Buffalo Grove, IL (January 22, 2014) -- The Nuno Bettencourt N4 has long been a popular model in the Washburn line. The combination of the Stephens Extended Cutaway with a Floyd Rose has proved irresistible to shredders the world over. Now Washburn ups the ante with the addition of a carbon fiber fretboard and stainless steel frets.
The N4CV’s 22 stainless steel frets are silky smooth and will last the life of the owner without needing replacement. The carbon fiber fretboard is extremely fast and slippery so bends and dives never bind your fingers.
The N4CV is made in the Washburn USA Custom Shop and features a vintage matte finished alder body with a Seymour Duncan '59 neck pickup and Bill Lawrence L-500 bridge pick-up complemented by a Floyd Rose bridge & locking nut system and Grover Exclusive 18:1 tuners. One of the hallmarks of the N4 is the Stephens Extended Cutaway on the maple neck which allows for unprecedented upper fret access. The Buzz Feiten Tuning System allows for perfect musical intonation at every point on the neck. The stripped down control layout features a 3 way pickup selector and 1 volume control.
The N4CV comes with a Washburn GCN4 hardshell case and retails for $3,999.90
Washburn Guitars announces the addition of 3 new parlor sized guitars to its broad line of acoustic guitars. The new parlors are based on designs Washburn used over 100 years ago.
All 3 parlor guitars are 24.75” scale and feature a natural stain finish, solid cedar top supported by quarter sawn scalloped sitka spruce bracing, abalone rosette and standard Washburn rosewood bridge. The mahogany neck features a rosewood fingerboard with 44mm nut and gold open gear tuners. These specs produce a nicely balanced tone perfect for fingerpicking and singer/song writers. The clarity of the parlor sized body is especially suited to recording and mic’d performance.
The WP26SNS features beautiful rosewood back and sides with highly stylized pearl fingerboard inlays and retails for $712.90.
The WP21SNS specs are identical to the WP26SNS with the exception of pearl dot inlays on the fingerboard. It retails for $622.90
The WP11SNS features mahogany back and sides for a slightly more focused, articulate tone and has pearl dot fingerboard inlays and retails for $533.90.
Washburn Guitars is pleased announce a new addition to its Idol family of solid body guitars, the WI40NM. The Idol series has been a popular line in the Washburn family for over 15 years and the new model builds on the Idol’s solid feature set and sexy looks.
The WI40NM features a solid 2 piece mahogany satin finished body with a Canadian maple set neck with recessed heel for upper fret access. The 22 fret ebony fingerboard accentuates the pearloid block inlays and the gloss black capped headstock features pearloid Washburn logo and stylized W inlay. The all black hardware compliments the mahogany and maple and features a tune-o-matic bridge with stop tailpiece and Grover 18:1 tuners with keystone buttons. The electronics are what make this guitar a real star. A hot alnico bridge humbucking pickup wound to 16k has been chosen to excel at rock tones and soloing. The neck alnico humbucker is wound to 8k for pristine jazz or rhythm tones. Both are controlled by separate volume and tone knobs. Taken together, this pickup combination makes for an incredibly versatile instrument.
The WI40NM comes equipped with D’Addario EX-120 strings and retails for $1069.90.
Washburn Guitars is proud to announce a new signature series with legendary Six Feet Under and Feared guitarist, Ola Englund. The new Solar Series is part of Washburn’s recently introduced Parallaxe Series. It consists of 6 and 7 string, 25.5” scale guitars offering standard Parallaxe features for the most demanding metal players with the addition of Evertune or Hipshot/style bridges. The Parallaxe Solar Series will feature 9 models, 5 of which will be built in Washburn’s USA Custom Shop just outside of Chicago and will cover a wide range of price points.
Parallaxe is Washburn’s recently introduced metal guitar series focusing on the worldwide rock/metal market and aiming to serve it with dedicated and advanced guitar technology. The line includes features that the most demanding rock/metal players have requested for years. It is stage & studio ready and packed with unique features such as the Stephen’s Extended Cutaway, Buzz Feiten Tuning System, Spring Silencers, big brass trem blocks, super jumbo frets, EverTune bridge and USA hardware & electronics.
Ola Englund is widely known for being the guitarist for legendary bands such as Six Feet Under, Feared and recently joined Swedish melodic death metal band The Haunted. He is also highly respected by the worldwide metal community for his professional YouTube demos and reviews for countless manufacturers.
Due to the success of last year’s USA Custom Shop P4 Princess, Washburn is adding another, more affordable model, the P2 Princess.
Like the P4, the P2 features a single cutaway solid mahogany bound body and is an exceptional value with premium hardware and electronics. It features USA Seymour Duncan pickups, Tune-o-matic bridge with Schaller fine tuning tail piece and Grover 18:1 chrome tuners, the combination of which provides unparalleled tuning accuracy and stability. The set mahogany neck features a 22 fret ebony fingerboard with tear drop inlays. The pickups are controlled by single volume and single tone knobs and selected with a 3 way toggle and the body shape is complimented by a 3 ply white/black/white pick guard.
The P2 is ideal for producing thick, meaty tones perfect for classic rock, blues and jazz. It is available in Black Sparkle and Silver Sparkle, comes equipped with D’Addario™ strings and includes a premium Washburn gig bag. The P2 retails for $1065.33
Washburn Guitars is pleased to add a new and unique parlor sized resonator to its line of resonator guitars, the R360K. With the current popularity of Folk and Americana music styles, the R360K brings a unique voice to the genre, thanks to its smaller body. Players looking to add new colors to their tonal palate via slide or fingerstyle will find the R360K to be the ideal instrument.
The R360K is a parlor guitar with a biscuit resonator cone. It has the look and feel of a guitar that would have been made in the early 20th century and played well since. It features a spruce top and Trembesi back and sides with a mahogany neck. The old style slotted headstock features distressed classical style tuners and classy pearl inlaid Washburn logo and design. The rosewood fingerboard showcases period correct traditional pearl inlays and has a 48mm nut width to facilitate fingerpick or slide styles. A custom cover plate with antique bronze finish matches the tailpiece and tuner hardware. Mirror image f holes adorn both sides of the fingerboard extension.
The R360K is equipped with D’Addario strings and includes a Washburn hardshell case. It retails for $1,069.90.
Washburn is pleased to announce the arrival of three new Idol models at this year’s NAMM in Anaheim, CA.
The flagship Idol, the USA Custom Shop WI68XVCG, makes its triumphant return in the stylish Cognac finish. It features a mahogany body with flame maple cap showcasing a reveal binding that lets the beauty of the flame show through. The mahogany neck sports a 22 fret rosewood fingerboard containing beautiful offset figured maple block inlays. Accented with classic gold hardware that includes Grover® 18:1 Rotomatic tuners, Tone Pros Tune-o-matic bridge and stop tailpiece and gold knobs. Gold covered coil tapped Seymour Duncan SH1N neck and SH11 bridge pickups complete this tonally versatile package.
The WI68XVCG is equipped with D’Addario strings and comes with a Washburn GC5 hardshell case. It retails for $3,999.90.
Continuing with our vintage finish inspired guitars comes the WI60V Idol. It features a solid mahogany spruce veneer capped body and a mahogany set neck with recessed heel for upper fret access. The 22 fret rosewood fingerboard accentuates the pearloid block inlays and the matte black capped headstock features pearloid Washburn logo and stylized inlay. The vintaged hardware compliments the finish and features a tune-o-matic bridge with stop tailpiece and Grover® 18:1 tuners with ebonite buttons to tie in with the ebony control knobs. Dual humbuckers give the guitar a warm, creamy tone.
The WI60V comes equipped with D’Addario EX-120 strings and retails for $890.90.
Originally introduced 15 years ago, the WI64 was the very first Idol model. The 2014 model WI64TRK reproduces every detail of the original right down to the revolutionary VCC tone controls. VCC varies the humbucker pickups from full humbucking mode to coil tapped mode and every tonal color in between. Go from thick crunchy tones to near single coil pristine tones by just rotating the knob. The WI64 features a thin mahogany body with set mahogany neck. The 22 fret rosewood fingerboard has dot inlays and the headstock features a gloss black cap with pearl Washburn logo and stylized W inlay. Hardware includes smooth operating chrome Grover 18:1 tuners, tune-o-matic bridge and stop tailpiece.
The WI64TRK comes in Trans Red, is equipped with D’Addario strings and includes a Washburn GB4 gigbag. It retails for $890.90
Washburn Guitars introduces the WCG66SCE acoustic/electric guitar. The newest addition to the Comfort Series is highlighted by deluxe features and stunning visual appeal.
The WCG66SCE is a Grand Auditorium style acoustic/electric guitar with a venetian cutaway for superior upper fret access. A highlight of the Comfort Series is the beveled strip of mahogany at the lower bout which becomes part of the mahogany top binding. The guitar features a book matched solid Cedar top, spalted maple back and sides, mahogany/maple bound body and headstock. The satin finished mahogany neck has an ebony fingerboard devoid of inlays and in tandem with the mahogany bound ebony bridge adds an aura of understated elegance. A maple/mahogany/maple strip splits the book matched spalted maple back as well. The spalted maple capped headstock features a pearl inlaid Washburn logo and stylized W as well as Grover 18:1 tuners with ebonite buttons. The gorgeous rosette is made of alternating maple and mahogany.
The WCG66SCE is a fantastic sounding acoustic guitar in its own right but the addition of premium Fishman electronics makes for an outstanding stage performance guitar. The Fishman Presys+ is an integrated tuner/preamp system for versatile amplified tonal shaping.
The WCG66SCE is strung with D’Addario strings and is an amazing acoustic/electric guitar as well as an outstanding value. Suggested Retail Price is $1,247.90.
Washburn is proud to introduce the new Willie Kahaiali’I, “Willie K”, Signature Jumbo Acoustic Guitar model WJ55SCENS. Willie is known throughout Hawaii as a legendary vocalist/instrumentalist who excels at a plethora of instruments and styles from traditional Hawaiian music through Blues and Rock to Opera!
With a slightly wider than standard nut of 44mm, the WJ55SCENS is a 25.5” scale Jumbo Acoustic Guitar with a cutaway and Fishman Electronics. It features a solid spruce top with quarter sawn scalloped Sitka spruce bracing for strength without weight, Koa back and sides and maple neck. The beautiful abalone binding ties in nicely with the abalone rosette as does the rosewood fingerboard with the rosewood bridge. A satin finish brings out the beauty of the wood and adds to a smooth playing feel. A rosewood capped headstock showcases a pearl Washburn logo and stylized W inlay and features gold tuners with black ebonite buttons. Included is the Fishman Presys+ Tuner/Preamp system for superior live sound.
Says Uncle Willie, “This guitar was built for men with big hands and big fingers and you know what they say about men with big hands, they play better!”
Washburn is pleased to be associated with a musician of such high a caliber as Willie K who also chooses the Washburn HB36 for his electric performances.
The WJ55SCENS, with its player friendly wider nut, is the ideal performance acoustic guitar. The WJ55SCENS retails for $1,158.90
Long a staple in Jazz, Blues, and Rock circles, and loved for its fat, meaty tones, the hollowbody has been ubiquitous in 20th and 21st century music. Washburn has contributed to much of that music and is proud to introduce the HB45WH double cutaway hollowbody guitar which is based on our best-selling HB35 model.
The HB45WH features a double cutaway maple body and includes a solid maple block in the center, increasing sustain and reducing susceptibility to feedback in high volume situations. Additionally, we’ve removed the F holes traditionally found on guitars of this style to further reduce susceptibility to feedback and contributing to an overall cleaner look. It features a maple neck capped with a 22 fret rosewood fingerboard with split block inlays. The gold hardware includes a tune-o-matic bridge and stop tailpiece with Grover® 18:1 Rotomatic tuners for exceptionally smooth tuning and stability. Humbuckers in the neck and bridge are selected by a three-way switch and provides players with a wide range of tones.
The HB45WH comes in Gloss White and is equipped with D’Addario™ strings and a Washburn hardshell case and retails for $1,247.90.
For more information:
Washburn
Dr Strings Dragon Skin+ Coated Accurate Core Technology 6-String Phosphor Bronze Acoustic Guitar Strings 12 54
Guild M-20 Concert Acoustic Guitar - Natural Finish
Guild’s iconic M-20 was the first guitar off the production line in 1967, when the company had grown so much that they relocated to a new factory in Westerly, RI. Nearly 50 years later, history has repeated itself in a brand new, state-of-the-art facility in California. The M-20 is a concert size acoustic guitar built with solid mahogany top, back, and sides, informally nicknamed “the Nick Drake guitar” for its inclusion on the album art for Drake’s album, Bryter Layter. It features a rosewood bridge and fingerboard, bone nut and saddle, and an extremely light satin finish that allows this guitar to truly sing. The M-20’s modest appointments include a vintage style rosette and Guild’s peak logo inlaid in Pearloid on the headstock. Each M-20 comes with a hand-signed, numbered certificate of authenticity, and ships with a hardshell case. Available in Natural, Vintage Sunburst, Natural with LR Baggs pickup (M-20E Nat), and Sunburst with LR Baggs pickup (M-20E VSB).
Positive Grid Spark LINK Guitar Wireless System
Enjoy a stable, noiseless experience with a compact wireless unit design, ultra-low latency, and an extended range. Other features include 6 hours of playing time per charge and a secure 110-degree hinged input plug connection.
NUX B-8 Professional Wireless System - 2.4GHz
A pedal-style professional wireless system geared for electric guitars, acoustic-electric guitars, bass guitars, and even electronic instruments, and transmits 24-bit 48 kHz high-quality audio.
Blackstar Airwire i58 Wireless System
This professional wireless instrument system is designed for guitars, basses, and other instruments with 1/4" outputs. Operating in the 5.8 GHz frequency band, it avoids interference from crowded Wi-Fi signals while delivering authentic tone, ultra-low latency (<6 ms), and high-resolution sound with no treble loss.
Elliott Sharp is a dapper dude. Not a dandy, mind you, but an elegant gentleman.
I am writing this piece for a guitar magazine, so, necessarily, I must serve up info that is guitar-centric. And I can do that, at least a little bit. But Elliott is also a noted composer, runs his own little record label, plays woodwinds proficiently, is a guitar builder/tinkerer, author, gracious supporter of other musicians’ efforts, family man, and killer blues player—a blues scholar, in fact. So where do we, the public, conditioned to needing categories, pigeonholes, and easy assessment signals, put Elliott Sharp—an artist with a powerful work ethic and a long, illustrious career of making mind-bending sounds and conceptual works? How about putting him in the pantheon of the maverick and the multifaceted? Surely this pantheon exists somewhere! In mind, in heart. To those for whom such things resonate and inspire, I bring you Elliott Sharp.
One can obviously go to the information superhighway to find info on Elliott, and to hear his music, so I won’t go into too many details about where he was born (Cleveland) and when (March 1, 1951; as of this writing, Elliott is 74), or what he is best known for (being a crucial figure in the downtown New York City scene from 1979 to the present). He is Berlin Prize winner and a Guggenheim Fellow (among other honors). And I have never asked him what strings and picks he uses, so maybe I have already blown it here. But I realize now, having taken on this assignment, that inherent in writing about and trying to explain Elliott Sharp is an implicit TMI factor. There is so much going on here, so much diverse information that could be imparted, that I would not be the least bit surprised if some readers eventually glaze over a bit and start thinking of their own life’s efforts and goals as rather paltry. I get that! Although you shouldn’t.
E# @NaturalHabitat
Here, now, is my portrait of Elliott, accompanied by what I imagine is a day in the life of Elliott when he’s at home in New York City.
Elliott Sharp is a dapper dude. Not a dandy, mind you, but an elegant gentleman. He, like so many in New York and in the world of music/art/guitar, favors dark-hued clothing (yeah, a preponderance of black) and is most often seen wearing a classic slouch hat of obvious quality. He relocated from Buffalo via Western Massachusetts to lower Manhattan in 1979 to a zone that was, back then, quite treacherously decrepit, in an apartment that offered only an hour or so of heat in the winter, etc., etc. It was cheap, and things were always happening, and, in fact, it was the 1950s domicile of William Burroughs, Allen Ginsberg, and Jack Kerouac.The area became the nexus of an ever-expanding circle of iconoclastic, experimental artists of many stripes.
Sharp plays what passes for a fairly staid instrument in his collection: a bass and guitar doubleneck, in 1992.
Elliott is still in that building in the East Village, though it is now only his workplace and not his living space. I am trying to remember exactly when I met Elliott, but it was probably about 25 years ago, and he still had only the one small, original apartment and a shared music space in the Garment District. I, like countless others before and after me, stayed in that East Village apartment whenever I needed a place to crash and Elliott was elsewhere, and eventually he was able to secure the next door apartment and expand his space. This is where Elliott Sharp works every day that he is not touring, pretty much 9 to 6. The place is a bit funky and dusty, and it is filled with instruments, amps (some classics, like a mid-’60s Princeton Reverb and a tweed Champ), and other tools accumulated over many decades—in spite of the many times that certain ones had to be sold to keep bread on the table.
When he’s not composing, scoring films, recording other artists, or gigging with the bands he has been in or led for the last several decades (Mofungo, Carbon/Orchestra Carbon, SysOrk, Terraplane, The Bootstrappers, Aggragat), Elliott tinkers with guitars, pedals, mandolins. Elliott is, to me, the king of guitar transformation, and his tinkering is stunningly Frankensteinian as he guts, rebuilds, and alters all kinds of stringed instruments, both electric and acoustic. He recently told me that in the ’60s he built fuzz boxes out of tobacco tins to make money. How cool would it be to have one of those now?? If one does a search on Elliott Sharp, many photos will reveal what I'm talking about: the handcrafted doubleneck he was most often seen playing in the ’80s (there was maybe more than one), 8-string guitars, modified Strat-type guitars with completely different pickups.. He also has a fancy guitar or two, such as his Koll fanned-fret 8-string, upon which he has played many a solo recital. During Covid time,, things were a little slow in the cash-flow department and, as a family man with twins, a little extra income was needed. So Elliott started building really cool-looking guitars out of cheap
ones and parts from wherever and refinishing them in hip and attractive ways and called them Mutantu. He sold them to friends and friends of friends. Yours truly basically only changes strings on his guitars, appealing helplessly to experts to do any kind of work on his guitars and amps, afraid of costly errors. The maverick and multifaceted among us, like Elliott, possess no such fear.
Even a leader in experimental 6-string gets a little guitar face now and then—especially when he’s playing blues.
Photo by Scott Friedlander
So, back to that promised day in the life of Elliott Sharp (as imagined, with some degree of knowledge, by me): It’s early morning, and there is family to contend with. No bohemian lollygagging! So it’s feed the kids breakfast, do what parents must do. Then it’s off to the office (his studio), so Elliott dons a fine gray shirt (is that silk?), dark trousers, coat, and hat, and walks north from the family apartment on nearly the lowest point of eastern Manhattan to the East Village. The traffic and endless refurbishing of the Williamsburg Bridge roars familiarly overhead, the East River flows, and eventually a river of another kind, Houston Street, is crossed. Up the stairs to the fifth floor and the studio door is unlocked. Espresso is made. (There will be more of this.) The computer is turned on. And then ... who knows? Anything could be on the docket, but some sort of work will ensue for a good eight hours. Maybe a new graphic score for a German symphony is in the works (some of these have become visual artworks, too), or maybe it's time to try another mix of that Terraplane track, the one with Elliott’s friend, hero, and inspiration Hubert Sumlin—the one Elliott recorded not long before the famed Howlin’ Wolf guitarist joined his ancestors in the Great Beyond. Or maybe he’s recording a variation on his trio ERR Guitar (where he was originally joined by Marc Ribot and Mary Halvorson), called ERE Guitar Today, with Sally Gates and Tashi Dorji. Could happen—and it did. You can see Elliott’s studio in the ERE Guitar CD booklet.
Or maybe it’s guitar tinkering/building time. Where’s that delightfully chunky neck from China that would be awesome on that fake Tele body that was just refitted with no-name humbuckers (“sounded good once I removed the pickup covers,” Elliott observes) and a resophonic guitar tailpiece? By 5 or 6 it’s time to go home, maybe cook dinner tonight. And then ... my little imagined epic ends with a tasteful cinematic cliché: the dissolve.
The E# Way
Elliott Sharp has techniques that, in some cases, are all his own. No stranger to open tunings, prepared guitar, and other extended techniques, he often utilizes rhythmic, two-hand tapping to create spiraling, hypnotic patterns. His composing over these many years has employed and embraced genetics, Fibonacci numbers, algorithms, and fractal geometry. Though a mathematics and physics know-nothing myself, I see and hear a relationship between these elements as he has applied them to his uncompromisingly avant-garde compositions and these tapping patterns often heard in his solo work. Once he kicks in signal processing, stand back! What one hears sounds like four people (or other species and life forms), and the sensation is exhilarating. Sure, there could also be evidence of (here it comes) skronk (I can't believe I used that word), but Elliott certainly does not reside permanently in that world. Enjoying all kinds of sounds, from the lonesome moan of a resonator guitar to the aleatoric sputterings and squeals of a tormented electric guitar, is something he and I share, after all. Take, for example, two of his latest recordings on his zOaR imprint, Mandorleand Mandocello, which document his solo work on the two instruments, respectively. Both recordings investigate the instruments’ acoustic characteristics before, about half-way through, switching suddenly to electric, ultra-processed sounds. It’s a bracing experience that explains a few things about this man and the breadth of his aesthetic sweep. The sounds bring up images of recombinant DNA (information on which he has also imbued into his work), roiling lava, and the ever-expanding universe. Recommended!
Sharp applies his wicked two-handed-tapping technique to his 8-string, fanned-fret guitar built by Saul Koll.
Photo by Scott Friedlander
So, this might fit into the aforementioned TMI category, but Elliott Sharp puts out a staggering amount of recordings. Every time I see him (which is not often enough), he has a little pile of compact discs for me, often on zOaR. I saw somewhere recently that he has released 165 recordings, but I think there are probably more than that. It’s hard for even the data lords to keep up! But it’s not always Elliott Sharp pieces or improvisation/collaborations on these albums. Other artists whom Elliott knows and respects can be represented, such as Spanish electric guitarist/conceptualizer A. L. Guillén, late bassist/producer Peter Freeman, Italian voice and guitar duo XIPE, or Hardenger fiddle player Agnese Amico—all articulate and singular musicians whom Elliott assists by releasing their music. I am grateful for this. It’s obviously more “work” for Elliott, and he accomplishes it, along with everything else he takes on or imagines doing, with elegant aplomb. Though obviously a nose-to-the-grindstone worker, Elliott is generally low-key and relaxed, even after those espressos.
The last thing I want to write about is Elliott's interpretations of the music of Thelonious Monk. Are you surprised, even after everything else you have just read, that something like that exists? In 2003, Elliott released a solo acoustic guitar recording called Sharp? Monk? Sharp! Monk!, and stunned the world (well, those few who pay attention to such things). However, my first exposure to Elliott's Monk interpretations was the more recent Monkulations, expertly recorded live in Vienna in 2007. (You can hear it on Bandcamp). These recordings are, justifiably I suppose, controversial in certain corners, because they do not adhere to Monk's exact written particulars note-for-note. Yet the mood, gestures, rhythmic wonders, and even the harmonic depth of Thelonious Monk often emerges, and frequently in astonishing ways. I understand why some would take issue with this approach because it departs significantly from the jazz tradition, but I find it remarkably fresh, bold, and so delightfully E#. They reveal an aspect of Elliott’s thinking and playing that is surprising in some ways, but also so him. It is clear to me that Elliott has seriously examined and internalized Monk’s repertoire.
Spring(s) in the garden: Sharp can use just about any tool in his improvisations.
Photo by Norman Westberg
Elliott is an artist who plays more than one instrument, plays them all in unique, startling, and often innovative ways, composes rigorous conceptual works from chamber music to operas, makes electronic music with no guitar, plays mean blues guitar like a swamp rat, authors books (I highly recommend his mostly memoir IrRational Music, and a second book is emerging this fall), builds and modifies guitars and other devices, is stunningly prolific, and is an elegant gentleman. The planet is a better place with him and his work in it. The maverick and multifaceted often have a rough road to tread, as we all know. So check out Elliott Sharp's vast world if any of this seems interesting to you. Thanks, Elliott!
YouTube
Watch Elliott Sharp and Marc Ribot deliver a masterclass in free improvisation at Manhattan’s Cornelia Street Café in 2010—Sharp’s two-handed tapping and slide playing included.
Elliott Sharp’s Favorite Gear
This doubleneck guitar accompanied Sharp on many of his ’80s performances and is one of his earlier experimental instruments, as is this 8-string.
Road
Guitars
• Strandberg 8-string Boden
• 1996 Henderson-Greco 8-string
Amp
• Fender Deluxe Reverb or black-panel Twin Reverb (depending on size of venue)
• Trace-Elliot bass amp w 4x10 cabinet
(live rig uses both amps, run in stereo)
Effects
• Eventide H90 w/ Sonicake expression pedal
• Sonicake Fuzz
• Hotone Komp
• Hotone Blues
• TC Electronic Flashback 2
• VSN Twin Looper
Accessories
• Slides, EBows, springs, metal rods and strips, small wooden and ceramic square plates
Home
Guitars
• 1946 Martin OO-18 acoustic guitar
• 2006 Squier 51 (Sharp explains: “On New Year's Day 2007, I took the twins down to the East River in their stroller. They were 15 months old and knew a few words. As we rolled along, they started shouting “guitar, guitar,” and, sure enough, sticking out of a garbage can was a black Squier 51 that someone had attempted to ritually sacrifice. Brought it home and cleaned it, and it’s become a favorite couch guitar.”)
Obviously, any sound that emerges from the Triple-Course Bass Pantar is likelly to be interesting.
Studio
Guitars and stringed instruments
• Fender 1994 ’50s Telecaster built from a Fender-offered kit
• Mutantum lime green metalflake Strat w/Seymour Duncan Little ’59 pickups
• Mutantum solidbody “manouche” Strat w/classical neck
• Saul Koll custom 8-string
• Rick Turner Renaissance Baritone
• 1966 Epiphone Howard Roberts
• 1965 Harmony Bobkat
• 1984/’96 Heer-Henderson Doubleneck
• 1956 Gibson CF-100 acoustic guitar
• 1968 Hagstrom H8 8-string bass
• Mutantum Norma fretless electric
• Godin Multiac Steel Duet
• 2001 Dell’Arte Grande Bouche
• 1958 Fender Stringmaster 8-string console steel guitar
• 1936 Rickenbacker B6 lap steel
• 1950s Framus Nevada Mandolinetto
• Mutantum Electric Mandocello
• Arches H-Line
• Triple-Course Bass Pantar
Amps
• 1966 Fender black-panel Princeton Reverb
• 1980 Fender 75 (Per Sharp: “Cut down to a head and modded by Matt Wells into a Dumble-ish monster! For recording, it plugs into a 1x10 cab with a Jensen speaker or a Hartke Transporter 2x10 cab
• 1970 Fender Bronco
• 1960 Fender tweed Champ modded by Matt Wells
Effects and Electronics
• Vintage EHX 16-Second Delay w/foot controller
• Eventide H3000
• Eventide PitchFactor
• Lexicon PCM42
• ZVEX Fuzz Factory
• Summit DCL-200 Compressor Limiter
• SSL SiX desktop
• Prescription Electronics Experience
• Zoom Ultra Fuzz
• Korg MS-20 analog synthesizer
• Korg Volca Modular synthesizer
• Make Noise 0-Coast synthesizer
• Moog Moogerfooger Ring Modulator
• Moog Moogerfooger Low-Pass Filter
• Softscience Optical Compressor (for DI recording, custom made by Kevin Hilbiber)
Strings
• Ernie Ball Regular Slinky (.010–.046) or Power Slinky (.011–.048), for conventional guitar.
Jedd tells us how his dream came true and how he first started playing with Vince. We dig deep into how everybody’s 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 solos—including how he builds them and how he plays such clean bends. As for why his concerts are so long? “He loves to play.”
In our current listening segment, we’re covering the Black Crowes and Jimmy Page’s Live at the Greek box set and a live recording from Burlington, Vermont’s Breathwork.
