Archive for January, 2019

…albeit not cheap.

For those of you who are familiar with attenuators, you know they solve a real problem with cranking a tube amp to get the power tubes to fully saturate: The volume that even a low wattage amp produces when it’s cranked is LOUD, and an attenuator helps to alleviate that by taking the amp’s output and reducing the power that ultimately gets to your speakers. I can tell you from personal experience, being able to record my cranked amp at conversation levels has saved my ears and saved me from the wrath of my family getting pissed that my amp’s too loud.

But the drawback of reducing the output power to levels that low is that you take the speaker out of the equation. Most amps work best when their distorted signal works in concert with the speaker cone moving air as the speaker add its own character to the overall sound. For a recent recording I made, I had to wait until no one was home to record my overdriven guitar parts so I could take advantage of the speaker moving some serious air. My ears didn’t appreciate the abuse they got, but the result was so much better than close-miking an attenuated amp.

But the folks at BOSS have seemingly overcome that by providing a unit that not only attenuates a cranked amp but also provides models to mimic various cabinets via built-in IR and a whole rash of other features. I’ll list the highlights later. Watch this demo. It’s pretty cool:

Here are the features off the BOSS website:

  • First-of-its-kind tube amp command center, built with Waza expertise and the Tube Logic design approach
  • Advanced variable reactive load circuit with discrete analog components supports tube amps up to 150 watts
  • User-adjustable impedance tuning correctly matches the reactive load to your amp, retaining its natural tone, dynamic feel, and distortion characteristics
  • 10 recallable rig settings for storing favorite setups
  • Deep real-time performance control via GA-FC/FS-series footswitches and MIDI I/O
  • Built-in 100-watt Class AB power amplifier with discrete analog design and seamless volume control
  • Powerful DSP section with 32-bit AD/DA, 32-bit floating-point processing, and 96 kHz sampling rate
  • Customizable stereo effects with premium tone quality: compressor, delay, reverb, and four EQs
  • Twenty-two mic’d cabinet emulations with five selectable close-mic types and three room-mic options, plus four slots for loading user speaker IRs
  • External effects loop with selectable series/parallel operation and control jack for switching amp channels
  • Parallel speaker outputs for connecting up to two cabs for gigging
  • Balanced XLR line outputs (mono and L/R stereo) for connecting to FOH console, stage monitors, and recording devices
  • Headphones output for quiet practice with cranked-up amp tones
  • Dedicated editor software (Mac/Windows)
  • USB for direct audio recording and editor communication

At $1299, it is not at all an inexpensive solution. However, that said, neither are the top attenuators that cost $500+. Considering the features this packs though, I’m surprised by the price point.

For me, this is something that I would seriously consider, especially for playing any of my tube amps on stage. I could attenuate the volume locally and use my speaker for local monitoring, then simultaneously send the signal via XLR into the board, eliminating a mic altogether and letting the sound guy do the mix.

Also, with the different IR models available, I could silently record my amp.

Looks like I’ll need to start saving my pennies…

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Since I’ve fixed up the guitar, I have been having some serious fun with it, breaking in the strings and honestly, getting the guitar used to being played again. In the meantime, I was waiting for information from Godin on the provenance of the guitar. And nothing is better than waking up to great news – Godin replied!

They gave me basic make and model specs, and though the geek in me would like to know even more about it with respect to scale length, nut width, etc., in the end, all that matters is that I play the damn guitar! 🙂 So here goes:

Model: 1992 Artisan ST V – I thought it was produced in 1996, but that was the last year it was produced.

Body: Limewood – Commonly known as basswood in North America, but called limewood in the British Isles and linden on the European continent.

Top: Two-piece, figured maple in a blue burst finish.

Neck: Maple – The type wasn’t specified, but based on experience, it appears to be hard-rock maple.

Fretboard: Rosewood – Again, the type wasn’t specified. It doesn’t really matter anyway. It feels like rosewood.

Pickups: Godin pickups manufactured by Schaller.

As for the pickups, they include a push-pull pot on the tone knob. I thought it was a coil tapper, but it’s not. Turns out that that acts as a midrange filter that halves the dB level at 600 Hz. So no wonder there’s a minimal volume drop. But this is actually a VERY useful feature because the guitar is naturally bright in tone, and with a midrange cut filter, that will help when plugging into a naturally bright amp like my Fender Champ or either of my Aracom VRXs that are based on the 18-Watt Marshall Plexi.

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After work this evening, I went directly to my local Guitar Center and bought some strings (for me, they’re Ernie Ball Slinky Cobalts). After I wrote my previous article on the guitar yesterday, I couldn’t stop thinking about the guitar. I spent the entire day today dreaming of working on it when I got home! I just had to get it cleaned and set up.

So as soon as I finished dinner, I set a blanket down on my kitchen table, and with my computer in front of me, played a couple of tech videos on changing strings on a Floyd Rose. Contrary to the negative feedback these get, though it’s a little laborious, it’s EASY!

Once I got the strings removed, I did thorough wipe-down of the entire guitar, removing smudge marks and dust and grime from the body and the neck. It was clear that this guitar got a lot of use in its heyday.

After cleaning it up to my satisfaction, I took some light linseed oil and massaged it into the fretboard. Talk about a difference. That oil added so much life back into the fretboard! Here are some pictures I took after I was done:

The grain of the rosewood is absolutely spectacular! The linseed oil helped renew its natural luster, the feel – oh the feel of that fretboard is nothing short of amazing!

Even after the fifteen years the guitar sat in a storage shed and the year and a half it spent in its case in my house, after I got it cleaned, I was blown away at the mirror-like finish of the top.

I need to break in the strings over the next few days with some regular playing. EB Slinky Cobalts are notoriously bright right out of the package and need a bit of time to break in. But here’s what I can tell you about the sound of this guitar.

  • Right off the bat, it has a real Telecaster quality to it replete with that subtle quack you get with a Tele.
  • I mentioned that the middle switch position was probably where I’d mostly play, and thus far, I haven’t changed my tune on that – yet.
  • The bridge humbucker has absolute BALLS! I set up my Katana 50 to about 2pm on the Gain with the Volume at 3pm and played some lead lines. The guitar absolutely sings with a glorious tone! It is definitely a rock machine in this setting.
  • Coil tapping the bridge amazingly doesn’t result in a huge volume drop. I have other guitars with this and going to single coil results in a significant drop in volume. With this guitar, the result is a thinner tone as expected, but a very little drop in volume. I’ll be using this a lot!
  • For clean tones, the neck pickup is definitely like a Tele’s lipstick character, and the bridge clean is like a Les Paul bridge clean (even with an LP, it ain’t my cup of tea). But using both pickups clean is very nice.

Once I break in the strings, I’ll post some sound samples! I definitely will be gigging this guitar this weekend!

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For those of us who grew up in the ’70s and ’80’s, analog synthesizers were de rigueur to the music of the day. One of the most popular synths was the Prophet 5. I used to use a Yamaha DX-7, but there were some totally cool analog synths back then.

Back in college in the early ’80’s, a friend of mine had a Prophet 5 and I remember spending several hours twiddling knobs and getting some insanely cool sounds.

I always thought that it would be totally cool to be able to control a synth from a guitar, and lo and behold, by the ’90’s some guitars had built-in MIDI tracking (they weren’t very good), and others came equipped with a mini-DIN jack to hook up to an external synth. Godin makes a line of guitars that have that today (Daryl Stuermer of Genesis uses one). But that’s kind of a specialized kind of thing. My wish was to be able to plug into a synth with a 1/4″ plug. No fuss, no muss… Something like that could just sit on my pedal board.

My wish came true the other day when I got advance notice of the newly announced Pigtronix Resotron just officially released today, the first day of NAMM. Here’s the video I shared yesterday:

I’ve never been into things like bit crushers and other kinds of envelope filters, but I have always loved the sound of an analog synth. That Pigtronix has put one into a pedal using the same chip as the Prophet 5 and is the size of a standard pedal is… well… KICK-ASS!

I think the pedal is available now directly from Pigtronix. It goes for $249. This is one I’m definitely going to check out!

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Back in late 2017 when my friend passed on her late uncle’s guitars to me after she and her mom found them in their storage shed, one of the guitars she gave to me is this gorgeous Godin Artisan ST shown to the left. I was so enchanted by the Simon & Patrick PRO acoustic – which has since been with me on well over 100 gigs and is the acoustic I used on all my latest recordings – that I kind of forgot that I had this little beauty.

But while forum-lurking yesterday evening, I got into a discussion thread about Godin guitars and to jog my memory, I pulled the guitar out of its case where it has sat so I could give it a thorough inspection.

As soon as I took it out, I said out loud: Why did I wait so long to give this an inspection?  Things happen in their own time, now ow’s the time for this beauty queen to literally come out of the closet! 🙂 Okay… bad joke…

As I write this, I’m hoping to get information directly from Godin on the exact provenance of the guitar. But what I’ve been able to gather on my own thus far is that this is an Artisan ST-V. There were six versions of this product line. This appears to have a mahogany body and a maple neck with a rosewood fretboard. I’m really not sure what the top is; hopefully, Godin can provide me with that information. But it is a two-piece top.

As for the body style, it is definitely quirky! But I absolutely DIG that huge upper horn! It’s actually a bit ergonomic in that it places the strap peg further left, making it feel much more balanced when I’ve got the guitar strapped over my shoulder.

I don’t know what they call this blue burst finish, but it’s absolutely killer! The photos I took don’t really illustrate the 3-d effect of the finish. Love it!

The pickups are custom pickups designed by Godin and manufactured by Schaller – at least that’s what I found out online (need to verify with Godin). I actually thought they were active pickups at first, but they’re not. Turns out that I had a bad cord, so I wasn’t getting any sound from my amp. Duh! The configuration is like an SH Telecaster with a single coil in the neck and a humbucker in the bridge. The tone knob will coil tap the humbucker to get a single coil sound.

The guitar is also equipped with a Floyd Rose tremolo system. It’s actually pretty cool. It’s missing the whammy bar, so I’m going to have to replace it. I know, you either love or hate a Floyd Rose, but I’m going keep this as-is and not block it off. I blocked off all my Strats’ tremolos, but with this guitar, I’m going to learn how to use the tremolo.

In a quick, initial sound test of the guitar, plugged clean into my Boss Katana 50, the sound is very much like a Telecaster, but a tad deeper. The neck pickup is very reminiscent of a Telecaster lipstick pickup – again a bit deeper and bridge pickup reminds me of a Les Paul humbucker sound with a little more midrange. So tonally, the guitar produces something in the middle between a Tele and an LP.

Coil tapping the bridge and playing in the middle switch position, the sound is truly a balanced mix of the two pickups. I was thinking that this would be my preferred setting, but only time will tell.

I’ve been writing this article in spurts – in between conference calls – plus testing out the guitar. I was originally intending to take it to my guitar tech and have him do a setup. But I checked the neck straightness and intonation, during a break, and even after all these years, the neck is ruler-straight. So I will do the initial cleanup and restringing myself. And if I mess it up because I’ve never worked with a Floyd Rose before, I can take it to my tech. But there are great videos that I’ve already watched on working with a Floyd Rose, so it shouldn’t be a problem.

Once I’ve done the setup, I’ll post some sound clips. I’m really impressed with this guitar! It makes me wonder why I haven’t paid more attention to Godin all these years.

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Though I’ve been actively writing in the guitar gear space for well over a decade now, I’ve actually never been to NAMM. I get offered passes and interview opportunities galore, but I’ve never taken up the reps on their offers. It’s not that NAMM isn’t interesting to me; it is because it is a time when many manufacturers reveal their latest and greatest stuff.

But I have to admit it: I’m really not into going to conventions. Don’t get me wrong, I’m not the anti-social type. Far from it. A large part of it is that I have very limited free time and the way I like to spend it is in much more quiet surroundings, like driving to my best friend’s place on near the Central Coast of California, hanging out on his six acres in a peaceful, bucolic setting, drinking fine wine (he’s a winemaker) and grilling steaks.

So I don’t really keep up with NAMM. I know it happens roughly around late January. But I know it’s coming because my inbox fills up with new product announcements, offers for interviews, requests for review and of course, convention passes. I read all the product announcements because I love to see what’s coming out.

For instance, this morning I got an announcement of the new Pigtronix Resotron pedal. This is TOTALLY COOL! It’s an envelope filter that gives you the sounds of 70’s-era synthesizers! Check this video out:

I’ve always wanted to provide some synthesizer effects via guitar, but most were fairly big units requiring a mini-DIN jack – In other words, the guitar has to have one as it acts as the controller. This pedal uses 1/4″ jacks, and the pedal follows the pitch of the guitar. Just plug in your guitar and go! Nice! So this is exciting, yes. But I didn’t need to go to NAMM to see this. I just found the demo on YouTube. 🙂

I think the other part of me not going to NAMM is that I’d be like a kid in a candy store, and when it comes to gear, historically, I’ve been a bit compulsive, and I could just see myself coming back from the show and dropping thousands of dollars into new gear. Been there, done that. After the honeymoon is over, I end up selling off swathes of gear. So it’s a bit of a self-control thing for me.

But despite my own reservations – and admittedly, weaknesses – about going to the convention, I love this time of year. And though the past few years have been a bit dry for me with writing, now that I’m back in the game, I’ve got the gear bug back. Luckily, I’m older and hopefully a bit wiser, so I do temper my GAS urges now with my available finances. And at least I can write about the things that I find interesting.

Rock on!

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Personally, I dig the stock speaker in my BOSS Katana 50, BUT I also dig Jensen speakers, especially the Jet series speakers, which are installed in all my cabinets. So when I got a press release from Jensen today announcing the new addition to the Jet family specifically designed for digital amps, I had to spread the word. Here’s the press release:

Jensen Jet Full Range Digital “D” Speakers

Jensen Loudspeakers is excited to announce the upcoming release of the new Jensen Digital “D” Series with full range tone for the digital guitarists. The C12D (Ceramic magnet) and the N12D (featuring the Jensen exclusive Neodymium magnet design) are 12” speakers dedicated to amplifying the “quasi-full range” output signal of the digital, modeling, profiling and IR-based guitar systems, and acoustic instruments amplifiers.

Both models retain the core elements of the traditional guitar speakers with lightweight cellulose cone membranes and integrated paper surrounds. Additionally, they feature a specially developed horn-like loading in front of the voice coil that grants a frequency response extended well beyond 12kHz. This ensures a clear, transparent rendition of the reverbs, delays, and all other time-based effects, as well as of the rich harmonic
spread of a high-gain lead sound.

Headroom and dynamics are delivered by the 2” voice coils, for a power handling of 150W AES (300W Continuous Program Power).

The organic, full range tone of the Jensen D Series speakers does not rely on complex, expensive two-way systems and crossovers, but rather on a finely tuned acoustic design and directivity pattern. The Jensen Ds are easy to use and install and as convenient as a traditional guitar speaker. They ensure a familiar feel and response while providing excellent tone for the next generation of players.

The last paragraph of the press release is the salient point, and which is why I have had such a deep appreciation of Jensen as a company for so long. With respect to the new speakers, they relied on their design expertise as opposed to compensating with complex – and expensive – systems. As an engineer – albeit software, but an engineer just the same – applying good design and engineering principles to solve a problem is the way I think, so what Jensen has done with the new speakers totally speaks to me.

Thought I’d share the frequency response chart for each type of speaker:

C12D Frequency Response Chart

N12D Frequency Response Chart

Fairly similar response shapes with the C12D and N12D speakers, though the N12D have a little more mid- and high- range output and a lower high-end drop-off than the C12D. Based on the graphs, the C12D seems more my cup of tea, but you really never know until you try out the speakers.


The speakers will not be available until May 2019, so I will just have to wait to do some tests. But if my past experience with Jet series speakers is any indication, these should be great replacement speakers for any digital amp.

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…or maybe the more apt title should be:

I finally figured out how to use this pedal.

As I mentioned in my previous Gig Report on the Katana 50, I used the Abunai 2 as my overdrive machine, going for max clean-headroom on the amp. I did this mainly because the way our stage was set up. Our amps were at the back and below the stage, so access wasn’t easy.

In other gigs where I have the amp near me, it’s easy to tweak the amp. This was like playing through a back line, so any control I’d have over my sound had to take place on my board. So prior to the retreat, I did a process of elimination and chose the Abunai 2 as my overdrive platform. I won’t go into the nitty-gritty details, but it was a fairly long process as I had several punch list items. The Abunai 2 checked off all the boxes.

So why am I revisiting this pedal? Simply because I really hadn’t explored the pedal completely in all the years I’ve owned the pedal. For me, setting it to the “traditional” toggle setting was fine when I was using my tube amps. But when I did the retreat a couple of weekends ago, I knew I couldn’t just slam the front-end of my amp. Though it sounded great, the volume jump was pretty massive and I couldn’t use an attenuator with the Katana to tame the output volume. So I used it in a way that I hadn’t before, and I just had to write about it!

The Abunai 2 – Three Overdrives in One

After reading through my original review of the Abunai 2 almost ten years ago, I realized that I had the toggle settings switched: Left is actually Right, Right is Left. Can’t believe I missed that! Even the manufacturer missed that in their preview and proofread! 🙂 With that, let’s get into the pedal’s particulars.

The thing about most overdrives is that they usually do one – or maybe a combination of two – of three things:

  1. Provide a massive amount of gain boost to slam the front end of an amp (think booster pedal).
  2. Provide a combination of gain boost and clipping like a traditional overdrive (TubeScreamer, Soul Food, and others).
  3. Simulate overdrive an amp, letting the pedal produce its own breakup and compression (Caintlinbread DLS, Geek British Ball Breaker, etc.)

The Abunai 2 does all three. Set the toggle to the middle and it acts like a booster. Set it to the right and you get the traditional overdrive response. Then set it to the left and get the amp simulation. So depending on what you’re after given the situation, you can set the pedal where you need it and it will perform. Man! Will it perform!

Toggle Settings in Detail

I call the toggle switch on the Abunai 2 the “magic toggle.” It really is the key to this pedal and what sets it apart from other overdrives. The following table details what each setting does.

Toggle Setting  Description
Left (Symmetrical Clipping)This setting provides the most internal gain and compression of the pedal, and as a result, also provides the lowest amount of output volume. It is also the setting used for getting an amp-like response, responding extremely well to changes in guitar volume and attack. This setting is best used for going into a clean amp.
MiddleThis setting is called the “diode lift” setting. Where the left and right toggles use diodes for providing breakup, this setting does not use diodes and just throws massive amounts of gain at the amp (think clean booster). This is also the loudest setting.
Right (Asymmetrical Clipping)The right toggle is the traditional overdrive that is used in hundreds of pedals. The internal diode provides some clipping and the pedal provides lots of gain. This is best used in front of an amp set just at the edge of breakup. Because this setting has a lot of internal gain to produce clipping, this setting is very much like using a distortion pedal.

For years, I’ve used just the middle position, and sometimes the Asymmetrical Clipping for classic overdrive. In that time, I stayed away from the Symmetrical clipping setting because I liked to rely on the breakup tone of my tube amps. But with my BOSS Katana 50, I purchased it mainly as a clean platform. And while its overdriven tone is pretty killer, for the situation I was in recently, I didn’t have ready access to the amp to twiddle knobs. I’d have to physically step off the stage to make adjustments. Not very easy in the middle of a set.

Fit and Finish

Amazingly enough, the powder coating on the pedal has withstood a couple of hundred gigs over the time I’ve had it, though admittedly, I tend to take great care of my pedals. I like shiny objects. But this is over a ten year period of time so I can attest to the build quality of the pedal. I haven’t had to tighten any knobs or replace any switches.

How It Sounds

Sorry folks, I don’t have any clips. But you can go to the product page where there are several clips available.

The notable thing for me was the with the Symmetrical clipping tone where I felt as if I was playing through a full stack. The sound is huge, with a nice, round, tight bottom-end (yes, I like big butts…). The other two settings are – as the manufacturer puts it – more “open” and transparent. But the Symmetrical clipping produces a big sound. It’s amazing.

Overall Impression

Even after all these years, the Abunai 2 has proven itself to be an invaluable pedal in my collection. And now that the BOSS Katana 50 is my gigging amp, the Abunai 2 will always be on my board.

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You can check it out here.

Hmm… Maybe the new management was actually listening. And by the way, these have not been publicly announced as of yet – maybe after NAMM.

At the top of the list are the Les Paul Standard models: ’50’s, ’50’s P-90, and ’60’s models. They must’ve realized from all the feedback that the Standard represents the actual Les Paul tradition, and not confusing things by making the Standard model their platform for experimentation. Notably absent is the “Traditional” model which people who argued in favor of the “HP” model would be the equivalent to the traditional Les Paul Standard because it didn’t have the bells and whistles and modern doodads.

The new, experimental stuff like push-pull pots and DIP switches has now been relegated to the “Modern” model. Now THAT makes a ton of sense. It provides Gibson with a platform to introduce new technologies. From a strategic point of view, it will allow them to gather metrics on responses to their innovations. If the response is high, then they can distribute the really popular stuff to the other models in the product line. Smart.

As for the Standards, I love these designations because they are meaningful to Les Paul aficionados. 50’s necks are completely different from 60’s necks. People have likened them to “baseball bat” necks. 60’s necks, on the other hand, are more tapered and shallower. That Gibson recognized this is pretty killer. The 50’s models had two pickup configurations, either Humbucker or P-90; though most notably, it was the ’57 Goldtop sporting P-90’s that was the cherished model. But no matter. That Gibson chose to make its Standard the standard-bearer of the line is the most important thing to consider.

Thankfully, Gibson has recognized that “Standard” means something very important; not just from a collector’s standpoint, but also from brand-identity perspective. When one thinks of a Les Paul Standard, there is an implicit sense of tradition goes along with it: That this model represents the foundation and provenance from which all Les Pauls derive.

I suppose Gibson tried to transfer that tradition with the Traditional model. But at least to this author, though the guitars were probably very good, Traditional didn’t evoke the same response as Standard had for me. And I know it’s just me, but I found that model to somehow imply a diminished, lower-quality guitar than the Standard, which implied that the Standard was the peak of quality and tradition.

It took bankruptcy to get Gibson to return to its roots. Thank goodness the new management has refocused the brand. I’m looking forward to some good things from Gibson going forward!

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As a Les Paul aficionado, and the proud owner of a ’58 Reissue, I like to keep up with the Les Paul product line roll-outs each year. The flagship for 2019 is the Les Paul Standard HP. Just to put it out there, I have mixed emotions about this particular model.

Gibson has again added a bunch of gadgetry to the guitar, and we all know the face-palms that were made with the Robot tuners. Talk about polarizing! My buddy loved his robot tuners, and that Les Paul is his #1. I was on the other end of the spectrum. I freakin’ hated that feature. And though I knew it worked and worked well as I had a chance to test it, I just thought it was a bit gimmicky. To me, a Les Paul just sells itself based on its history and the tradition behind it.

I realize that that’s probably a bit naive of me. But I’m by no means a Luddite. I embrace improvements and enhancements. What I don’t like are gimmicks.

So when I saw all the features of the new product line, they gave me a bit of pause. Four push-pull knobs and a five-position DIP switch in the control cabinet seemed like a bit of overkill. On top of that, Gibson was boasting about the over 500-thousand possible combinations you could have with the settings. So I didn’t think too highly about the product line. But to clarify, not nearly as bad as this fellow in the following video:

I get what he’s saying and while I can see his point, I don’t think it’s all that bad.

First, I love being able to coil tap my humbuckers. I have that feature in “Katie May,” my Slash L guitar, and it’s awesome. Furthermore, unlike the dude in the video, I love the colors. That Seafoam burst is KILLER! And I’m okay with the weight relief. I know what it’s like to lug around an 11- to 12-pound chunk of wood on stage and it’s not comfortable in the slightest; even with a 4″-wide strap.

I think where I draw the line on this model is the DIP switch bank in the control cavity. Putting myself in a buyer’s shoes, would I want it? I’m just not sure.

Here’s a rundown of the operation of the push-pull and DIP switches:

DIP 1: Neck pickup can be split (true single) or tapped (P-90 type tone)
DIP 2: Bridge pickup can be split (true single) or tapped (P-90 type tone)
DIP 3: Neck pickup treble bleed circuit (On or off)
DIP 4: Bridge pickup treble bleed circuit (On or off)
DIP 5: Transient suppression circuit (Spike control) for recording

Neck Volume: Pull for Split or tap (depending on DIP 1)
Bridge Volume: Pull for Split or tap (depending on DIP 2)
Neck tone: Pull for neck pickup phase reversal
Bridge Tone: Pull for Full bypass (Bridge only in humbucking mode with disabled controls) 

When I see this, the geek in me says, “Yowee! Look at all I can do.” But then the more practical side of me says, “Damn! Imagine wanting to set my single coil sound true-single-coil or to P-90 in the middle of a gig. Not going to happen.”

But on the other hand, I absolutely DIG the neck tone push-pull pot! To be able to put my neck pickup in-phase or out-of-phase is LIT (as my 13-year-old likes to say). My own Les Paul has its pickups wired permanently out-of-phase, but it sure would be nice to have the ability to put them in-phase at the pull of a knob.

So this isn’t really a rant against the guitar. If I had one, I’d play it, that’s for sure. I’m just not sure that all this compels me to get one. But to be completely honest, it’ll have to get in line. I’m dead-set on getting a Gretsch Nashville Brian Setzer signature model next. 🙂

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