Star Letter
Cutting remarkS
Your review of the Boss Katana Artist in issue 432 refers to players who prefer valve amps as ‘diehards’. I am simply insulted that the reviewer uses this term. I’m sure Watford Valves and Hot Rox who rent advertising space from you, whose stock in trade are thermionic valves, are also insulted. Guitarist has done articles on valve technology on many occasions, reviewed valve amps and eulogised about their tone. Many top guitarists use valves – and the Fender Deluxe remains one of the biggest selling amps. In the 70s, ‘transistorised’ became a buzzword, yet here we are almost 50 years from the HH IC100 and we still have valves and the amp manufacturers still want to incorporate the humble valve in their circuit designs. So, yes, you could buy a Boss Katana, which has valve amp leanings – or you could buy a valve amp. Michael Channer, via email Stop mincing words and tell us what you really think, Michael! Joking aside, we think you might have missed the tongue-in-cheek spirit in which reviewer Nick Guppy used that term ‘diehard’. No one is more passionate about valve amps old and new than Nick is, so if it’s a joke at the expense of guitarists who enjoy using them it’s a joke that is most definitely on him too. Editorially, we’re anything but ‘over’ the allure of valve amps, both as music-making tools and as objects of desire – as you tellingly point out, the pages of Guitarist are full of features on the same. That’s because we love ’em, so please don’t take the term ‘diehard’ too much to heart.
However, we do think it’s also worth showing how modelling amps can open new doors for guitarists – be it the convenience of a lightweight, multifunction combo such as the Katana or the ultimate versatility of high-end profiling amps, such as Kemper’s well-known wares. The only thing we’re against is having a closed mind – so, in fact, we seem to be furiously agreeing with each other!
We hope the Star Letter prize of a Korg Pitch Black Custom Tuner will help you see the lighter side...
PearLS of WiSdom
I read with interest your article in Guitarist about building a Tele-style guitar from a kit (see Boston Teaser review, issue 432) as two months ago I did the same thing.You indicated how easy it might be to customise the finish on one of these kit guitars, so I thought I would tell you about what I tried. I bought the kit from Gear4music because this was the only outlet I found offering a Les Paul-style body. I needed this style of body because I wanted to try and do a Zemaitis-style pearl front. First, I filled in both the pickup cavities and made a new cavity for a DiMarzio humbucker I had spare. Then I routed out a recess about 2.5mm deep to take the mother-of-pearl pieces that would cover the top.
Next, I found several manufacturers of bathroom tiles that produce small mother-of-pearl tiles, attached to a backing sheet. The only drawback is that if you buy them new the minimum purchase is several square metres of tile. However, I found people selling leftover quantities of such tiles in small amounts, on eBay. As a result, I was able to get a sufficient quantity of two contrasting tile colours for about £30. Each tile was then individually cut to the required shape using a Dremel-type drill fitted with a diamond cutting wheel. The trimmed-down tile pieces were then stuck down with adhesive and the spaces left
between the tiles filled with grout. You can see the results in the accompanying picture.
The result? Well, it turned out that the body was in fact softwood – and to be honest the guitar doesn’t sound fantastic. I bought the ‘cheap’ kit in case I made a mess of it and wasted a good body. However, I was pleased with the way the guitar looks and perhaps I should have bought a mahogany body from someone like Warmoth in the States. Paul Hilton, via email Thanks for sending pics of your stunning work in Paul – your Zemaitis-a-like really looks the business and, even if it doesn’t sound as good as it looks, we agree that’s the perfect justification for having another go with a body blank that’s a bit more upmarket. But in the meantime, that cheap kit sounds like it’s provided an absorbing project and some interesting insights into the luthier’s art. Has anybody else got any good home-build stories? Tell us about them, preferably with pics, and we’ll print the best here.
SWeet CharitY
I read your invitation to readers to share their stories of charity-shop and second-hand guitar finds and thought you might like my story. Two years ago I was driving past my local charity shop on a Sunday and, as always, glanced across see if there was anything guitar-shaped in the window. There was, so I stopped to investigate. I saw what appeared to be a Tokai Stratocaster-style electric towards the back of the window but I couldn’t see clearly enough and the shop was closed. The next day I was outside the shop in time for it opening. The guitar was indeed a Tokai Strat copy and the shop wanted £200 for it. They’d obviously done some research and knew it was a cut above the average Strat copy they see on a regular basis but that was about it. As an avid amateur guitar historian I knew of the 1980s ‘lawsuit’ Tokais but I’d never seen one. Could this be one? I still wasn’t certain but the guitar was in fantastic condition, played really well, and as I was feeling charitable, I decided to take a risk and parted with £200.
After more research and taking the thing apart I found that my guess was correct. It is indeed a Tokai Goldstar Stratocaster from 1984. It’s not as collectable as the models from the previous years (before they changed the logo slightly), but is still a pretty accurate recreation of an early-60s Strat, which of course is what Tokai were aiming to build.
A friend has a real ’62 Strat and I think the Tokai is very close in feel, build and tone. It’s a lovely guitar to play and probably worth about £500 but I’ll never sell it. It just goes to show there are still some gems to be found out there. Graeme Harper, via email An 80s Tokai for a couple of hundred quid is a good catch, we’d say, Graeme. Well worth taking a punt on, especially as such guitars are rising in desirability and value. There’s nothing like the excitement of making a bit of a find and getting to it before someone else snaps it up.
SkY faLL
John Mayer’s latest signature model guitar, the PRS Silver Sky has, I think, left Fender fans feeling like he’s cheated on them. The Silver Sky is a good-looking guitar, but it’s hard to get the image of a Strat out of your head, so I can’t help but be slightly disappointed each time I look at it. The non-Fender headstocks can remind you of the cheap alternatives knocking around – yet when the price tag is as high as it is, it’s important that what you’re looking at makes you think it’s ‘worth it’. What keeps me looking at my Fender Jazzmaster is the awesome body shape, and the Olympic White finish. By contrast, what keeps me looking at the Silver Sky is the desire to reconcile what I feel is an awkward pairing of the Strat body with the PRS headstock.
Your review in issue 432 was helpful in telling the story of how and why this guitar was created. The attention to detail is admirable, and gives the guitar character in itself. However, John Mayer is as liked for his style as much as his guitar playing – yet, to my eyes at least, the guitar doesn’t look quite as cool or as original as its creator. All this controversy, however, should mean one thing, though — in 50 years’ time guitarists will be talking about the time PRS made a Stratocaster with John Mayer. It’s one for the history books, I guess we will have to wait and see what will be remembered about it. This is the first issue I’ve read of your magazine and I loved it. The design is spot on too! Joel Clements, via email Thanks for your thoughts, Joel. The Silver Sky has attracted its share of rotten tomatoes – yet PRS is, by all accounts, overwhelmed with orders. A reminder, perhaps, that there’s no such thing as bad publicity! Also, regardless of how you feel about its looks or undeniably Strat-inspired features, the PRS is a deftly executed, highly playable guitar. And even the harshest critic of the Silver Sky can’t claim it’s the first time the Strat has inspired clones by other makers. Over time, certain legendary designs become archetypes that other makers simply have to address or risk creating a gap in their own range. With that in mind, we’ve rounded up 20 Strat-style guitars and reviewed them alongside Fender’s original. Turn to page 88 to see how they stack up.