DeArmond Jet Star with DeAmond USA GoldTone humbuckers and 1968 Fender Bassman through 2X12 cabinet with Warehouse G12c/s speakers.
Clip #1 — All EQ controls at noon. Volume and Fuzz at noon, two, and three o’ clock.
Clip #2 — All knobs at noon. Pre-fuzz octave position and Tight voice, followed by Post-fuzz position and tight voice, followed by pre-fuzz position and open voice.
RatingsPros:Excellent tone and huge control. Fuzz and Octave circuits can be used separately. Cons: On the slightly expensive side for an octave fuzz. Street: $199 Wampler Fuzztration wamplerpedals.com
| Tones:  Ease of Use: Build/Design:  Value:  |
Joe Robinson
UndertonesAustralian virtuoso Joe Robinson has firmly established himself as a top-tier Nashville picker, and his new album proves he’s far more than a flashy prodigy. The comparisons to John Mayer are inevitable: catchy songs, soulful vocals, and virtuosic playing. However, Robinson’s ethos outshines whatever category iTunes or Spotify might put him in. He can move easily from straight-up Chet Atkins-style stomp (“Let the Guitar Do the Talkin’”) to infectious pop-rock (“Reputation”) easier than most of us change strings.
Robinson’s songwriting has always revolved around interesting harmonies and impeccably crisp lead playing. His deft, melodic lines on “Mindless” have a focus that will make you want to break out the metronome and get your syncopation together. Robinson has developed into an artist with a fully formed vision of who he is and where he wants to go. It makes me look forward to the album he makes 10 years from now.
Must-hear tracks: “Mindless,” “Reputation,” “Undertone”
Name: Ross DeAeth
Hometown: Lexington, KentuckyGuitar: Not a Ric
My guitar’s story is not so much a matter of what, but rather why. It came into my life as a very playable Tokai Rickenbacker 325 copy. I tired of it and proceeded to list it on eBay, making sure prospective buyers knew it was NOT a Ric. Shortly after, I received a rather terse message from eBay that my auction item was removed and that if I tried anything like this again, I’d be in big trouble.
I contacted John Hall at Rickenbacker for an explanation and had a rather enlightening email exchange. He explained that this was a copyrighted design and I couldn’t profit from said purloined design. What about the many other guitar designs that are copied? Mr. Hall informed me that those original manufacturers weren’t as diligent as Rickenbacker was in protecting their designs and, thus, opened the door for countless copies and knock-offs.
Mr. Hall politely explained that if a Rickenbacker employee stumbled on my guitar, even at a yard sale, they could rightfully seize it. Only one thing to do: modify the imposter. I think most will agree they’re looking at garbage. I wouldn’t argue with them, or with Mr. Hall for that matter.
The first thing I did was de-horn the guitar and alter the headstock. Then I took some brass sheeting and tacked it on the body. Keep in mind, I just wanted to change the appearance and keep it playable. After pulling the electronics and removing the chrome from the pickup covers, I lost my nerve and embarked on the “art guitar” path. The tubes are some sort of infrared, high-end audio connectors. The scotch corks are Drambuie and Highland Park. The knobs are original Tokai. I used glitter glue and $4 tiny lights from Barnes & Noble sale bin. The grenade handle is from a practice range weapon (I think).
At one time, I was going to smash the original Tokai and send the pieces to Mr. Hall in order to get off his naughty list. Glad I reconsidered. Full disclosure: I also own and play a full-blooded Rickenbacker 330/12. (It’s my third one.)
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