Listening to the tidal wave in “Giant Peach,” the riotous “Moaning Lisa Smile,” or the punked-up “Play the Greatest Hits,” it’s hard to imagine Wolf Alice as an acoustic duo. Then talk to Joff Oddie about his integral use of effects—“These pedals can do such crazy things; to not do crazy things with things that can do crazy things seems odd”—and the band’s origin story becomes even more improbable. But it’s true: Wolf Alice started with guitarist/singer Ellie Rowsell and guitarist Oddie playing acoustic-folk music during open-mic nights in North London pubs.
After self-releasing an EP, they expanded and electrified their sound with the help of Theo Ellis (bass/synths) and Joel Amey (drums/synths). Now sure, plenty of the band’s repertoire from their four official releases stays in the quieter, softer settings—creating maximum drama—but Joff and the gang give some animation to nearly every note played. (To give further cred to the group’s juxtaposition of floating like a butterfly and stinging like a bee, in a 2015 PG interview Oddie cited John Fahey and Sonic Youth as two of his biggest influences.)
“On Blue Weekend, we leaned into our past quite a bit, where we layered up sounds with acoustic instruments. We used loads of 12-strings, banjos, resonators, and tenor guitars,” Oddie says about the band’s recent release. “We’re even performing an acoustic fingerstyle number—‘Safe From Heartbreak (if you never fall in love)’—each night, so it’s nice to get back there.”
Before Wolf Alice’s sold-out show at Nashville’s Cannery Ballroom, guitarist Oddie shared an hour with PG’s Chris Kies. The resulting conversation covered the cathartic process of building his first guitar during lockdown (a Jaguar-Jazzmaster hybrid) and why he switched to a pair of Fenders that are “a big sheet of paper that you can paint on.” Plus, he illustrates how every moment in a Wolf Alice set has a pedal, and those moments are unique and not repeated.
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The Joffcaster
After wrapping work on the band’s third full-length album, 2021’s Blue Weekend, Wolf Alice guitarist Joff Oddie had a wide-open calendar. The ongoing pandemic lockdowns and restrictions finally provided him the time he’d need build his dream machine. He dusted off the blank of mahogany under his bed and ordered some crude hand tools. He cut, carved, and contoured the Jazzmaster-y body (a shade bigger than Joff’s old No. 1 Jaguars) to his specs and stance. Originally, he was going to slap a parts neck and fretboard on his homemade body, but rolling with the momentum and confidence, he ordered more wood (torrefied flame maple for the neck and rosewood for the fretboard). To help with the Jag’s slinky 24"-scale length and make it easier to play the higher frets (especially for the chords in “Delicious Things”), Joff extended his guitar’s scale length to 24.75". And the neck profile is insanely thin (as in “Ibanez RG” shredder slim).
The rest of its bits are standard for an offset—a Fender Vintage-Style Floating Tremolo, a Mastery bridge, and simplified switching—while it growls with a set of Lollar Jaguars. All of his guitars take Ernie Ball Skinny Top Heavy Bottoms (.010–.052) and he stings the strings with Dunlop Nylon Standard 1.0 mm picks.
“Plinky Plunky”
For most of the 10-plus years Wolf Alice has been electric, this 1962 Fender Jaguar reissue has been Oddie’s main guitar. He bought it completely clean, with student loan money, in Wood Green, London, off Gumtree (the U.K.’s equivalent to Craigslist) when he and fellow co-founder Ellie Roswell decided to amplify their music. “I don’t know why I bought it, to be honest. I remember seeing a Jaguar in a guitar shop when I was a kid and thinking, ‘that’s an ugly-looking guitar,’” he confesses. “I had started listening to Sonic Youth, Dinosaur Jr., and My Bloody Valentine in late my teens and early 20s, but I think I got it wrong, because they all play Jazzmasters [laughs]. I eventually fell in love with the eccentricities of the Jag.”
Years back, this worn-down jangle machine was upgraded with Lollar Jaguar pickups and an M1 Mastery bridge, and it has maintained that pedigree ever since. “Since putting a bit longer scale length on my build, giving it more resonance, I’ve noticed how the Jag’s shorter scale can have a deader, plinky-plunky sound,” admits Oddie. “For years I overcompensated the rest of my setup with my amps (bass on 10) and utilizing specific pedals to increase the Jag’s sustain.”
This one tends to appreciate distortion, gain, and fuzz, so Joff will strap it on for the heavier, more rocking songs like “Moaning Lisa Smile” or “Giant Peach.”
Sustainer Strat
“I’m not using this guitar to its full potential right now,” concedes Oddie. “I’m just scratching the surface and just using it as a Strat, but I did request it from Fender because it has the special stuff.” The Fender EOB Sustainer Stratocaster was co-designed by Radiohead’s Ed O’Brien and his longtime tech (and Oddie’s current tech) Adam Cummings. It’s still stock and features the unique setup of a Seymour Duncan JB Jr. humbucker (bridge), a Texas Special single-coil (middle), and a Fernandes Sustainer (neck). It has a “really lovely clean sound,” so Joff uses this for the band’s softer songs, like “Lipstick on the Glass.”
Jangling with Johnny
“We’ve only just begun.” Oddie quotes the Carpenters when referring to this pristine Fender Johnny Marr Jaguar that sees stage time for Blue Weekend’s dreamy-pop number “How Can I Make It Ok?” He notes during the Rundown that the Bare Knuckle Johnny Marr single-coils give the guitar a “paddier, ’80s sound” and that “it’s one of the best guitars being made at the moment. It’s something really special.”
Picking the P
For Blue Weekend’s “No Hard Feelings,” Joff will put on this Fender American Professional II Precision Bass and pick out chords far up the neck while bassist Theo Ellis plays on a Roland RD-2000 Stage Piano.
Double Your Pleasure. Double Your Fun.
Joff once toured with a Fender Hot Rod Deluxe III and a handwired Vox AC30HW2. Shortly after their first album, My Love Is Cool, Joff started to require more volume and less color. “For me, the Twin’s blank canvas—huge amounts of headroom with big, clean sounds—is a big sheet of paper that you can paint on.” These Fender ’65 Twin Reverb reissues are both on and are set in a double-mono platform. For European tours, he’ll sub out one of the Twin reissues for a proper ’70s silver-panel Twin Reverb.
Joff’s “Death Star”—Home to Oddities and Curiosities
“As ridiculous as this sounds, the concept of this board was to get as much functionality out of something that can also get on a plane,” says Oddie. “It also needed to be on the floor, because I’m not interested in having them in a rack offstage. I’m a control freak and I like to see what’s going on.” Let’s dive into this FAA-regulated pedalboard built by Matt Tag aka the Guitar Butler. Everything starts by going into the RJM Music Mastermind PBC, where Joff has meticulously mapped several presets for every song in Wolf Alice’s nightly setlist. Oddie employs a six-pack of complicated, deep workstations from Strymon (BigSky and TimeLine) and Empress (Nebulus, Phaser, Tremolo2, and Multidrive). Even broader sounds and tone splicing happen with Joff’s pair of digital power plants from Line 6 (HX Effects and HX Stomp). The lower right corner has a deuce of dirts (JHS Sweat Tea V3 and Analog Man King of Tone). And a heralded green giant (Electro-Harmonix Russian Big Muff) and trio of tiny tone teakers (Wampler Tumnus, Mooer Tender Octaver, and Mooer Yellow Comp) round things out on Joff’s main board. An auxiliary board to the side houses a Dunlop Cry Baby Wah and a Morley PVO+ optical Volume Plus.
Underneath the hood there are various power supplies from GigRig (Generators, Isolators, and high-current Timelords and Supanovas) and a Strymon Zuma.
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Fender Jack White Triplecaster Telecaster Electric Guitar - Black
Fender Limited-edition Jack White Triplesonic Acoustasonic Telecaster - Blacktop Arctic White
There are very few guitars that can claim to be as instantly recognizable and iconic as Jimmy Page’s 1969 EDS-1275 Doubleneck. The photos of him playing it on stage with Led Zeppelin are indelible to rock ’n’ roll history. While Gibson has been making doubleneck electric guitars since 1958, Jimmy was the player who defined the EDS-1275 from the day it was delivered to him. Introducing the Jimmy Page EDS-1275 Doubleneck VOS, now part of the Gibson Custom core lineup and built to the exact specifications of Jimmy’s iconic EDS-1275 Doubleneck.
The Jimmy Page EDS-1275 features a double-cutaway one-piece mahogany body that provides exceptional access to the full length of both the12-string and six-string mahogany necks. Both necks have long tenons and are hide glue fit, and the neck profiles are recreated from 3D scans of the necks on the original guitar. The necks are both capped with bound Indian rosewood fretboards. Each fretboard is equipped with 20 authentic medium jumbo frets and adorned with aged cellulose nitrate parallelogram inlays. The fretboards of both necks have a 12” radius, which is perfect for both playing chords as well as for string bending while soloing. The 18 tuners are Kluson double line, double ring style, just like those found on the original guitar, and even the headstocks feature the correct 17-degree angle and specific logo stylization found on Jimmy’s EDS-1275. The electronics are just as authentic and deliver all of the sonic character of Jimmy’s legendary EDS-1275. Two uncovered Jimmy Page EDS-1275 Custombuckers with double black bobbins and Alnico 5 magnets are used for the two six-string pickups, while a covered pair is installed on the 12-string neck. Of course, the two volume and two tone controls use CTS potentiometers and period-correct ceramic disc capacitors, and the pickup select switch, neck select switch, and output jack are all from Switchcraft.
Here is your opportunity to own a clone of Jimmy Page’s famous EDS-1275, identical to how it appeared on the day that Jimmy first received the guitar. A Gibson Custom hardshell case is included, along with a vintage leather strap, and a certificate of authenticity with a photo from famed photographer Barrie Wentzell.
Jimmy Page EDS-1275 Doubleneck VOS '69 Cherry
Recreation of the EDS-1275 used by Jimmy Page made using 3D scans of the original guitar, one piece mahogany body, mahogany six and 12-string necks with custom Jimmy Page profiles, Indian rosewood fretboards, Jimmy Page Custombucker pickups with Alnico 5 magnets and double black bobbins, Gibson Custom hardshell case
Reader: Daniel Switkin
Hometown: Oakland, California
Guitar: Doublecaster
I've been using a multitrack looper with a guitar and an octave pedal, which was okay for simple bass parts, but didn’t give me thick strings and I couldn’t slap with it. So I decided to build a double-neck prototype specifically for looping, with a 6-string guitar and a 4-string bass.
Since building the necks would be the hardest part, I looked around for instruments with bolt-on necks I could reuse. Squier makes an Affinity Stratocaster and a Mini Precision Bass which were affordable and had matching fretboards, so I bought those. It was also cheaper to reuse the electronics and hardware that came with them, rather than buying everything separately.
Using two precut instrument bodies saved the burden of having to route cavities for the electronics.
My plan was to design my own body from scratch. As I debated which neck should go on top, how far apart they should be, and whether to line up the nuts or the saddles, I realized there was actually enough wood there to make a double neck body, which saved me the work of recreating the neck pockets, etc. Putting the guitar on top made barre chords much more comfortable, and the 28.6" bass scale meant I could still reach the first fret easily.
After stripping the paint with a heat gun, I ran both bodies through a table saw, glued them together, and thinned them to 1 3/8". Then I created an offset body shape, a new arm bevel, and reshaped the three cutaways. The pickguards are both original, with the guitar side cut down to make a yin and yang shape. The controls are volume and tone for each neck, using the original knobs. I moved the jack to the back and upgraded it to stereo so the guitar and bass signals can run through separate effects chains.
Note the location of the jack on the back of the extended-shape body. It’s unconventional but practical.
My top concerns were weight and ergonomics. Many doublenecks are around 12 to 13 pounds and 18" wide. I knew I would never play something that big, no matter how good it sounded. To that end, I saved weight everywhere and tracked everything to the gram in a spreadsheet. (That’s also the reason I chose a fixed bridge instead of a vibrato.) I ultimately used a wipe-on gel stain to keep the weight down further. Stripping the paint from the factory saved 5 ounces! The final playable weight is 9 pounds, 5 ounces, and 15 1/4" wide at the lower bout. This has been pretty manageable, however, there is some neck dive because of the tuners. I’m taking everything I’ve learned from this prototype and designing a new doubleneck, which will be headless. I believe I can shed another pound and eliminate the neck dive that way. You can watch my entire build on YouTube.