![Rig Rundown: Brent Mason [2021]](https://www.premierguitar.com/media-library/rig-rundown-brent-mason-2021.jpg?id=27278334&width=1245&height=700&quality=85&coordinates=0%2C0%2C0%2C0)
It's impossible to overstate Brent Mason's impact on country and, arguably, even rock guitar. Over the course of his more-than-35-year career, Mason has perfected a tone that's inspired an untold number of players, and there's even a Tele mod that bears his name. He's also a highly respected and successful producer and solo artist, a member of the Musicians Hall of Fame, has won the Academy of Country Music's Guitarist of the Year award 12 times, and there's a Grammy on his mantle.
Mason's live gear—which he showed us before his recent gig at Nashville's 3rd & Lindsley—is simple and cool as hell, but it's not his guitars or amps that've made him a hero. It's his imagination, virtuosic chops, and pure musicality.
[Brought to you by D'Addario XS Strings: https://www.daddario.com/XSRR]
Honky Tonk Excalibur
Mason's battered and highly modified 1967 Telecaster has probably been on more hit country songs than any other guitar. The car-paint re-fin happened before he got it, but most of his mods were done by top Nashville luthier Joe Glaser. His pickups are a neck Seymour Duncan humbucker, a Duncan single-coil in the middle (for the famed Brent Mason pickup mod), and another Duncan single-coil in the bridge.
Top of the Whirl
The headstock on Mason's well-traveled Tele shows its years, and plenty of character accumulated over its storied history. His old paint features locking tuners and a Glaser B-bender.
Not Yer Average Tele
Here's a close-up of that extra pickup. Note the additional speed dial, too. The bridge and neck pickups are controlled by a standard 3-way switch, with a master volume and tone. The middle pickup has its own individual volume control that lets Mason feather in as much or little as he wants, to combine its output with one or both of the other pickups.
Meet the Mason Model
The only other guitar Brent brought to this gig was his new Fender Brent Mason Signature Telecaster. This alder-bodied Tele has basically the same ingredients of his original, but with a lot less wear and tear.
Bend It Like Brent
Here's a close-up of the arm of the Glaser B-bender. It has no screws, no slack, no wobble … but it does have a thumbscrew to fine-tune its destination pitch.
Perfect Strangers Side by Side
Here's the sensei and its student in a side-by-side comparison.
Four-Way Heat
Mason was switching between his 1964 Fender Twin Reverb and this early '70s Fender Super Reverb modded by Jeff Himes. The Super, with Mason's signal running into its no-frills Normal channel, did most of the heavy lifting on this gig.
Chairman of the Board
Mason's never been a big effects player, but his live pedalboard covers a lot of essential territory. It holds a Boss GE-7 Equalizer, a Wampler Ego Compressor, a Wampler Euphoria overdrive, an Xotic BB Preamp, Wampler's Hot Wired V2 distortion/overdrive, a Dunlop volume pedal with a Boss TU-2 Chromatic Tuner connected to its tuner out, a Fender Tre-Verb tremolo/reverb, a Fender Compugilist compressor/distortion, an Electro-Harmonix Memory Man 1100-TT, and a Live Wire ABY Box. It's all powered by a Truetone 1 Spot Pro CS12 with a Dunlop DC Brick for backup.
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On her new record with her trio, Molly Miller executes a live-feeling work of structural harmony that mirrors her busy life.
Miller has a lot on her plate. In addition to gigs leading the Molly Miller Trio, she also plays guitar in Jason Mraz’s band, and teaches at her alma mater, the University of Southern California (USC), where, after a nine-year stint, she earned her bachelor’s, master’s, and doctorate in music. In 2022, she became a professor of studio guitar at USC. Prior to that, she was the chair of the guitar department at the Los Angeles College of Music.
Molly Miller's Gear
Miller plays a fair bit of jazz, but considers herself simply a guitarist first: “Why do I love the guitar? Because I discovered Jimi Hendrix.”
Photo by Anna Azarov
Guitars
- 1978 Gibson ES-335
- Fender 1952 Telecaster reissue with a different neck and a bad relic job (purchased from Craigslist)
- Gibson Les Paul goldtop with P-90s
Amps
- Benson Nathan Junior
- Benson Monarch
- Fender Princeton Reverb Reissue (modified to “widen sound”)
Effects
- Chase Bliss Audio Dark World
- Chase Bliss Audio Warped Vinyl
- EarthQuaker Devices Dispatch Master
- EarthQuaker Devices Dunes
- EarthQuaker Devices Special Cranker
- JAM Pedals Wahcko
- JAM Pedals Ripply Fall
- Strymon Flint
- Fulltone Clyde Wah
- Line 6 Helix (for touring)
Strings & Picks
- Ernie Ball .011s for ES-335 and Les Paul
- Ernie Ball .0105s for Telecaster
- Fender Celluloid Confetti 351 Heavy Picks
To get things done, Miller has had to rely on a laser-focused approach to time management. “I’ve always kind of been juggling different aspects of my career. I was in grad school, getting a doctorate, TA-ing full time—so, teaching probably 20 hours a week, and then also doing probably four or five gigs a week, and getting a degree,” explains Miller. “I had to figure out how to create habits of, ‘I really want to play a lot of guitar, and gig a lot, but I also need to finish my degree and make extra money teaching, and I also want to practice.’ There’s a certain level of organization and thinking ahead that I always feel like I have to be doing.”
“The concept of the Molly Miller Trio—and also a part of my playing—is we are playing songs, we are bringing back the instrumental, we are thinking about the arrangement.”
The Molly Miller Trio’s latest release, The Battle of Hotspur, had its origins during the pandemic. Miller and bassist Jennifer Condos started writing the songs in March 2020, sending files back and forth to each other. They finally finished writing the album’s last song, “Head Out,” in December 2021, and four months later, recorded the album in just two days. The 12-song collection is subtle and cool, meandering like a warm, sparkling country river through a backwoods county. The arrangements feel spacious and distinctly Western—Miller’s guitar lines are clean and clear and dripped with just the right level of reverb, trem, and chorus, while Jay Bellerose’s brush-led percussion trots alongside like a trusty steed.
The Battle of Hotspur has a live feel, and that aspect was 100-percent deliberate. Miller says, “That’s the exact intention of our records—we want to create a record that we can play live. Jason Wormer, the recording and mixing engineer that did our record, came to a show of ours and was like, ‘This is incredible.’ He’s recorded so many records and was like, ‘This is the first time I’ve ever recorded a record that sounds the same live.’ And that was our exact intention. Because I feel like [the goal of] the trio itself was to be full. It’s not supposed to be like, ‘Oh, let’s put saxophone and let’s put keys and other guitars on it.’ The concept of the record is a full trio like the way Booker T. & the M.G.’s were. It’s not, ‘Wouldn’t it be cool if you added another instrument?’ No, we’re an instrumental trio.”
Musicality is what separates Miller from the rest of the pack. She has prodigious chops but uses them appropriately, when it makes musical sense, and her ability to honor a song’s written melody and bring it to life is one of her strong suits. “That’s a huge part of what we do,” she says. “The concept of the Molly Miller Trio—and also a part of my playing—is we are playing songs, we are bringing back the instrumental, we are thinking about the arrangement. The solo is a vehicle to further the story, to further the song, not just for me to shred. So often, you play a song, and you could be playing the solo over any song. There’s not enough time spent talking about how to play a melody convincingly, and then play a solo that’s connected to the melody.... Whether it’s a pop song, an original, or a standard, how you’re playing it is everything, and not just how you’re shredding over it.”
Miller still gets pigeonholed by expectations in the music industry, including the assumption that she’s a singer-songwriter: “I don’t sing. I’m a fucking guitar player.”
Photo by Anna Azarov
Miller’s strong sense of melody can be traced to her diverse palette of influences. Even though she’s a “jazzer” by definition, she’ll cover pop songs like the Everly Brothers’ “All I Have to Do is Dream” and the Rolling Stones’ “(I Can’t Get No) Satisfaction.” Miller says, “I spent nine years in jazz school. I practice ‘Giant Steps’ still for fun because I think it’s good for my guitar playing. But it was a release to be like, ‘I am not just a jazz guitar player at all!’ Why do I love the guitar? Because I discovered Jimi Hendrix, right? What made me feel things in high school? Bob Dylan, Jimi Hendrix, and No Doubt. It’s like, Grant Green’s not why I play the guitar.
“I play jazz guitar, but I’m a guitar player that loves jazz. What do I put on my playlist? It’s not like I just listen to Wes Montgomery. I go from Wes Montgomery to the Beach Boys to freakin’ Big Thief to Bob Dylan to Dave Brubeck. The musicians I love are people who tell stories and have something to say—Brian Wilson, Cat Stevens.... They’re amazing songwriters.”
“Whether it’s a pop song, an original, or a standard, how you’re playing it is everything, and not just how you’re shredding over it.”
Despite a successful career, Miller continually faces sexism in the industry. “I went to a guitar hang two days ago. It was a big company, and they invited me to come and check out guitars. And I’m playing—I clearly know how to play the instrument—and this photographer there is like, ‘Oh, so are you a singer?’ And I’m just like, ‘No, I don’t sing. Fuck you,’” recalls Miller. “It’s such an internal struggle because of the interactions I have with the world. This kind of gets this thing in me where I feel like I need to prove to people, like, I am a guitar player. And at this point, I know I’m established enough. I play the guitar, and I know how to play it. I’m good, whatever. There still is this ego portion that I’m constantly fighting, and it comes from random people walking up to me and asking about me playing acoustic guitar and my singer-songwriter career or whatever. And I’m like, ‘I don’t sing. I’m a fucking guitar player.’”
YouTube It
Molly Miller gets to both tour with and open up for Jason Mraz’s band. Here’s a taste of Miller leading into Mraz’s set with some adeptly and intuitively performed riffs from a show in July 2022.
Adding to the company’s established line of studio furniture designs, RAB Audio has unveiled a new line of products specifically designed for guitarists.
ProRak SRS is designed to make it easy to organize your amp heads, pedals, and rack gear in a sturdy, stable, and ready-to-use fashion – with space-efficient options for studios of all sizes, big and small. You can begin your custom-designed studio with the X3 rack for amps, pedals, and effects; the PD48 deluxe pedal/ampstation; or the X4 amp/rackmount station. Using one of these racks as the centerpiece you can customize your studio with S2 expansion racks and various shelving options.
Features
- Modular design is completely customizable to suit your studio’s needs
- Cable management access holes throughout for easy cable routing
- 150 lbs per shelf rating will safely accommodate virtually any type of guitar gear
- Made of heavy-duty ¾” plywood laminated with Thermofused Black Laminate with high-impact PVC bumper molded edge treatment
- Assembled with heavy-duty fasteners
- 3U rack bay and side shelf on select models
- Made in the USA
NEW! ProRak Guitar Studio Racking Systems
Many guitarists will find that the $439.99 single-section X3 system provides the perfect starting point for customizing their studio space. Pricing ranges from $329.99 for the System 1 storage rack for three amp heads; to $1199.99 for The Workstation, a three-section turnkey solution for storing your studio’s DAW, monitors, amps, and effects – and it even has an adjustable height pullout guitar maintenance station with a MusicNomad premium instrument work mat and Cradle Cube.
For more information, please visit rabaudio.com.
RAB Audio ProRak SRS1 Guitar Studio Racking System
When entering the world of audio interfaces, Blackstar wanted to offer a solution to musicians that answered many of the much-requested improvements they wanted when using audio interfaces. Through extensive research, we consistently pinpointed three primary challenges encountered by music creators when recording guitar directly through an interface.
- Poor feel and response
- Setting guitar input levels
- Ease of use
The POLAR 2 interface answers all of these challenges and excels beyond those hurdles to provide an incredible all-in-one solution to recording guitar.
Firstly, Polar features FET instrument inputs. The FET inputs give ultra-low noise and high headroom, which gives the recording musician the best sonic foundation for guitar tone, but we didn’t just include FET inputs, we took itone step further with the addition of the “Enhance” switch. When Enhance is switched on the instrument input, it engages a unique circuit that’s been meticulously designed to mimic the input stage of real valve amplifiers—including all its non-linear behaviors and characteristics. The “Enhance” switch restores the touch, the feel, and the response of playing through a real amp.
Secondly, Polar solves the issue with setting levels. Other interfaces often digital clipping due to the dynamic nature of guitar DI signals. With “Enhance” on, POLAR’s innovative input stage will never digitally clip. No more ruined recording takes, no more hassle or confusion around setting the ‘correct’ levels. POLAR allows the musician to drive the interface like the preamp section on a real valve amp.
Recording is made easy with Polar 2. By engaging the “Enhance” feature on the microphone inputs gently lifts the top end of your signal to add just the right amount of air and clarity that sounds great on vocals, acoustic guitars, and more. The microphone preamp has been based off one of the most renowned vintage studio preamps.
POLAR 2’s ultra-low noise and high headroom accommodates for a wide range of microphone and instrument types, empowering the musician to achieve studio-quality recordings in any environment. Included with all POLAR2 units is the POLAR Control app, which allows for fine-tuning of levels, panning, routing. The FET inputs combined with the Enhance switch make it really easy to get an amazing guitar tone. You don’t have to worry about any external hardware, no fancy DI’s—all of that is built right into POLAR.
With its innovative features, impressive headroom (24V), incredibly low noise floor (115db), powerful headphone amps, bus-powered capability, and approachable design, Blackstar’s POLAR 2 is easily the go-to audio interface for anyone that wants to play and record guitar. The POLAR 2 interface was created through the processes of Human-Centred Design, to help create a user-friendly solution to get musicians back to focusing on the most important part: the music.
MAP: $199.99
For more information, please visit blackstaramps.com.
