| THIRTY YEARS AGO, the inaugural Dallas International Guitar Festival got underway in a Texas hotel basement. Meanwhile, Peavey founder and innovator Hartley Peavey was busy refining his first guitar, the revolutionary T-60. As the first guitar made using CNC machinery, the Peavey T-60 bridged the gap between the vintage and modern eras in guitars. Hartley Peavey wanted to build instruments that feel as good as they sound. The problem with pre-CNC guitars, he maintains today, is that consistency among instruments was always an afterthought. You never knew what you were going to get. So when Peavey launched its new Custom Shop earlier this year, we knew it would be an event. We stepped into the Peavey Custom Shop with an experienced group of luthiers to collaborate on a commemorative model of its HP Special guitar for the 30th anniversary of the Dallas International Guitar Festival. That this event coincides with another major milestone in guitars is mere serendipity. |
 | Wood Selection and CNC The Peavey HP Special guitar is an exercise in precision and expertise that can achieve a healthy range of humbucker and single-coil tones. It’s also a model of craftsmanship – a combination of the machine precision, thoughtful design and hand finishing that Peavey brought to guitar making thirty years ago. As all great instruments begin with a premium cut of wood, for our commemorative guitar Peavey hand-selected a basswood body with a Birdseye maple neck and premium ebony fretboard from its extensive collection of domestic and exotic woods. |
 | Hand Detailing In the modern era of guitar making, the craftsmanship is all in the details. Hand-operated pin routing carves the bay for the body binding. Then, using a high-grade epoxy, the builder carefully sets the binding by hand, helping achieve the striking, professionally appointed look and feel. |
 | Fretting The first neck cut is made by a CNC router to make room for the truss rod and dual reinforcement rods, specially made of graphite to strengthen and add rigidity to the Birdseye maple neck. Peavey adds these supports prior to shaping the neck so it doesn’t bow in the building process. During this step, Peavey also adds its trademark neck shape, a distinctive asymmetrical neck curve with compound-radius fretboard that adds additional comfort and playability. |
 | Crowning and Filing Frets Design experience and genuine craftsmanship come together to shape the fretboard into a comfortable sonic palette. The builder uses a hardened stainless-steel straight edge to level the frets to the proper playing height, then crowns them to a perfect shape. One last round of hand sanding and buffing around the neck and fretboard ensures the finish is flawless. |
 | Logo Placement Meanwhile, the guitar body is base-coated and prepped for decal application. The artisans in the Peavey shop were painstakingly accurate with the detailing of the Dallas International Guitar Festival and Premier Guitar logos. They chose to set the red, black and white logos against an ivory palette to make them pop off the guitar nicely |
 | Gloss Coating and Buffing Once our commemorative guitar gets a top coat, it’s ready for a three-stage sanding process that goes all the way down to a 15- micron paper to achieve an ultra-smooth finish. For reference, a single micron equals one millionth of a meter! Buffing refines the sheen and deep, creamy gloss of the ivory finish. |
  | Guitar and Electronics Assembly In the setup stage, Peavey installs its custom-voiced pickups, which they wind in-house to match the guitars in their line. These HP Special pickups are wound using two different wire gauges so you get a true single-coil tone when you use a coil tap – a stock feature on all HP Special USA models. Tremolo adjustments, stringing and intonation are also integral parts of the setup process. |
  | Final Inspection The Peavey Quality Assurance Team tests every instrument built in the Peavey Custom Shop to ensure that it embodies the feel, tone and attention to detail prescribed by Hartley Peavey. Every nuance must exceed expectations—from the voicing of the pickups to the comfort of the asymmetrically shaped neck, and down to the gleaming luster of a lovingly built instrument. Premier Guitar’s commemorative Dallas International Guitar Festival edition of the Peavey Custom Shop HP Special guitar is certainly an expertly crafted modern classic. Like our guitar? Build your own today at peaveycustomshop.com! |
Peavey
866-443-2333
peavey.com
| When you are talking about modern country music and signature Telecaster tone, you are talking about Brent Mason. Brent actually plays on just about any country album that comes from Nashville – he is the first call for guitarists in the Tennessee city and has played with almost every artist you can imagine. Brent has owned country music for over a decade, playing on at least seven of the songs in the top ten at any given time – in any given year – since the early ‘90s. For many years he has won the annual Music City Allstars Award, given to the musician who has played on the most top ten radio hits in a given year. Brent was so dominant in the CMA and Academy of Country Music Awards from 1993-2002 that he was “retired” from his category, due to a clause that said that no one could win over ten years in a row. Brent’s inventive style and masterful playing have made him one of the most in-demand session guitarists in the world. |
When did you start playing?
I started playing music around the age of seven or eight, listening to a Ray Charles album of my mother and father’s. I had no knowledge of chords, so I used a table knife to play slide on an old Mexican guitar along with the songs.
What have been your most important musical influences?
My dad had a few albums of Merle Haggard and the Strangers and he was also a fan of Ernest Tubb. He also had albums of Merle Travis and Chet Atkins. Then he brought home a Jerry Reed album, called Nashville Underground. It blew my mind! I was only about eleven, but I took that album and tried to copy every lick on it. I purchased every Reed album after that, learning every song I could.
Around the age of 17, I broadened out from playing the “gut string” guitar and got an electric guitar. I then started to listen to George Benson, Pat Martino, Buddy Emmons, Jeff Beck and more … kind of a study of all things music. I left country for a while to explore jazz, R&B, and rock. I came back to country when I came to Nashville.
What is working with Alan Jackson like? Alan Jackson is great to work for, because he is very focused on what he does and his sound. He loves the Telecaster and loves the vintage sound – like the old “Bakersfield” sound if you will. He lets the musicians play a lot on his recordings because he thinks that’s what a band should do – long instrumental breaks, lots of fills. He says that is the way you would do it if you were out in a club or honky tonk, so the people can dance, and that is what country music is about.
Are you friends with other studio musicians you’ve played with?
All the players I play with are very close friends. We constantly stay in contact when we are not in the studio, that’s the great thing about the Nashville scene – it’s a very close-knit society. I know how superficial and pretentious this business can be, but I don’t get that sense at all here in Nashville. A lot of my musician friends have moved here from L.A. because they have families and they felt that the work here was plentiful and it was a great environment to live in. Is there a recording or session you will always remember?
I remember doing one of my first master recordings with the late, great Johnny Paycheck. He flew into Nashville to start the session and forgot his false teeth. They had to FedEx his false teeth to the studio. A man can’t sing his best without his teeth, now can he?
What was your setup for your famous tone on Alan Jackson’s recordings, like “Chattahoochee,” “Summertime Blues” or “Mercury Blues?”
That setup was pretty simple. It was my ‘68 Tele with a blue Boss compressor running into my ‘67 Fender Deluxe, maybe with a little slap delay on it. The simpler the better for Alan’s stuff.
Tell us about the completely mad solo on Alan Jackson’s, “I Don’t Even Know Your Name.” Was it spontaneous or well planned and practiced?
The first solo on that song was right off the cuff. I tried to punch in on a few lines of it, but Alan and Keith Stegall [producer on Jackson’s Who I Am] wanted it as is. The second solo was me on the acoustic, which I came in at a later time to overdub. The last electric solo I overdubbed on the tracking day. I was waiting for some of the other musicians to do their fixes and I came up with this wacky lick that descends down from around the 14th or 15th fret, picking the 2nd and 3rd strings with the open E played simultaneously. Pretty freaky! I had to use it on the beginning of that solo. I think I punched in on that solo to get a cool ending at the stop – a Jerry Reed-ish kind of lick for the ending.
You made a very good Hot Licks video with Arlen Roth; are you planning a follow- up of this highly respected video?
If I do another one, I will do it on my own. I was severely “ripped off” from Arlen Roth on that one. I haven’t seen a check or statement since 1999. I didn’t pursue it with my lawyer early on because Arlen had suffered a family tragedy and I just didn’t have the heart to press him on it. Hot Licks has now been bought out by MusicSales.com and I have contacted them along with a lawyer to find out what I can do at this point.
Do you have a favorite guitar, amp and effect? Why they are your favorites?
My favorite guitar of course is my 1968 Telecaster. The amp is my 1967 Fender Deluxe Reverb. I love to use the old stomp pedals. The Keeley Compressor, Ibanez Tube Screamer, Voodoo Lab pedals, Line 6 Delay Modeler, Brian Wampler-modded Blues Driver and Boss 7-band graphic are just a few of my main ones.
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I have a little more gear brought into the studio – an amp rack with a Marshall amp head, a Matchless 30-watt head with matching 2x12 open back speaker cabinet, a ‘67 Fender Deluxe, a pedal board filled with assorted stomp boxes, a VHT 4x12 closed back cab and two guitar trunks filled with an assorted arsenal of guitars.
Live, I just use a couple of Fender Twins – one is a 1965 Blackface with stock speakers (Jensens) and my pedal board. I usually run stereo, bringing my trusty gray Telecaster and maybe one of my Strats.
How many guitars and amps do you own?
I own about 20 electric guitars and a couple of acoustics. I have about ten or eleven different amplifiers, half of which are in storage.
Are you also a collector?
No, I’m not a collector at all. I do own vintage instruments because I love the sound of the old electronics and the aged wood, but most have been modified to be player friendly. I do keep all the old parts that have been replaced – just in case I decide to put them on the market.
Is there a general setup for your guitars?
I use 9, 11, 16, 24, 34, 44 on my Telecaster and Strats. I use 10s on my ES-335 and Les Paul and 12s on my Gretsch. I use Seymour Duncan pickups on my Fenders (vintage stacks) and stock pickups on my Gibsons with normal string action.
What baritone guitar do you play get those deep growling and twangy Tele tones, and how is it tuned – in A?
I use a Jerry Jones six-string bass and the baritone. The six-string is tuned down an octave and the baritone is tuned down a fourth. It’s a great effect to double some signature lines with one of those and my Tele.
Finally, what do you think is the key to your success?
It’s partly a timing thing. I got in on the new Nashville sound and was a part of it coming in around the late ‘80s. I was using amplifiers, which had more of a live sound, when at the time everybody was going direct to console. Also, I was always reinventing myself – not playing the obvious, thinking a lot more deeply about the song. I think that’s the key to longevity.
| Brent’s Gearbox Here’s what Brent is plugging in, when it’s time to track.
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Brent Mason
brentmason.com
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| Click here to visit our website: prsguitars.com/privatestock/ |
Describe the process that someone would go through if they were to order a Private Stock guitar. The customer would contact a PRS dealer and describe to the dealer what they would like to have built. Usually the guitar that is going to be built is based off of an existing PRS model, but not always. There are hundreds of different options such as woods, shells, colors, gems, electronics and so on. Figuratively building a guitar to spec with a dealer can be a really exciting process where the sky is the limit.
Once the customer has put all of the options together for their perfect guitar and discussed them with the dealer, the dealer then directly submits a quote request to the PRS Private Stock department. The Private Stock department determines a price based on the options requested and also reviews the specs to make sure the customer’s wish list includes the elements necessary to make their dream guitar and to make sure the specs will work well together for the best possible instrument. PRS won’t build a Private Stock guitar that is a functional misfit unless that’s exactly what the customer is going for. In other words, PRS will let the dealer know if something just won’t work and will determine the best possible solution given the customer’s goal. Once all parties agree on price and specs, the building process begins.
About how long does it take to receive a Private Stock guitar, from the time it is ordered to when it arrives?
Approximately 9 – 12 months, depending on the complexity of the guitar.
How is the Private Stock wood chosen?
PRS regularly reviews and inspects thousands of board feet of maple, mahogany, Brazilian rosewood, etc. During this process, select pieces of wood with the best figure, depth in figure and quality of grain are selected for creating Private Stock guitars. PRS also chooses and combines woods for Private Stock guitars to best enhance the sound qualities of these unique one-off instruments.
What kind of equipment comes on one of these guitars? Can you customize the hardware?
Hardware can be customized depending on the particular model. For example, you have a choice of pick-ups, tuning pegs, bridges, electronics and fret wire within and outside of the PRS hardware offerings. Some of the many customization examples include mixing gold and nickel hardware, brushed pick-up covers, a Bigsby tailpiece and bridge, or single coil pickups.
Some equipment simply won’t work on certain models, such as a regular PRS tremolo system on a hollowbody. The Private Stock Director Joe Knaggs and the Private Stock team will always do everything they can to accommodate the customer’s requests and also advise the customer when choices may not compliment the guitar. Can you describe the special technique that is used for staining the Private Stock, and how it is different from the usual staining techniques?
Most staining is a wipe on, wipe off process where one or two coats of stain are applied to the wood. The Private Stock staining process is much more involved, where multiple coats of stain are often applied, sometimes using various colors of stain and sometimes sanded between applications. Techniques like this enhance the natural contrast in the wood grain and create some of the richest colors available. New Private Stock stain techniques are currently in development.
Do the Private Stock builders work only on Private Stock guitars?
Artist guitars and new models and prototypes are built in the Private Stock department as well.
How are the Private Stock guitars built differently than a regular PRS guitar?
Many Private Stock guitars are “one off” instruments that require individualized care and technical attention in order to meet the unique and personalized specifications requested by the Private Stock customer.
Private Stock models typically require more handwork because there are certain features that do not have standardized machinery or programs dedicated to creating these features. Certain guitars, such as the SC-Js and mandolins are built almost completely by hand.
Core PRS models still require close attention, but the specifications of the core models do not require the intense Private Stock level of scrutiny because the configurations and specifications are standardized for each model.
The Private Stock program started in 1995 as a “guitar of the month” for each month of that year. Where are the original 12 guitars now? The original 12 guitars are in the hands of private collectors all over the world.
Each finished guitar is hand-checked before it is sent out. What are you looking for, and what is done when if you find something?
First PRS looks over the specs to make sure they meet the customer’s request. Since each guitar is a one-off instrument, PRS must go over the details extremely carefully, making sure the guitar is everything it can be from a playing standpoint: sound, feel, etc. PRS wants the guitar to play and sound as good as the guitar looks. If anything is found to not match the order request or doesn’t meet the standards of PRS Guitars, the guitar is fixed.
These guitars are clearly made with the players in mind, but do you see them having a collector’s value also?
They absolutely have a collector’s value. The guitars are made with the highest quality wood, finishes, etc. and every single guitar is a one-off instrument. They are unique and collectable.
PRS Private Stock
prsguitars.com