. Now, how does it look?
I use a mixture of the contents from my vacuum cleaner bag, spiced up with some ashes from my open fireplace.
4. Back Plate and Screws
The back plate of the original '58 Les Paul is a piece of solid black plastic that is held by two screws, and our Harley Benton stays true to this original formula. For the two screws, repeat the process from the jack plate screws. The back plate on vintage guitars usually shows some light scratches, along with some deeper scratches and little chips caused by belt buckles. To mimic this wear, first break the shine with some steel wool, add some random scratches with sandpaper, and use a small chisel or maybe one of your belt buckles to add some deeper scratches and little chips.
By the way, the bottom of the back plate on our Harley Benton is "shielded" with a thick piece of self-adhesive aluminum foil, but it's not connected to ground in any way, so it's pretty useless. If you want to add some shielding, connect it to ground so it can work as it should. There is no shielding inside the cavity of the Harley Benton, same as on the vintage Les Paul. The black color inside the Harley Benton is only black paint but no shielding paint. If you want some shielding in the cavity, go for it, using copper foil or conductive shielding paint.
Congratulations! After you've worked on all these parts, they will look similar to what I did while writing this column for you, as seen in Photo 1.
5. Pickguard
In the last step for today, let's have a look at the pickguard, including the screws. Our Harley Benton comes with a 3-ply (black/white/black) pickguard, so the aging process will be easy: You can simply follow the process from the jack plate. Pickguards usually show scratches from contact with a plectrum, so I recommend using a guitar pick to put some typical scratches on it. Take care of the direction of the pick during this process so it will look authentic afterwards.
Photo 4
If you're fine with the stock pickguard, you're done for now. The original Les Paul Juniors never had such a pickguard—if they came with a black one, it was always single-ply solid black. Such pickguards are available, and you can swap it if this bothers you. The typical and classic look with a TV yellow Junior guitar was a celluloid tortoise-style pickguard, as seen in Photo 4, which is an original '58 Les Paul Junior.
The old celluloid material was semi-transparent, and the early pickguards had wonderful, rounded edges. The fake tortoiseshell material available today is not transparent in any way, and far from replicating the beauty of the original material. There is a fantastic substitute material called Tortoloid, but it's only available in very thin sheets for acoustic guitars. The only way to come closer to the original would be to use a clear Lucite pickguard and to cover it with a sheet of self-adhesive Tortoloid, or to try to find some of the original celluloid material in the right thickness.
Photo 5
To give this guitar the classic look, and because I love these pickguards very much, I decided to make one for our Harley Benton, using an NOS blank celluloid piece from the '50s, which I got from the Roger Rossmeisl workshop in Berlin. I still have some of these blanks for such projects and working with real celluloid is a pleasure and pain at the same time. Look at this material compared to the stock pickguard in Photo 5.
Photo 6
I think it's a big difference. To get a feel for which you prefer, you can see the different pickguards on the project guitar in Photo 6 and Photo 7.
Photo 7
That's it for now. In the next part of this series, we'll work on aging the fretboard and the headstock. But before this, we'll return to guitar mods in the next issue.
My Morning Jacket is keyboardist Bo Koster, bassist Tom Blankenship, guitarist Jim James, drummer Patrick Hallahan, and guitarist Carl Broemel.
After a hiatus, the rootsy rock heroes reconvene with new guitars—including James' signature Gibson ES-335—to deliver a self-titled album of big beats and powerhouse jams.
My Morning Jacket guitarists Jim James and Carl Broemel both play amazing, beautiful, high-end guitars. But during sessions for their latest album, My Morning Jacket, they spent some time gripping a pair of unusual, less-than-fancy instruments that probably wouldn't need to be kept behind the glass case in your local guitar store.
It all started when James received an off-beat custom 6-string from the proprietor of L.A.'s Old Style Guitar Shop. "My friend Reuben Cox made me a Tele out of plywood from Home Depot," James says about his unique high-end/low-end hybrid. "It weighs about 2 pounds and has a Fender neck on it, but the body is plywood. It has one humbucker at the bridge and no knobs or anything. That thing just snarls."
Not to be outdone, Broemel opted for something vintage with plenty of quirk. "My new fave for the studio is a Silvertone U1," he says. "It's cool, light, plucky, and I used it on probably half of the new record. It's very clean and very low output, so the amps always sound friendly. It was a guitar you bought at Sears for $20. It has a lipstick pickup, a volume and tone knob, and a 3-position switch that in the middle position doesn't do anything, but one way is a low roll-off and the other way is a high roll-off. For a pickup that's that close to the neck, to be able to roll-off some lows makes it more useful to me."
My Morning Jacket - Love Love Love (Official Video)
James and Broemel often both play Gibson or Gibson-style instruments—at least during live shows—but it's pretty easy to distinguish between the two of them. James' lines have a feeling of longing or searching to them, as if he's reaching beyond himself for that perfect note that's just past his grasp. Although not after he kicks on his gated Devi Ever USA Fuzz Monster, at which point it just gets nasty (his lead on "Love Love Love" is a great example). Broemel is more subtle. He's often resting his hand on his Bigsby, which gives his playing a faux-slide feel, although at times he'll use a real slide, like on "Regularly Scheduled Programing," for colors and textures. Those differences are most pronounced when they're both soloing at the same time, as they are during the climax of "In Color," off the new album.
But My Morning Jacket isn't Aerosmith, and they're not purposely choosing their guitars to distinguish their tones. "I think those guys know more about guitar tones than what you should and shouldn't do," Broemel laughs. "I think we're more like kids. We're just bumbling through it."
TIDBIT: Even though he has a new signature model ES-335, Jim James chose to use a guitar made from Home Depot plywood on some of My Morning Jacket.
Nonetheless, rich tones abound on My Morning Jacket, whichoozes the band's signature blend of rootsy, '70s countrified rock; tight, cogent songwriting; and space to stretch out and jam. Songs like "Penny For Your Thoughts" and "In Color" are fine examples of that ethos. But as the band headed to L.A.'s 64Sound to begin the album's initial sessions in late 2019, they had no idea what they were walking into—and not just because of their guitars.
Low Pressure and Loose Jams
My Morning Jacket went on hiatus after wrapping up their tour in support of 2015's The Waterfall. After reconvening for four shows in summer 2019—including two epic nights at Colorado's Red Rocks Amphitheater—they decided to head back into the studio that fall to feel things out.
"We didn't really know what the future of the band held, so we just wanted to come in and play together." —Jim James
"That session was interesting because we didn't know if we were going to make a record or not," says James, who also fronts the band. "We didn't really know what the future of the band held, so we just wanted to come in and play together." That set the tone for the sessions and the way the band approached them. "We came in with low expectations and low pressure and started knocking around ideas in an almost jazz-like way, where you just play the idea around and around and let it speak. It turned out we started doing song after song after song. It just flowed naturally."
The jams from those sessions plus another round in March 2020 form the nucleus of My Morning Jacket. Many of the songs were cobbled together from multiple takes, which meant some have detectable tempo changes and even include instrument changes mid-solo. That lends a feeling of raw energy to the album. "I don't really care if they're not exact," James says about the hazards of compiling various takes. "If it feels good, I don't mind that stuff."
Carl Broemel and Jim James, live and in color, doin' the double guitar thing they're known for. "We work together really harmoniously," says James.
Photo by Joshua Brasted
This loose approach also created the ideal conditions for some inadvertent dueling leads, like during the climax of "In Color." "It is very open-ended in terms of who's going to do what," Broemel says. "It's almost to the point where it's like, 'Why doesn't everyone just go for it?' Similar to a New Orleans band where it's like a fanfare and everyone is playing. We haven't perfected that, but that is our idea."
Papa’s Got a Brand New Gibson
The sessions for My Morning Jacket were done with limited gear, since James insisted everyone bring only essentials. For Broemel, that meant the Silvertone U1, two Les Pauls, and two Duesenbergs, and for James, it was the plywood Tele, one acoustic, and a prototype Gibson Jim James ES-335.
Jim James' Gear
Jim James poses with his new Gibson ES-335 and one of his favorite guitar tools—his trusty capo. His signature model spots a thin neck profile that, in part, provides relief for his carpal tunnel syndrome.
Photo by Ken Settle
Guitars
Gibson Jim James ES-335
Reuben Cox Custom Plywood T-Style
Chris Fleming-Designed Fender Strat
Scott Baxendale Custom "Jimmy"
Gibson ES-335
Gibson Barney Kessel
Gibson Hummingbird
Gibson J-45
Strings & Picks
D'Addario Nickel Wound (.009–.042)
D'Addario Phosphor Bronze Acoustic Extra Light (.010–.047)
Dunlop .88 mm
Effects
Devi Ever USA Fuzz Monster
Boss Waza Craft BD-2W Blues Driver
Boss OC-2 Octave
Electro-Harmonix POG
Malekko Spring Chicken Reverb
EarthQuaker Devices Ghost Echo
Universal Audio Golden Reverberator
Universal Audio Astra Modulation Machine
Universal Audio Starlight Echo Station
Spaceman Orion
SoloDallas The Schaffer Boost
Amps
3 Monkeys Orangutan
3 Monkeys cab
Mesa/Boogie cab
James' new signature model is the result of a collaboration that took place over about five years. The guitarist explains that his goal was to create a guitar that didn't have fancy appointments—to make something that seemed "almost invisible," as if it were a part of the Gibson line for decades. To accomplish this, James chose to outfit his signature model with a '70s walnut finish, calibrated T-Type humbuckers, and Kluson Waffleback tuners. "I hope people who like me or like my music like the guitar," he shares. "I like the thought of somebody just seeing it in a guitar store and going, 'Whoa, that's really beautiful.' I wanted it to feel like a classic instrument that doesn't have a bunch of weird things on it. I think we've created a classic feeling instrument that plays really well. I've been playing it on these tour dates and I really love it."
One difference that players will find unique about the Jim James ES-335 is its slim neck profile. "I wanted it to have a thin neck, because I've got pretty bad carpal tunnel," he reveals. "During shows, my hands would go completely numb. They would turn into hamburger, and by the end of a tough song, I didn't know if I was going to make it through the next song."
"I like having an amp in a closet, and when you open the closet, it's hot and it smells like wax or whatever toxic shit is in these old amps." —Carl Broemel
Opting for a slim neck is just one of the ways James has adapted his rig to his carpal tunnel issues. He's also switched to lighter string gauges. "It's helped a lot," he says. "I broke strings a lot in the old days. Before I had a guitar tech, I had to use .011s so I would make it through the show. I went down to .010s for a long time. This tour, we went down to .009s, and it's been incredible—the ease of playing. I went to extra-light gauge on the acoustic, too. I also try to limber up and do stretches. I hope I don't have to have surgery. And I have braces I wear when I sleep."
Captains of the Capo
James often plays with a capo, which helps him reimagine the fretboard. He's a visual player who thinks in terms of shapes. In that regard, the capo is a powerful tool that enables him to find new sounds from familiar fingerings. But more than that, his visualizations impact the way he interprets a song.
Carl Broemel's Gear
Carl Broemel wields his Bigsby-equipped '88 Les Paul Standard.
Photo by Ken Settle
Guitars
1988 Gibson Les Paul Standard with Bigsby
Gibson Les Paul Junior
Duesenberg Starplayer TV
Duesenberg Caribou
Silvertone U1
GFI Ultra Pedal Steel
Scott Baxendale Conversion Harmony Roy Smeck Model
Strings & Picks
D'Addario Nickel Wound (.011–.049)
Dunlop .73 mm
Amps
1967 Fender Princeton Reverb
1950s Fender Tweed Deluxe
1968 Fender Vibrolux
Effects
Hudson Electronics Blackbird octave fuzz
Hudson Electronics Sidecar overdrive
Keeley Tone Workstation
Fulltone Tube Tape Echo
Empress Tape Delay
Moog MF Delay
EBow
"I think in terms of shapes and colors," he says, "and each fret represents a different color. When I put a capo on a different fret, it makes the song a different color for me. No capo, or open, I see as a white or clear color. First [fret] capo is yellow. Second capo is blue. Third capo is red. Fourth capo is orange. Fifth capo is purple. Sixth capo is pink. And I think that's as high as I got."
For Broemel, using a capo helps him take advantage of some of the instrument's characteristics—like open strings, unisons, and harmonics—especially in keys not generally considered open-string "guitar keys."
Rig Rundown - My Morning Jacket's Carl Broemel
Article and photos: http://bit.ly/MMJBroemelRRPremier Guitar’s Perry Bean met with Carl Broemel when My Morning Jacket stopped in Nashville on their summer t...
"Our song 'Circuital,' for example, is in Bb," he says about the title track of their 2011 release. "You get no benefit from a standard-tuned guitar when the song is in Bb—you get nothing open. But that's what's so good about the guitar. You have all these bonus things that are special about the instrument. You have access to two or three versions of the same note. I like to use unisons, an open string with a fretted note, or an open string with a harmony, and play with that—play high on the neck but also use an open string. That stuff is interesting to me about the guitar. It has limitations, which I like, and if you use a capo, you can scoot those limitations to whatever key you want."
The Path of Least Resistance
When it comes to capturing their sounds, it's no surprise that Broemel preaches his love for old-school tones. "I like having an amp in a closet, and when you open the closet, it's hot and it smells like wax or whatever toxic shit is in these old amps," he says. "That's what I want. I need that. You pick up an acoustic guitar and it is this beautiful thing and it smells like wood." This provides Broemel with a more-visceral sonic experience. He adds, "I always feel like I need the sensation of touching the music. It's been hard with digital. When you were working with analog all the time, it really felt like every sound had a tactile feel. I am over that, but as far as guitar sounds, you've got to have a speaker. You have to have an amp. Maybe the tube is a little wonky. Maybe the fuzz pedal you found in a dusty box isn't working right, but it's the best."
"There are no rules or distinctions between who's doing lead or who's doing rhythm. It's like we both float in and out of all the different spaces." —Jim James
James and Broemel are no purists, and both embrace digital gear when it helps get the job done. Broemel concedes that, sometimes, it's just a more reliable method. "I took my Fulltone [Tube] Tape Echoes on the road for a while," he says. "But there was one Bonnaroo we were playing, and I pulled the top off and the tape had melted. It was too hot, and there was dust and moisture in the air. You can do it, but if you want your tape echo to work the entire show, maybe it has to live in an air-conditioned box." Broemel uses a tape-free Empress Tape Delay on tour these days.
When it comes to the band's gear, how they record, or how they divvy up their parts as a two-guitar outfit, My Morning Jacket embraces the path of least resistance and keep things loose and natural. It just seems to work. And keeps working. "It's pretty organic," James says. "Sometimes I'll have a thing that'll need to happen and I'll ask Carl to do a certain thing. But a lot of times we'll just play and let it speak. We work together really harmoniously. There are no rules or distinctions between who's doing lead or who's doing rhythm. It's like we both float in and out of all the different spaces. We have our own way of doing things."
My Morning Jacket – Regularly Scheduled Programming
My Morning Jacket show off their giant tones, big beats, and the newly released Jim James ES-335 as they perform "Regularly Scheduled Programming" on Jimmy Kimmel Live!
