Every once in a while you have to pinch yourself and thank your lucky stars to be a guitarist in the 21st century. The Roland Micro Cube is a good illustration of this phenomenon; a dinky, portable amp that runs on AA batteries, it weighs just over seven pounds and measures less than 10″ x 10″ x 7″. But why such jubilation? Let’s find out.
We all remember the venerable Pignose from 40 years ago – a simple one-knob mini amp that virtually invented the portable-amp category. Today, Roland takes the concept of the portable amp and adds oodles of features that would have been unimaginable all those decades ago. For basic specs, the Micro Cube is a two-watt amp with a 5″ speaker that runs on six AA batteries (20-hour life span) or the supplied AC adapter. To make things interesting, the designers also put in DSP effects and a few of Roland’s noted COSM amp models. There’s also a digital tuning fork that provides an audible A, Ab or G note through the speaker for tuning, as well as line in/out jacks (including headphone outs), and a cute little carrying strap. The amp also has heavy-duty plastic corner guards and a metal grill, giving it something of a military vibe, but also plenty of toughness for bringing it outdoors to jam. The Micro Cube is available in black, red or white finishes, but again, given its Army-radio feel, an olive-green or camouflage finish might be a cool idea down the road (think “Combat!” or “Rat Patrol”).
For amp models, Roland provides you with seven sonic choices, including Acoustic, JC Clean (for a Roland JC-120 sound), Black Panel, Brit Combo, Classic Stack, R-fier, and Mic. As you might guess, these presets go from clean-and-sweet to progressively dirtier degrees of overdrive and crunch. For effects, you’ll find an EFX knob offering your choice of chorus, flanger, phaser, and tremolo, while the Delay/Reverb knob lets you set the amount of each of those effects. The Micro Cube’s top panel is completed with Gain and Volume controls, letting you set the amount of grit you want.
The amp emulations, in particular, are a blast. An acoustic/electric guitar sounds really good through the Micro Cube – almost shockingly so, especially when you dial in some sweet chorus and reverb. On the other end of the spectrum, the R-fier heavy-metal crunch is too much fun in an amp of this size – you can easily do a full Metallica set while sitting on the beach and that’s not an overstatement. Or dial down to Brit Stack for a medley of Kiss or Zep favorites while camping or hiking. Then again, there’s a line-out jack, so if you’re playing a real gig, go ahead and send that output to the P.A. and you’ll be in business.
At the end of the day, the Roland Micro Cube is a small miracle of 21st-century gear technology. With so many features in such a tiny package, the Micro Cube will make any guitarist glad to be a living, breathing picker.
This article originally appeared in VG November 2012 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
“A spectacular model in real he-man outdoor Western finish with powerful appeal for Hill-billy and Cowboy bands.” This is how Gretsch first introduced the Rancher Jumbo – offspring of the 1940s Synchromatic models – in its 1955 catalog.
The triangular (or “French”) sound hole has been seen on most Gretsch flat-top guitars from wartime to the present day. Along with the catsseye sound holes on’40s and early-’50s archtops, it gave Gretsch an aesthetic that set it apart from Gibson, Epiphone, and other builders. A massive rosewood bridge in the shape of a grand piano also gave a different look; strings were anchored to a metal bar instead of through the top, and secured by bridge pins, like most flat-tops. This unusual bridge, as well as the triangular sound hole, was seen on the 17” model 6021 and on the mammoth 18” model 6042, which existed from wartime and into the early ’50s.
Around this time, the 18” was dropped from the Gretsch line and the 17” model (also known as the Synchromatic 125F), became the Town and Country jumbo – brother to the bold and different Rancher. Offered in natural spruce top with shaded sunburst maple back and sides, the Town and Country was a traditional jumbo flat-top except for its soundhole and bridge.
The Rancher stood apart from the Town and Country with its colos. The front of the 1955 catalog says, “Guitars For Moderns By Gretsch,” but perhaps it should have stated “The Colorful Parade of Gretsch Guitars.” The Rancher was no exception. While Martin and Gibson offered natural and sunburst finish flat-tops, the Rancher was offered in Golden Red; it and the Amber Red on the Chet Atkins 6120 are today often referred to as Western Orange.
If the color wasn’t striking enough. Gretsch replaced the Synchromatic script on the headstock with a longhorn inlay to complement the “cows and cactus” Western-motif engravings in the fingerboard’s block inlays and a “G” brand on the lower left bout. The pickgaurd was thick tortoise, with the longhorn engraving. Gretsch literature, notorious for using old photos and drawings, depicted the “Full western” Rancher in catalogs until ’63, though such Ranchers were made for only three years; by ’57, the longhorn on the headstock had been dropped in favor of a horseshoe inlay. The Western-engraved block markers were replaced with humped-block inlays, and the tortoise pickguard was replaced by Lucite. Only one Western appointment – the “G” brand – remained for another year. In ’58, when the neo-classic thumbprint inlay took over on the fingerboard, the “G” brand was gone.
1969 Gretsch Ranher. Photo: Edward Liglt.
When the first Ranchers were made, Elvis had not yet recorded “That’s All Right” for Sun Records and Chuck Berry had yet to enter the recording studio at Chess Records. Country and Western was the music of the era and it is evident the Rancher was pitched to that market – perfect guitar for the country front man to strum. Several artists used one, many not in hillbilly or cowboy bands; Eddie Cochran laid down some of his classic rhythm parts on one; Gene Vincent played one with a silver-dollar-size hole in its top. In the ’80s, Brian Setzer used a Rancher acoustic in the studio. And Robert Duvall won an Academy Award for his portrayal of a guitar strumming crooner in the movie Tender Mercies, in which he played a Rancher. Eric Clapton is seen with a ’60s model on the cover of Layla. Even Motley Crue’s Nikki Sixx has been photographed with a Rancher, and Billy Walker, a country-and-western cowpoke, played one at the Grand Ole Opry.
The instrument seen here was made in 1954. Its back and sides are a rust-tinged brown, darker than the top – the norm in Gretsch’s two-tone color schemes due to the way different woods absorb lacquer. The back and sides are flamed maple, while the top is straight-grained spruce.
Unlike a typical flat-top, Gretsch’s had arched backs. The Rancher and its electric brother, the Round-Up, sometimes had an inlay at the first fret. Some came through without one, like this Rancher, where inlays begin at the third. Others had an unengraved inlay at the first fret, and still others had a fully engraved inlay at the first. The fingerboard and bridege are made of rosewood, the headstock has a solid black overlay with the steer’s-head inaly and the T-roof Gretsch logo. Certainly a unique, beautiful , and collectible instrument.
This article originally appeared in VG Classics #02 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
As part of its Hand-Wired series, Budda has reissued the tube-rectified Verbmaster 1×12 combo that differs from similarly powered amps because it’s a two-channel with reverb and a second (hotter) input.
The Verbmaster uses the same A/B high-gain, low-wattage circuit as Budda’s Twinmaster, but with a three-spring Accutronics reverb tank and a Phat 12 speaker. Impedance is switchable for four or eight ohms, and the amp uses a 5U4 rectifier, two EL84 power tubes and three 12AX7 preamp tubes.
We tested the amp with three guitars; a Gibson ’59 reissue Les Paul, a ’55 Les Paul TV Special, and a ’58 Fender Stratocaster, and there were two big surprises with the Verbmaster – neither having anything to do with reverb. The first revelation was the usability of the amp’s Normal input. With the volume at 12 o’clock, its tone stayed relatively clean, with a nice amount of tube sag that would make it very capable of funky rhythm flavors. Things can then be dirtied up a bit by turning the knob to 3 o’clock, which adds volume sufficient to keep up with most drummers while retaining the integrity of chord notes. Even using the old Stratocaster, there’s more wallop and gain than one would need for blues or Stonesy rock and roll. All three guitars sounded very punchy using this setting and even offered a liquid, B.B. King-like lead tone.
The other big surprise was the amount of overdrive delivered via the Gain input, which is made hotter by a cascading preamp design. In the lower settings, the Gain input takes over where the cranked Normal input leaves off, adding a nice harmonic crunchiness and a singing lead tone with plenty of sustain, reminiscent of early Billy Gibbons. As you turn up, gain and saturation move from the hard rock to heavy metal to pure insanity; past 4 o’clock, all three guitars started to squeal until you either turned down the guitars’ Volume, or the amp’s Gain was backed down a bit. No big deal, though, as there’s more than enough distortion at a lower setting.
The Verbmaster’s Bass, Treble and Volume controls make it easy to dial in sweet spots, clean or dirty, bright or dark. Being an open-backed cabinet, low-end response is present, but not butt-shaking. Hooked to an 8-ohm closed-back cab, however, the amp produced staggering low-end for an 18-watt amp.
The Verbmaster has great-sounding 12AT7-driven reverb. In its Sand mode, verb is understated and mellow, with less high-end response – great for bluesy stuff. The Surf setting gives a bit more presence on the high end, as well as a deeper wetness, but slightly more background noise. Both are controllable from either the faceplate or the included footswitch. Most importantly, both settings let the notes take precedence over the effect, as opposed to the effect swallowing the notes; it’s a nice level of effect that will work well for stage or studio. There’s also an effects loop, a feature not typically associated with low-watt amps.
For a heavy-rock player in a live setting, simply plugging into the Gain input, setting the lead tone, and rolling back the guitar’s Volume will render a cleaner-but-chunky rhythm tone. Turn up the guitar’s Volume and you’ll have a solo tone with ample sustain and rich, creamy saturation. A blues or blues-rock player could take the same approach on the Normal input and be happy with the amount of control they have from the guitar’s Volume control. Gain or Normal input, this method works great, as the Verbmaster’s preamp is very responsive to your guitar’s Volume pots.
The Budda Verbmaster has great clean tone, tons of gain, sweet reverb, and a lot of back-panel options.
This article originally appeared in VG October 2012 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
Doug Doppler recalls how, at age five, his first swimming lesson fell on the same day as his first guitar lesson. Beyond mere coincidence, there is no connection between the two. Nonetheless, these days, Doppler is “swimming” in guitars – specifically, vintage Ibanez.
Doppler is an L.A.-based musician and great example of how a guitarist can make a living playing even if they don’t regularly perform on huge stages with superstars at their side. In the ’90s, he released an instrumental album called Ground Zero on Steve Vai’s Favored Nations label, and more recently recorded parts for the Guitar Hero video-game series. He also produces audio and video demos for manufacturers including Dunlop, Orange Amplifiers, Line 6, and Tech 21. He is also a former student of Joe Satriani, which might explain why Doppler is one very hardcore Ibanez guy.
“When I released Ground Zero, I reached out to Rob Nishida, who was the head of artist relations at Ibanez for many years,” he said. “He sent me a 540S, and soon after, I started putting together an arsenal of S-series instruments.”
The guitar offered enough intrigue that Doppler dug a bit deeper into the company’s lineage. His first vintage Ibanez was a model 2351 straight from the “lawsuit era” of the ’70s. “I bought it in 2003,” Doppler recalled. “From there, it was a slippery slope!”
Doppler has indeed taken the slide, amassing one of the baddest Ibanez collections around, complete with the highlight pieces lusted after by all Ibanezheads, including the much-ballyhooed “korina trio.”
We recently spoke with Doppler about the fine points of collecting what are arguably the preeminent Japanese-made electric guitars.
How did you teach yourself all you needed to know about Ibanez instruments before you started collecting them?
I’ve been a member of the ibanezcollectors.com forum for some time, and those guys really know their business. There’s a great culture there and people are happy to help if I have a question, which is not the case with all forums. Also, there’s a massive collection of vintage Ibanez catalogs available online, which I use to double-check model numbers, features, and hardware.
1)This ’74 2408-1 Artwood Dragon was one of three instruments Ibanez produced in very limited numbers and used in a 1974 catalog alongside the Black Eagle bass. Rumor has it approximately 30 instruments were sent to China to receive the carved tops.2)This ’74 2408-2 Artwood Cornucopia was another member of the trio of instruments sent to China to receive the top carving. Doppler found it in South Africa.3)The rarest instrument in his collection, Doppler won this doubleneck – which bears no model number or serial number – after what he calls a “…furious bidding war between myself and a French collector who has since become a dear friend.” After bidding crossed the $5,000 mark, Doppler bowed out. A few months later, the Frenchman found something he had to have and asked whether Doppler was interested in buying the guitar. Though someone added a second output jack and changed the knobs, the original vibrato bar and bridge cover are stowed in the case. “This model was featured in a photo, but not actually offered in one of the 1976 Ibanez catalogs, making it the most rare vintage Ibanez I know of,” said Doppler.4)For the diehard collector, this 2662 hints at what was to become the Artist series.5)This model 2364 was the Ibanez take on Dan Armstrong’s Lucite guitar. Another very rare example, Doppler found it in Austria.
What drew you specifically to the Ibanez lawsuit-era instruments?
The company produced a remarkably wide offering of designs, some that easily rival their Fender or Gibson counterparts. And they’re collectible because of their uniqueness; they have always been undervalued, I think. Unlike other copycat brands, Ibanez is relevant, which means they’ll become more collectible and significant. From a player’s perspective, a number of them are personal favorites.
When you started collecting, were you looking for anything specific, or maybe a handful of potential models to buy?
Pretty much from the beginning, my goal was and is to own every lawsuit-era instrument they made. As much as I love the early Artists, the guitars I’m passionate about collecting are those, shall we say, “borrowed” designs.
6)When Doppler got this pre-serial-number 2352 Custom, it was all-stock but missing its bridge cover. He swapped the pickups for DiMarzios.7)The big headstock and three-tone sunburst on this ’77 Silver Series 2375 exude the era’s vibe. The stock pickups were swapped for a set of Fender SCNs and Doppler used this instrument on a video to demonstrate Orange Amps’ Rockerverb.8)Though it has a two-tone sunburst and a bullet truss rod – which isn’t right – this ’78 Silver Series 2375 remains one of Doppler’s favorite players. He used on a number of Guitar Hero sessions, including the remake of Iron Maiden’s “Wrathchild.”9)Though this ’78 Silver Series 2375 is a refin, “I had to have it,” said Doppler. The pickups have been changed.10)Hoshino used several brand names in its distribution territories. Doppler found this all-stock ’75 Mann 2348 in Canada and has used it extensively on Get Killer Tone.
Do you have any personal rules or guidelines you follow when you find a guitar you’d like to add to the collection?
I’m careful to always follow my Rule of Ten, which reflects the fact that although these instruments may be valued at one tenth of their inspirational counterparts, I believe the value drops more, percentage-wise, if they do not have all the original parts. There are a lot more instruments on the market these days, but many of them are the most common ones or are not original. Buying now is about being smart and making each purchase count.
Why are pre-serial-number guitars more desirable?
Generally speaking, they were made at the very beginning of a model run, and possibly got a bit more attention in manufacture compared to those that followed. It’s generally thought that there were fewer of these instruments than when a production run got up and running, but given the number of pre-serial-number instruments I own, that logic may not be the case for all models.
11)Doppler found this ’75 model 2351M in Canada. Note the mismatched Standard fingerboard inlays with the Custom headstock inlay and truss-cover badge.12)Unlike the ’75 2351M, this ’77 version has the matched Standard neck inlays and truss cover, along with original tuners.13)“As a true testament to how crazy the collecting thing can get, I decided to pick up this lefty,” Doppler said of this ’77 2350L. “I later discovered the middle pickup was not original, but it’s still a cool piece, and it’s in great shape.”14)The stock pickups in this 2351 were exceedingly microphonic, which forced Doppler to swap them for a set of DiMarzios.15) This all-stock model 2343 is one of Doppler’s favorites.
Anyone who collects more-traditional brands knows that when you delve into old guitars, you have to be on the lookout for things that affect originality – changed parts, refinishes, etc. Given that Ibanez instruments came of age at a time when modding guitars was commonplace, do collectors have to be all the more wary?
Surprisingly, few of the guitars I’ve seen come to market have major modifications, which, considering the era, is pretty remarkable.
What are the most commonly replaced parts, and why were they swapped?
In the ’80s, a lot of people thought different pickups and tuning gears were an improvement. Most of the time, I’ll swap pickups because the originals have gone microphonic and I’d have to take them out, anyway. Since these instruments are not as valuable as Gibsons or Fenders, I’m not as concerned about the wiring harness remaining untouched.
16)This pre-serial number 2377 is all-stock and Doppler has used it on a number of Orange Amps videos.17)This ’77 model 2387 has its original tuners and pickups.18)Doppler found this ’78 2355 on Craigslist. “I showed up to find a nearly original instrument with a small neck crack the seller did not mention in advance,” he said. “So I got it at a great price, and I’ve used it a ton.”19)This pre-serial-number 2402 has original tuners and pickups.20)Doppler calls this ’76 2404, “A neat, all-stock piece.”
You’ve scored most of your guitars via internet auction. What do you advise people about that process?
The “freshman” collector buys first, then learns what they did wrong second. There are enough of these instruments on the market that if you miss one, you’ll most likely find another. I almost never bid on an instrument when the seller has less than 99 percent positive feedback or has less than 25 transactions. I also don’t trust people who charge too much for shipping, and I’ll pass on a guitar where the seller thinks they’re going to make an extra buck for packing it and dropping it off at FedEx or UPS. It reeks of “freshman,” and those are deals to watch out for.
When you talk to someone about getting into collecting Ibanez guitars, what advice do you offer?
First, I tell them that they need to know the market before pulling out their wallet. It’s easy to think you’ve made a huge local score on some website only to find out you’ve been had. A smart collector knows what they’re looking for before it comes up, and they know how much they’re willing to pay.
21)The cutout on the headstock of the 2409B Black Eagle bass is typically broken because the piece on the treble side was left quite thin after the rout. This one is from ’75.22)An all-stock ’76 2387B-CT.23)This pre-serial number 2366FLB is one of two Doppler has ever seen offered for sale. It’s all-original.24)Doppler says this awkward-looking 2030 has wonderful tone. “It’s completely stock, in great condition, and the only one of its kind I’ve seen,” he said.25)One of Doppler’s first vintage Ibanez basses was this 2366B. “The stock pickup was dead, so it has been replaced,” he said.26)This pre-serial-number 2357DX is one of Doppler’s crown jewels. “I scoured the globe and tracked it down in Germany,” he said. “It sounds and plays like a Höfner and is ultra-rare in this condition.”
How did your connection develop with Satriani and Vai?
When I was in high school, I studied with Satch for 31/2 years. When I got ready to head to GIT, he gave me Steve’s phone number. Flash forward a couple decades, and Joe kindly sent Steve my newly mixed Nu Instrumental disc, which he released on his Favored Nations label.
27)“This poor instrument has been through hell and back,” Doppler said of this 2387B. “I stripped most of the matte-black paint to reveal the original finish, and it came with all-original components.”28)This all-stock 2369B has the pickup combination with three-way toggle.29)The cracks in the finish and bits of missing binding are testimony that this pre-serial-number model 698MS has been well-played. “There is little information on the acoustics from this era, but I’m fairly certain the pickup is stock, and it still works like a charm,” Doppler said.30 and 31)“Though I don’t really play mandolin, I thought these would make a great addition to the collection,” Doppler said of this model 511 and 513, both pre-serial-number.
So where might we have heard you use some of these instruments?
I used two of the Silver Series 2375 models on the Guitar Hero sessions; the two-tone sunburst on the classical intro to Extreme’s “Play With Me” and one of the rhythm parts on Iron Maiden’s “Wrathchild” and the three-tone sunburst on the solo for White Lion’s version of “Radar Love.” I also do a ton of video work for Orange, and I love to get them in the mix. I’m always happy to see the positive comments about them on YouTube.
What projects do you have in the works where you’re using your Ibanezes?
In June, I’ll be releasing a DVD where I demo 100 modern and vintage time-based effects. It’s called Get Killer Tone: Delay/Looper/Reverb. And there’s more in the works.
“Korina” Trio
Though their bodies weren’t actually made with Korina – they’re probably a Japanese wood called sen – Doug Doppler says the Ibanez guitars made to look like Gibson’s famed korina instruments are highly desirable because their finish work was outstanding, “And they play as good as they look!” he said. “The Rocket Roll Sr., Destroyer, and Futura are probably the most collectable because they do a brilliant job of paying homage to what were some of the finest instruments Gibson ever – and never – made.”
This article originally appeared in VG June 2012 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
Saint Blues Bluesmaster/Blindsider
Price: $2,399 (Bluesmaster); $2,550 (Blindsider)
Info: saintblues.com
St. Blues’ history stretches back to the days when its founders customized guitars for the likes of Jimmy Page, Billy Gibbons, and Duane Allman as their tours passed through Memphis. Today the company has a storefront just a few yards from the legendary Sun Studio, and in a nearby factory builds their top-of-the-line Workshop Series, which includes the Bluesmaster and Blindsider models.
The Bluesmaster is St. Blues’ cornerstone design, first created by merging elements of an Esquire and a Les Paul. The unlikely pairing yielded a real looker; the slightly undersized body features soft curves and a squared-off tail, with a bolt-on maple neck (available with maple or pau ferro fretboard). The model sent for our review had an ash body with a gorgeous Honeyburst finish (also available in Tobacco), which St. Blues lacquers with six to 15 coats coats of nitrocellulose. At about 71/2 pounds, and well-balanced for playing while seated or standing, a Bluesmaster is more comfortable to hold and play than either of its predecessors right out of the box.
Despite the mixed heritage, the feel, tone, and electronics of the Bluesmaster are unmistakably from the Tele school. A three-way pickup selector controls a pair of Lollar pickups, with coil cuts available on the push/pull volume and tone knobs. These Lollars are a great match with the Bluesmaster since both preserve some of the best features of classic guitars while providing the refinements of a boutique design. Played clean through a 33-watt tube combo, both pickups offered lead tones that were round and buttery, with a big bottom end and excellent string separation allowing every note in a strummed chord to be distinguished. For more overdriven sounds, the neck pickup drove the amp a little harder than the bridge, which is fitting for a guitar with a tonal sweet spot in the mid-to-low range and highs that never get too brittle or biting. With a rich bottom and soft top, the Bluesmaster tone is more in the range of an Arlen Roth than, say, Roy Buchanan, though with the coil cuts and a nice throw range on the tone pot it’s not at all difficult to dial in a tone with teeth. Also, hybrid-picking players, in particular, will appreciate how the Bluesmaster seems to have a bit more range available for right-hand dynamics than most guitars do; even after hitting that compressive Tele slap, there remains headroom for harder or softer attacks. On balance, this guitar captures the finer qualities of a high-end Tele while throwing off the clunkier physical and tonal aspects of that workman’s axe. The Bluesmaster is a class act.
Like the Bluesmaster, the Blindsider plays beautifully. It’s shaped more like a Strat but without the rounded edges, save a rear contour cut on the upper bout for comfort. The maple neck is available with maple, Pau Ferro, or rosewood fretboard, and the alder body can be finished in Honeyburst, Blueburst, or Tobacco. A distinctive design choice on the Blindsider is that the five-way switch and the knobs for volume and tone are housed in a Tele-style control panel rather than in the pickguard, which lends a nice hybrid touch. The model we tested had a “super strat” setup – two Vintage Blackface single-coils and one Imperial Humbucker from Lollar – though the guitar is available with three Lollar singles (St. Blues also offers the Blindsider outfitted with pickups from Lindy Fralin). The bass and middle pickups are wired together and the push/pull cut on the tone knob splits the humbucker into a single coil, multiplying the tonal possibilities on what is already a very diverse guitar.
Saint Blues Delta Blues Box
Price: $275 (Delta Blues Box)
We could hardly take our hands off the Blindsider’s neck, which was flawless from the nut to the 22nd fret and had an accessible higher end that allowed unobstructed chording on inside strings even way up at 18th position. The uniform resonance of all six strings, evident when playing unplugged, contributed to the Blindsider’s complex overtones and impressive sustain when amped. Between the pristine neck and the Lollars, the guitar was uniquely responsive to nuances from both hands. The trem system is tightly sprung, and demands a little technique to get a nice waver going; this is no whammy bar for greasy kid’s stuff. We found that when the arm was pulled upwards, all strings remained sharp by a few cents after the bar was released. But without rear routing this trem’s intended range is all downwards from pitch, and following a down-scoop with the arm we were back in tune.
Both of these Workshop Series guitars feature a 25.5″ scale, six-on-a-side Sperzel tuners (locking tuners on the Blindsider), genuine bone nut, Jescar medium-jumbo frets, Dunlop strap buttons, Bourns pots, ABM bridge (strings-through), oil-filled caps from Mojotone, nickel-plated hardware, and an electrosocket jack mount. Each guitar comes with a form fitted, custom case from TKL.
For an extra shot of fun, St. Blues also sent us a four-string Delta Blues Box, which president Bryan Eagle says was initially produced on a lark after a trip to the Juke Joint Festival in Clarksdale, Mississippi. Tuned to open G and ideal for sliding, this featherweight box has a dark and gutsy piezo tone and is more fun than a bottle of moonshine. The narrow, flat-back neck makes it a great starter instrument for young players, if you could bring yourself to hand it over, and is also available in a three-string model with dulcimer fretting (no sharps or flats).
With these cigar-box guitars, St. Blues threads the needle on the low-cost guitar market and stays true the company’s genuine Delta roots – without sacrificing the high-class craftsmanship that marks St. Blues’ full-bodied instruments.
This article originally appeared in VG July 2013 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
(LEFT) Donald “Duck” Dunn . (RIGHT) Jeff Dunn, a veteran live-sound engineer and tour manager who loves to play bass, with his dad’s ’58 Fender Precision. (LEFT) David Redfern/Redferns. (RIGHT) All other photos by Barry McCarthy.
Nearly every musician who plays popular music – be it soul, R&B, pop, or the others – has been influenced by Donald “Duck” Dunn. And certainly, every person who has listened to a radio since 1961 has heard his playing.
The revered bassist, who passed away in May of 2012, provided the groove on some of the most revered hits in the heyday of ’60s soul/R&B/pop, including Otis Redding’s “Dock Of The Bay” and “Respect,” Wilson Pickett’s “Midnight Hour,” and Sam & Dave’s “Hold On, I’m Coming.” Beyond hit singles, his resume includes stints backing Eric Clapton, John Fogerty, J.J. Cale, Albert King, Muddy Waters, Rod Stewart, Levon Helm, Bob Dylan, Tony Joe White, Freddie King, Elvis Presley, Neil Young, and Jerry Lee Lewis.
Dunn’s 1958 Precision Bass. “I usually held my thumb on the top edge of the pickguard and played with my first two fingers, and I wore the finish down to the wood where my thumb was,” Dunn told VG in 2006.
After his childhood friends Steve Cropper and Charlie Freeman started spending less time playing baseball with him and more time playing guitars together, Dunn grabbed a bass; his first was a Kay electric he ran through a Silvertone amp. Before long, however, he upgraded to one of the Fenders he oogled in the window of a music store in his home town of Memphis. A fan of Hank Ballard, Ray Charles, the 5 Royales and the like, he was self-taught, and took to playing with relative ease. While in high school, the three young men, along with drummer Terry Johnson, formed The Royal Spades. Shortly after graduating, they were signed to a local record label, for which they changed the band’s name to The Mar-Keys and recorded the 1961 hit “Last Night.” Shortly after, Dunn left the band when he was asked to join the big band fronted by saxophonist Ben Branch. In ’62, he was recruited by Cropper to play in the Stax Records rhythm section and also became a member of Booker T. & the MG’s.
Modest about his abilities, Dunn used his Fender to develop a tone and style unheard of in the days of the “doghouse” upright. Clear and articulate, his approach redefined the role of the bass; where the upright was used primarily to render “walking” lines, Dunn and other electric players changed pop music by adopting a more-syncopated style, more akin to a second/complementary rhythm guitar. His form applied an identity to the music the band made as it backed various Stax Records artists, with a feel many musicians today equate simply with doing it right. And regardless of the song or whether it had him playing in the pocket, just “on top” of, or just behind the beat, there was a physical element to Dunn’s style, applied with pronounced body English.
Through most of his career, Dunn played a ’58 Precision that became his trademark. Finished in sunburst and with an anodized pickguard, through the decades, it took on various accoutrements that set it apart, visually.
“There are places in the body and pickguard where dad dug out wood or wore down the metal of the pickguard,” said Dunn’s son, Jeff, who now cares for his father’s instruments. “The round sticker is the Gort character from The Day The Earth Stood Still, which was adopted by Creedence Clearwater Revival as backstage passes. He applied the Duck sticker years ago. The Blues Brothers sticker went on in the early ’80s.”
Dunn had retired the bass for fear some sort of misfortune would befall it at a gig or on the road – but there were exceptions. “Neil Young did persuade him to take it on tour, as Neil promised the techs would look after it,” said Jeff. The instrument was actually his second Precision; in old photos, he is seen with one with a rosewood fretboard. “That one, the story goes, went down in the plane crash with Otis Redding, as dad had loaned it to Otis’ bassist.”
Dunn’s first amp of choice for studio work was an Ampeg B-15, but, “The one I really wanted – which everybody wanted – was a (Fender) Bassman,” he told VG’s Willie Moseley in a 2006 interview. “And I got a piggyback version, but I never liked it much. In ’67, I got a Kustom tuck-and-roll.”
Dunn’s varied career included working with guitarists Mike Bloomfield, Duane Allman, Clapton, and he was there when John Belushi and Dan Ackroyd took a “Saturday Night Live” skit and converted it to a legitimate musical act and feature film – The Blue Brothers. Though the skit (which employed the show’s house band) was farcical in nature, the group (which included Dunn and Cropper) produced serious renditions of blues songs and had a major hit in ’78 with its cover of Sam & Dave’s “Soul Man.”
“I was kind of hesitant to do [The Blues Brothers], but my wife talked me into it, and other than Booker’s band, that’s the most-fun band I’ve ever been in,” Dunn said in ’06.
From 1983 to ’86, Dunn backed Clapton live and in the studio for two albums, Money and Cigarettes and Behind the Sun.
“Of course, many instruments came and went over the years,” Jeff Dunn said of his father’s gear. “If he had held on to them all, there would have been 30 instruments in his collection. A few I remember were a Rickenbacker 4001, a Gibson Grabber, and all the basses in Hard Rock Cafes across the globe.”
Dunn died while touring with Stax! Live, a package featuring Eddie Floyd and the MG’s, which also included longtime friend and bandmate, Cropper.
1) Fender Duck Dunn signature bass with serial number 0001. He played this in the film Blues Brothers 2000.
2) Dunn played this ’66 Fender Precision onscreen during the Holiday Inn/Murph and the Magitones scene in the 1980 film The Blues Brothers. The word “Demo” is stamped on the back of its body and on the original neck, which Dunn later replaced with a Jazz Bass neck. The instrument served as the basis for Dunn’s Fender signature model and inspired the later Lakland models.
3) Over the last several years, Dunn mostly played this Lakland signature model. “It has his favorite Labella flatwounds and will remain exactly as is,” said Jeff Dunn. “He played it only hours before he passed; it was still in tune when we got it back from Japan, where he played his last show.”
4) The prototype Dunn signature model by Lakland.
5) This Gibson Thunderbird was a gift to Dunn from Cliff Williams, bassist for AC/DC.
6) This heavily inlaid custom bass was a gift to Dunn from Steve Cropper. “It’s something I know Duck would never buy for himself – he just wasn’t into fancy stuff. So I got it for him. I had been looking at a PRS Dragon, which at the time was around $25,000 – just a bit out of my price range (laughs)! But this reminded me of it.” Jeff Dunn recalls that his dad often sat with it at home. “It plays great and has an active EQ,” he said.
7) Dunn received this Travis Bean in the ’70s as a gift from Steve Cropper.
This article originally appeared in VG April 2013 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
In the protoplasmic days of heavy metal, Tony Iommi slashed away at classics like “War Pigs” and “Iron Man” with a ’65 SG Special, creating a look, sound, and vibe that has lasted decades. Today, this earth-crunching tone is echoed in the ESP LTD Viper 256P, a rather Iommi-inspired axe with enough metal attitude to bring an end to the world.
The LTD Viper 256P’s specs are standard metal-issue. There’s a mahogany body with a set mahogany neck and rosewood board. A 24.75″ neck scale offers 24 extra-jumbo frets, for maximum reach and speed. A tune-o-matic-style bridge and stopbar tailpiece help make intonation adjustments and string changes easy, and electronics include ESP stacked pickups that look like P-90s, a master volume and tone, and a three-way pickup toggle. The guitar is available in black with a white pickguard and see-through black cherry with a blackguard, either of which further conjures that Iommi aura. The black option has gold-finished hardware and the cherry features chrome, while inlays on both include ESP’s popular “flags” on the fingerboard and a mother-of-pearl LTD in the headstock. Other details include a 42mm composite nut and ESP tuners.
The LTD Viper 256P’s weight is along the lines of a Les Paul – hefty, but not bothersome. All told, the Viper is a sleek, simple rock and roll machine. Another interesting fact: the guitar is made in Vietnam and its construction and finish are as good as most other fine axes from Asia.
With a digital modeling amp and half-stack at the ready, the LTD Viper 256P was tough to put down. Just about anything can be played on it, from blues to twang, but it screams for heavy riffing. Ladle on as little or as much gain as you want, it handles all the curves easily but sounds best with a goodly amount of distortion on top. The stacked hum-canceling pickups are quiet, and whether in standard tuning or drop-D, the Viper offers deep chunks and screaming highs to satisfy any crunch-hungry guitarist.
The LTD Viper 256P has a thin, fast neck, yet it’s also wide, evoking a California superstrat. Its setup is on the money and there are no neck or fret issues. Its only debits are the aforementioned body weight and a slight tendency toward neck-diving, but both are part and parcel of just about any SG-style guitar.
In all, the LTD Viper 256P is an affordable hard-rock machine, ready for your most bruising chords and terrifying solos. Strapped into this guitar, it’s difficult not to search your soul for the darkest riffs imaginable and then let them run free on its fast neck and rippin’ pickups. It’s the sound on which heavy metal was built.
This article originally appeared in VG April 2013 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
