The instruments are constructed of wood harvested from the historic Brewster Wheeler Recreation, which was frequented by many Detroit legends including music artists Diana Ross and the Supremes, boxing Joe Louis, and many others.
Detroit. MI (June 26, 2017) -- Wallace Detroit Guitars, a Detroit-based guitar manufacturer that creates unique and timeless instruments out of reclaimed wood from local landmarks, announced its limited edition Brewster Wheeler Series is now in production. The new line of exclusive instruments are constructed of wood harvested from the historic Brewster Wheeler Recreation, which was frequented by many Detroit legends including music artists Diana Ross and the Supremes, boxing Joe Louis and many others.
āItās really a premier series for us, since the story of Brewster Wheeler is such an amazing one and because the wood that we have discovered is truly unique,ā said Mark Wallace, owner of Wallace Detroit Guitars. āThe maple from the benches is beautiful, completely flawless and covered with black and dark blue paint. We are going to try to leave some of the original paint from the benches to show how far the wood has come from where it was originally.ā
Keeping History Alive
Opening in 1929, the Brewster Wheeler Recreation Center was a hub for community activity and possibly best known as the gym where professional boxer Joe Louis trained. Many local musical legends, including Diana Ross and the Supremes and The Funk Brothers, lived in the nearby Brewster-Douglass Housing Projects and frequented the center.
The Brewster Wheeler Recreation Center officially closed in 2006 due to a lack of funding and a $50 million project is currently in the works to redevelop the space that has been vacant ever since.
āFor a long while, The Brewster Wheeler building was a symbol of urban decay, but that environment bred some of Detroitās brightest musical stars like Diana Ross who used to hang out at the center,ā Wallace said. āI was very excited to be able to pull wood that was thought to be a lost cause and turn it into heirloom quality musical instruments.ā
Featuring solid maple bodies and rosewood fretboards, Wallace Detroit Guitars will produce 15 exclusive single-cutaway guitars, each featuring hand scatter-wound pickups for a classic vintage sound. The guitars will be engraved with a specially assigned serial number beginning with the numbers 313 in homage to Detroitās area code, and a separate prefix number specific to this series.
Breathing New Life into Detroit's Past
Last month, Wallace Detroit Guitars released its Firehouse Series of guitars crafted out of reclaimed wood from the historic Detroit Fire Department Headquarters building, which stood on a site that had been used by Detroit fire departments continuously since the 1840s. The existing structure was built in 1929, but the Fire Department Headquarters were moved in 2013 to make way for the boutique Detroit Foundation Hotel.
The Firehouse Series instruments ā which are available now ā are constructed of salvaged pine and maple from the storied buildingās floorboards.
Each instrument that Wallace Detroit Guitars makes features a certificate of authenticity and ships with a one-of-a-kind handmade guitar strap fashioned out of reclaimed car upholstery and a hard-shell leather case.
For more information:
Wallace Detroit Guitars
Growing up in Australia, guitarist Jedd Hughes tells us he dreamed of playing in Vince Gillās band as far back as elementary school. Now, he lives in Nashville and stands next to the man himself on stage night after night. Weāve invited Jedd to join us on this episode of 100 Guitarists to talk about just what makes Vinceās playing so special.
Jedd tells us how his dream came true and how he first started playing with Vince. We dig deep into how everybodyās favorite country guitarist raises the bar every time he picks up the guitar, how he gets his amazing clean tone, and we take time to appreciate all aspects of his solosāincluding how he builds them and how he plays such clean bends. As for why his concerts are so long? āHe loves to play.ā
In our current listening segment, weāre covering the Black Crowes and Jimmy Pageās Live at the Greek box set and a live recording from Burlington, Vermontās Breathwork.
This episode is sponsored by EMG Pickups.
Do you overuse vibrato? Could you survive without it?
Vibrato is a powerful tool, but it should be used intentionally. Different players have different stylesāB.B. Kingās shake, Claptonās subtle touchābut the key is control. Tom Butwin suggests a few exercises to build awareness, tone, and touch.
The goal? Find a balanceādonāt overdo it, but donāt avoid it completely. Try it out and see how it changes your playing!
An ode, and historical snapshot, to the tone-bar played, many-stringed thing in the room, and its place in the national musical firmament.
Blues, jazz, rock, country, bluegrass, rap.⦠When it comes to inventing musical genres, the U.S. totally nailed it. But how about inventing instruments?
Googling āAmerican musical instrumentsā yields three.
⢠Banjo, which is erroneously listed since Africa is its continent of origin.
⢠Benjamin Franklinās Glass Armonica, which was 37 glass bowls mounted horizontally on an iron spindle that was turned by means of a foot pedal. Sound was produced by touching the rims of the bowls with water-moistened fingers. The instrumentās popularity did not last due to the inability to amplify the volume combined with rumors that using the instrument caused both musicians and their listeners to go mad.
⢠Calliope, which was patented in 1855 by Joshua Stoddard. Often the size of a truck, it produces sound by sending steam through large locomotive-style whistles. Calliopes have no volume or tone control and can be heard for miles.
But Google left out the pedal steel. While there may not be a historical consensus, I was talking to fellow pedal-steel player Dave Maniscalco, and we share the theory that pedal steel is the most American instrument.
Think about it. The United States started as a DIY, letās-try-anything country. Our culture encourages the endless pursuit of improvement on whatās come before. Curious, whimsical, impractical, explorativeāthatās our DNA. And just as our music is always evolving, so are our instruments. Guitar was not invented in the U.S., but one could argue itās being perfected here, as players from Les Paul to Van Halen kept tweaking the earlier designs, helping this one-time parlor instrument evolve into the awesome rock machine it is today.
Pedal steel evolved from lap steel, which began in Hawaii when a teenage Joseph Kekuku was walking down a road with his guitar in hand and bent over to pick up a railroad spike. When the spike inadvertently brushed the guitarās neck and his instrument sang, Kekuku knew he had something. He worked out a tuning and technique, and then took his act to the mainland, where it exploded in popularity. Since the 1930s, artists as diverse as Jimmie Rodgers and Louis Armstrong and Pink Floyd have been using steel on their records.āThe pedal steel guitar was born out of the curiosity and persistence of problem solvers, on the bandstand and on the workbench.ā
Immigrants drove new innovations and opportunities for the steel guitar by amplifying the instrument to help it compete for listenersā ears as part of louder ensembles. Swiss-American Adolph Rickenbacker, along with George Beauchamp, developed the first electric guitarāthe Rickenbacker Electro A-22 lap steel, nicknamed the Frying Panāand a pair of Slovak-American brothers, John and Rudy Dopyera, added aluminum cones in the body of a more traditional acoustic guitar design and created resophonic axes. The pedal steel guitar was born out of the curiosity and persistence of problem solvers, on the bandstand and on the workbench.
As the 20th century progressed and popular music reflected the more advanced harmonies of big-band jazz, the steel guitarās tuning evolved from open A to a myriad of others, including E7, C6, and B11. Steel guitarists began playing double-, triple-, and even quadruple-necked guitars so they could incorporate different tunings.
In Indianapolis, the Harlan Brothers came up with an elegant solution to multiple tunings when they developed their Multi-Kord steel guitar, which used pedals to change the tuning of the instrumentās open strings to create chords that were previously not possible, earning a U.S. patent on August 21, 1947. In California, equipped with knowledge from building motorcycles, Paul Bigsby revolutionized the instrument with his Bigsby steel guitars. It was on one of these guitars that, in early 1954, Bud Isaacs sustained a chord and then pushed a pedal down to bend his strings up in pitch for the intro of Webb Pierceās āSlowly.ā This IāIV movement became synonymous with the pedal-steel guitar and provided a template for the role of the pedal steel in country music. Across town, church musicians in the congregation of the House of God Keith Dominion were already using the pedal steel guitar in Pentecostal services that transcended the homogeneity of Nashvilleās country and Western clichĆ©s.
Pedal steels are most commonly tuned in an E9 (low to high: BāDāEāF#āG#āBāEāG#āD#āF#), which can be disorienting, with its own idiosyncratic logic containing both a b7 and major 7. Itās difficult to learn compared to other string instruments tuned to regular intervals, such as fourths and fifths, or an open chord.
Dave Maniscalco puts it like this: āThe more time one sits behind it and assimilates its quirks and peculiarities, the more obvious it becomes that much like the country that birthed it, the pedal steel is better because of its contradictions. An amalgamation of wood and metal, doubling as both a musical instrument and mechanical device, the pedal steel is often complicated, confusing, and messy. Despite these contradictions, the pedal-steel guitar is a far more interesting and affecting because of its disparate influences and its complex journey to becoming Americaās quintessential musical instrument.āBy refining an already amazing homage to low-wattage 1960s Fenders, Carr flirts with perfectionāand adds a Hiwatt-flavored twist.
Killer low end for a low-wattage amp. Mid and presence controls extend range beyond Princeton or tweed tone templates. Hiwatt-styled voice expands vocabulary. Built like heirloom furniture.
Two-hundred-eighty-two bucks per watt.
$3,390
Carr Skylark Special
carramps.com
Steve Carr could probably build fantastic Fender amp clones while cooking up a crĆØme brulee. But the beauty of Carr Amps is that they are never simply a copy of something else. Carr has a knack for taking Fender tone and circuit design elementsāand, to a lesser extent, highlights from the Vox and Marshall playbookāand reimagining them as something new.
Those that playedCarrās dazzling original Skylark know it didnāt go begging for much in the way of improvement. But Carr tends to tinker to very constructive ends. In the case of the Skylark Special, the headline news is the addition of the Hiwatt-inspired tone section from theCarr Bel-Ray, a switch from a solid-state rectifier to an EZ81 tube rectifier that enhances the ampās sense of touch and dynamics, and an even deeper reverb.
Spanning Space Ages
With high-profile siblings like the Deluxe, Bassman, Tremolux, and Twin, Fenderās original Harvard is, comparatively, a footnote in Fenderās wide-panel tweed era (the inclusion of Steve Cropperās Harvard in the Smithsonian notwithstanding). But the Harvard is somewhat distinctive among tweed Fenders for using fixed bias, which, given its power, makes it a bridge that links in both circuit and sound to the Princeton Reverb. The Skylark Specialās similar capacity for straddling tweed and black-panel touch and tone is fundamental to its magic.
Like the Harvard and the Princeton, the Skylark Specialās engine runs on two 6V6 power tubes and a single 12AX7 in the preamp section. A 12AX7 and 12AT7 drive the reverb and the reverb recovery section, respectively, and a second 12AT7 is assigned to the phase inverter. (The little EZ81 between the two 6V6 power tubes is dedicated to the rectifier). Apart from the power tubes and the 12AX7 in the preamp, however, the Skylark Special deviates from Harvard and Princeton reverb templates in many important ways. Instead of a 10" Jensen or Oxford, it uses a 50-watt 12" Celestion A-Type ceramic speaker, and it includes midrange and presence controls that a Harvard or Princeton do not. It also features a boost switch that manages to lend body and brawn without obliterating the core tone. There is also, as is Carrās style, a very useful attenuator that spans zero to 1.2 watts. Alas, there is no tremolo.
āIād wager the Skylark Special will be around every bit as long as a tweed Harvard when most of your printed-circuit amps have shoved off for the recycler.ā
It goes without saying, perhaps, that the North Carolina-built Skylark Special is made to standards of craft that befit its $3K-plus price. Even still, Carr upgraded nine of the coupling capacitors to U.S.-made Jupiters. They also managed to shave six pounds from the Baltic birch cabinet weightāreducing total weight to 35 pounds and, in Steve Carrās estimation, improving resonance. Say what you will about the high price, but Iād wager the Skylark Special will be around every bit as long as a tweed Harvard when most of your printed-circuit amps have shoved off for the recycler.
Sweet Soulful Bird
Fundamentally, the Skylark Special launches from a Fender space. But this is a very refined Fender space. The bass is rich, deep, and massive in ways you wonāt encounter in many 12-watt combos, and the warm contours at the toneās edges lend ballast and attitude to both clean tones and the ultra-smooth distorted ones at the volumeās higher reaches. All of these sounds dovetail with the clear top end you imagine when you close your eyes and picture quintessential black-panel Fender-ness. The presence and midrange controls, along with the 50-watt speaker, lend a lot in terms of scalpel-sharp tone shapingāproviding a dimension beyond classical Fender-nessāespecially when you bump the midrange and turn up your guitar volume.
The tube rectifier, meanwhile, shifts the Skylark Specialās touch dynamics from the super-immediate reactivity of a solid-state rectifier to a softer, more-compressed, more sunset-hued kind of tactile sensitivity. But donāt let that lead you to worry about the ampās more explosive capabilities. There is more than enough high-midrange and treble to make the Skylark Special go bang.
Anglo and Attenuated Alter Egos
The Hiwatt-inspired setting is still dynamic, but itās a little tighter than the Fullerton-voiced setting. Thereās air and mass enough for power jangling or weighty leads. The differences in the Bel-Rayās tube selection (EL84 power tubes as well as an EF86 in the preamp) means the Skylark Specialās version of the Hiwatt-style voice isālike the amp in generalāwarm and round in the low-mid zone and softer around the edges, where the Bel-Ray version has more high-end ceiling and less mellow glow in the bass. It definitely gives the Skylark Special a transatlantic reach that enhances its vocabulary and utility.
Attenuated settings are not just practical for suiting the amps to circumstances and size of space youāre in; they also offer an extra range of colors. The maximum 1.2 watt attenuated setting still churns up thick, filthy overdrive that rings with harmonics.
The Skylark Specialās richness and variation means youāll spend a lot of time with guitar and amp alone. Anything more often feels like an intrusion. But the Skylark Special is a friend to effects. Strength in the low-end and speaker means it humors the gnarliest fuzzes with grace. And with as many shades of clean-to-just-dirty tones as there are here, the personalities of gain devices and other effects shine.
The Verdict
Skylark Special. Itās fun to sayāin a hep-cat kind of way. The name is trĆØs cool, but the amp itself sounds fabulous, creating a sort of dream union of the Princetonās and Harvardās low-volume character, a black-panel Deluxeās more stage-suited loudness and mass, and a zingier, more focused English cousin. It can be sweet, subdued, surfy, rowdy, and massive. And it works happily with pedalsāmost notably with fuzzes that can make lesser low-mid-wattage amps cough up hairballs. The price tag smarts. But this is a 12-watt combo that goes, sonically speaking, where few such amps will, and represents a first-class specimen of design and craft.