Missing Links

Over the 30 years of playing guitar I’ve owned loads of gear, but there are some classics that I’ve never owned. It was triggered by an advertisement for a classic Big Muff Pi. I have borrowed one and it remains one of my favourite hooligan pedals but I’ve never had one on my own pedalboard.

muff

The set me thinking… what other classic items had I missed out on? First and foremost, given my love for their kit, I’ve never owned a Marshall. I’ve played plenty and can’t think of one I’ve ever come across that didn’t do its job well. Whether I like the job it is designed for is another matter entirely, of course.

marshall

The other big omission is Gibson. I’m not really a Les Paul sort of person, but I love their J-45 and J-200 acoustics, SGs, the LPJr and Melody Maker. And one of my all time favourite guitars of all time mate* is the ES-335. How have I made it through 34 years without ever having owned a Gibson? 10 years ago I could have said it was the price but these days they are turning out some mighty fine, reasonably priced guitars (viz. the 50s and 60s reissues). No excuses. I just never got round to it.

gibsonlogo

Will I ever put this right? Who knows but it feels like a musical life with missed opportunities if I don’t.

So what are the big holes in your gear history?

* copyright Smashy and Nicey.

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More examples of the Variax

Following on from yesterday’s post, which featured the Variax’s acoustic and resonator models, here are some examples of my favourite electrics.

The guitar models/pickup combinations featured are:

  • 1960 Tele Custom – Bridge
  • 1959 Strat – Neck & Middle
  • 1961 Les Paul Custom (3 pickup) – Bridge & Middle
  • 1958 Les Paul Standard – Bridge
  • 1959 Gretsch 6120 – Bridge
  • 1966 Rickenbacker 360-12 – Bridge
  • 1953 Gibson Super 400 – Neck

All of these variations come directly from this one unassuming guitar with no more than the flick of a switch (or press of a footswitch if connected to the PodXT Live).

Recorded in Reaper via the Line 6 PodXT Live. Using the “Line 6 Clean” amp model with the drive and all EQ at “5” (i.e. flat).

And here’s a quick picture of all of the models available as presets.

A great way to spend a Sunday afternoon

Yesterday I called round to see my old friend Hedley Vick. He’s in the middle of setting up a guitar for another one of our friends and didn’t have the right sized Allen key for the bridge saddles, so I took round a bunch and we were quickly able to find the right one.

I got a chance to play this guitar for a few minutes, a Tanglewood Strat copy, and I was very impressed with it. Even though it still needs the action sorting it was a very playable piece of kit. With a replacement set of pickups it will be absolutely killer. It was bought on eBay for the paltry sum of £40 too. What great value for money.

[update 08/Nov/2010 at 21:55 – In fact I liked it so much I’ve just placed a bid for one on eBay. It’s a pretty low bid and unlikely to be successful, but, as the saying goes, you’ve got to buy a ticket if you want to win the raffle.]

While I was there I was also lucky enough to have a quick play on a brand new tobacco-burst Gibson ES-335. What a peach! I’ve always had a penchant for 335’s (my first 6 string was a Columbus ES-335 copy) but I’ve only ever tried out vintage 335’s – in the mistaken belief that they had some sort of magical mojo. How wrong can you be! This thing was just stunning. Far superior to any of the 60’s guitars I’d ever tried. Fantastically warm but still with a nice cutting edge and clarity, even on the neck pickup with the tone rolled back a touch. I was playing it through a Mesa Boogie Heartbreaker 2×12″ combo, which I suspect flattered it more than any of my kit, but still it was such a wonderful, versatile guitar. Definitely to be recommended, and don’t get seduced by the vintage guitar myth – If you’re interested in an ES-335 then give a new Gibson a test too – you may be surprised. Was it worth 45 times as much as the Tanglewood? For me, no, but I still want one.

To cap off what was supposed to be a short visit, Hedley then mentioned that he’d managed to find a cassette (remember them?) of a birthday party gig that he’d done, where Paul McCartney had jumped up to do a couple of songs. “Would you like to have a listen?”

Would I?!!!? This thing was recorded at the 50th birthday party for Paul’s brother Mike (of Scaffold fame) in 1994. The band that Hedley plays for (The Chip Shop Boys) were providing the entertainment for the evening and the segment I listened to was recorded at around 2:00am when all present were fairly well lubricated. Even so, the magic that poured from the speakers was captivating. Rough? Definitely, but with a real warmth and joy about it as they ripped through a couple of 50s rock standards (Mean Woman Blues, Lucille, etc). To a certain extent I’ve always thought of Macca as something of a cold fish, but I’m delighted to have my expectations confounded. Obviously he keeps a tight rein on his public persona, which is not surprising given the crap that he’s had to wade through in his life.

All in all, given that I was just popping round for a cup of tea and to drop off an Allen key, it was a grand way to spend a wet and windy Sunday afternoon.

Review of the Benford Custom – A Telecaster/Les Paul Hybrid

Introduction

I’ve had the Benford Lestercaster a couple of weeks now and am in a better position to write up a more considered review than my babbling initial impressions.

Here I’m just going to try to discuss the guitar itself, rather than the extras that were included in the package, or the service that Steve Benford offered.

Benford Custom

Design and construction

The basic idea for the guitar was to build a Les Paul Studio that looked like a Telecaster. For the look, I wanted something sparse and classy that was just a mixture of plain satin finished wood and black hardware.

So it has a set/glued neck, 24.75″ scale length, tune-o-matic bridge and stop tail piece. Like the Les Paul, the neck is set at an angle of a couple of degrees to the body so that it clears the higher bridge.

The body wood is a piece of London Plane, a type of lacewood. The neck is mahogany. Fingerboard and headstock veneer are ebony.

Benford Custom

Details

OK, let’s get it out of the case and pick out some of the details…

The black logo on the ebony headstock looks superb. Very understated. This was a touch Steve added without asking and just fits in perfectly with my aesthetic sensibilities. The finishing on the neck pocket and heel is just astounding – totally flawless – as is the finishing of the fingerboard and frets. A couple of other details of note are the countersunk controls and the two tail-end strap buttons. These were specified by me, but the execution of my ideas is exactly as I conceived them. The two tail-end strap buttons mean that the guitar will securely stand up against a wall or amp, but also gives the guitar a better balance when strapped on. Only a very minor point, but the upper bout strap button is placed about an inch too high for my preference. The matt black EMG-style covers on the Seymour Duncan P-Rails pickups complete the plain and simple look.

Unplugged sound

As is traditional in a guitar review, let’s give it a strum before plugging it in. First impressions are that it sounds very lively; almost jangly. I had expected a darker/warmer nature to the tone, and this was quite a surpise – not a bad one – just different to expectation. As you would expect with a set neck and high quality materials, the sustain is phenomenal. The only guitar I’ve ever played with more sustain was a thru-neck Westone Thunder (a very under-rated piece of kit itself).

Benford Custom

Plugged sound

I’d originally planned to go for plain old PAF humbucking pickups, although I did toy with the idea of P90s. When I mentioned this to Steve he pointed me in the direction of Seymour Duncan’s P-Rails. This is a pickup that combines a Fender-esque single coil, with a P90, that also gives series and parallel humbucker wiring options. The wiring scheme, taken directly from the Seymour Duncan website, offers an amazing range of sounds with a minimum of complexity. And from an aesthetical point of view, with no more than a pickup selector switch and two knobs, because I wanted to stay close to the Telecaster control layout.

It is a fairly traditional pickup selector, master volume and master tone, that’ll be familiar to anyone who has picked up a telecaster. The volume and tone pots each have push/pull switches and in combination to the work of selecting which of the pickup coils are used:

  • Both down – Humbucker with coils wired in series;
  • Volume down, Tone up – P90;
  • Volume up, Tone down – Single coil;
  • Both up – Humbucker with coils wired in parallel.

There are a couple of limitations with this wiring scheme:

  • No independent volume or tone for each pickup;
  • Not able to select different pickup type configs for neck and bridge at the same time, so, for example, it can’t do a bridge single coil plus neck series humbucker.

I preferred to accept this limitation rather than have additional mini-switches on the front.

When I had been thinking about using traditional PAF humbuckers, I briefly considered using concentric stacked volume and tone pots, so that I could put in a Les Paul type control scheme, but keep the look of the Telecaster.

The actual sound? Oh rest assured I’m absolutely delighted. It is such a versatile guitar. It can handle anything from razor sharp C&W twang with the bridge single coil to creamy PAF-esque jazz tones with the neck series humbucker – with almost every stop in between these two extremes. At the sharp end it is easily a match for my Telecaster although having this biting sound but still with the incredible sustain takes some getting used to.

Personal favourites are:

  • The bridge series humbucker through my wee valve amp with everything turned up to 10;
  • Neck humbucker through a clean amp for a warm, but still very clear and distinct, jazzy tone;
  • Neck and bridge P90s with the amp up full but the guitar’s volume rolled back just so it is on the verge of break up.

It is amazing how much difference the scale length makes to the feel of the guitar and it is taking quite a while to “recalibrate” my fingers. Bending strings is so much easier, without the string feeling “flappy”, even to the point where I can now do a whole tone bend on the A and D strings with my pinkie. This does have a downside because, on a more frequently used bend like a whole tone on the G string with my ring finger, I’ve now got a tendency to over-shoot and go too sharp. This is not just about the scale length though. The ultra smooth finishing of the frets has a big effect too.

One thing I may change eventually is the fret height. I specified Dunlop 6130 fretwire and whist the width of the fret wire is perfect, it is a fair bit higher than I’d thought it would be. This is not an issue above the 7th fret, but below that it shows up a flaw in my technique: my inclination to press the string down harder than is needed. If I hold a chord shape, say an open A, as I would normally, then as I press the string to the fretboard it is pulling the fretted notes sharp. Perhaps it is just going to require more personal “recalibration” and an improvement in my technique, so I’ll give it a few more months before I go for the more radical solution of getting the frets stoned flatter.

Benford Custom

The neck profile itself is a thing of beauty, and I’m not quite sure how Steve has achieved this. It feels both substantial and slim at the same time. Fast and solid and some bizarre hybrid of a classic baseball bat and Ibanez shredder’s neck. I think it is a combination of a fairly conservative depth (note the small “C” – real Conservatives are much thicker) and a slight “V” profile, although I don’t think the profile, in section, is symetrical. If forced to guess I’d say that the bass side of the neck is slightly rounder, and the treble side flatter. This no more than deduction on my behalf because I can think of no other way a neck could feel this substantial under the thumb and yet so fluid under the fingers. Of course the immaculate gentle satin finish also adds a massive amount to the neck feel.

For the first time since the Benford arrived, I picked up my Telecaster over the weekend. Despite this previously being one of the most playable necks I’d ever encountered, I was shocked by how hard it was to play in comparison to the Benford. The glossy laquer on neck and fingerboard just felt sticky and unpleasant. Way to go Steve – you’ve just ruined some of my favourite guitars for me!

Summary

As you can probably tell from the above, I’m a hugely satisfied customer. Just considering the intrument alone; if I’d walked into a guitar shop and bought this thing off the hook for under £830, I’d have considered that I’d got a damn good deal. When you add in all of the extras, the joy of designing it (with help and advice), the fact that it is a totally one-off original, the superb craftsmanship/care that has gone into every aspect of the build, I feel like I’ve walked away with the bargain of the century.

Benford Custom

Samples

Buying a guitar from Benford meant a box full of surprises

One of the great things about buying my custom Benford guitar was seeing the care and attention that Steve Benford put into it. Aside from the guitar itself and the 80+ emails that Steve and I exchanged, this is really shown with the extras Steve included.

First off was the superb SKB hard shell case, which I paid for but, at $50 is an absolute bargain. The cheapest I can get one of these in the UK is £105 (the equivalent of $157, at today’s exchange rate).

Then after taking out the guitar itself I found some small bits an pieces in the storage section of the case…

First was the standard set of allen keys for adjusting the double truss rod but… hang on a second, these have been modified. Steve explained that this is because he uses a neater/smaller design for the truss rod cover and shortening the allen keys makes adjustment easier. If there is one thing that sums up the extent Steve has gone to, to make sure he’s happy with every detail of the end product before it ships, this is it.

Allen Keys

Next were a couple of custom Benford guitar picks. A little thicker than the gauge I usually use, but great none-the-less, and looking at the colour, they’re going to be difficult to lose!

Picks

Then came a CD-ROM of the build pictures complete with a rather unflattering self portrait! Also included on the disc were loads of Steve’s own recordings which are definitely worth checking out. Some stunning stuff on there and you can listen over at MySpace.

CD

The last thing out was the metaphorical icing on the cake. Steve had taken an off-cut from the body wood and carved a pick box for me. I’m not quite sure why, but I shall be eternally grateful. It is strange but this small gesture is almost as important to me as the quality of the guitar itself and tells you all you need to know about Steve’s idea of customer care.

Pick box

If you’re thinking of spending more than $900 (or £800) on a decent guitar, then, before buying from one of the big box manufacturers, you really owe it to yourself to have a quick conversation with Steve first.

Guitar Neck Dimensions

When specifying my guitar build I had asked Steve Benford for “something like a 1959-60 Les Paul”. If I’d have thought more carefully about it I’d have realised that, as hand-made instruments, they all varied, and there was no standard dimension or shape, other than a broad similarity. Steve pointed me to this thread on the Les Paul forum.

To help me sort it out, I transcribed all of the neck dimension information into a spreadsheet, which you’re welcome to use, if it is of any interest for you.

You can see it at Google Docs.

Guitar neck

Guitar finished and shipped

So along the way, Steve Benford sends me loads of pictures as the build progresses. You can have a look at these on my flickr stream.

Then I get word from Steve that it has been finished and it is being left “to settle” for a couple of days before a final setup. Steve puts up the pictures of the finished guitar on his gallery. Another few emails to and fro and we settle on calling it “The Lestercaster”.

Seeing these final pictures, and getting the tracking number from Steve has just brought it home to me how close my dream guitar is now. As someone has pointed out to me, I’m like a kid on Christmas Eve because there’s every chance that it’ll get delivered today, although Santa doesn’t get stopped by customs. I’ve tentatively booked a day off work next Monday, because if it is has arrived I will not be able to tear myself away from it. [many thanks to Martin for planting that idea – good call!]

And for anyone who is interested, here are the specs that I agreed with Steve;

Body: London Plane (supplied by me) in a Telecaster shape with a natural oil finish. Carve for my forearm and beer belly and countersunk controls a la PRS.

Neck: Mahogony glued/set neck. 24.75″ scale with a 12″ profile and ebony fingerboard with no fret markers on the face. Dunlop 6130 fretwire. Neck profile is probably best described as a fat/medium depth with a slight “V”.

Hardware: Grover 18:1 locking machine heads. Graphtech nut. Tune-o-matic bridge and stop tailpiece. Knurled Telecaster style knobs. All hardware is black.

Electrics: a pair of Seymour Duncan P-Rails pickups with EMG style matt black covers (love the look but not the sound of EMGs). Master volume and tone both with push/pull switches. Both down for humbuckers in series. Tone pulled up for single coils. Volume pulled up for P90s. Both pulled up for humbuckers in parallel.