STAR LETTER
THE END OF VALVES?
In issue 460 of Guitarist there was a review of the new digital Vox Cambridge50 combo with its 6P1 Nutube in the preamp. This – alongside other developments such as the Kemper profiler and the recent, much-praised Fender Tone master Reverb modelling amp – begs a question: could valve amps soon cease to exist? As far back as the 60s, Vox themselves were ahead of the game producing solid-state amps they thought were the way forward, even ceasing valve-amp production – but not for long… There is a fear among the older players (and not so old ones) that something would be lost forever if these amps disappeared. The benchmark of tone and the classic voicings of the past would become blurred. As things are, only a small number of factories in the world make tubes. It’s interesting that Supro are still making tube amps... and have done since 1935!
Vince Leonard, via email
Thanks for sharing your thoughts, Vince. You’re right that valves aren’t being made in too many places at the moment – and, in fact, the relocation of one of the Chinese factories has further disrupted supplies. That said, if the world stopped making valves tomorrow there’d still be a good few kicking around in new or NOS condition for some time. So we’re probably not facing the imminent demise of valve amps for that reason, at least. What might drive a shift away from them is a fresh generation of players having different functional needs from their amps. As gigs become quieter and – post‑COVID‑19 – very thin on the ground for the immediate future, modelling amps that offer ultimate flexibility in the studio gain currency. If you’re not fully invested in the heritage and lore of valve amps already, as many younger players aren’t, then they make a lot of sense. However, as editor Jamie found when longterm‑testing the Kemper Stage recently, perhaps its more useful to think of them as complementary rather than competing technologies. In certain scenarios nothing is ever going to beat a little tweed combo – in others, you’ll probably find a good modelling solution helps you make music more easily. Interestingly, this issue features a valve amp from Revv that comes loaded with cabinet and power amp simulations to aid silent playing and recording – maybe the best of both worlds is what we’ll all settle on eventually.
KNUCKLING DOWN
I read with interest the letter from Paul in issue 460 where he upgraded pickups on a Japanese Strat but didn’t find any significant difference afterwards during A/B testing of the sound. Back in issue 449 I indicated my desire to do the same to an early 90s MIJ 62 reissue having read the earlier article where Neville Marten upgraded a MIM Strat and saw a marked improvement. While I realise that a guitar is the sum of all its parts, when I found my MIJ Strat, despite possibly not having the best wood quality, it sounded beautiful unplugged straight away. It was, however, a little lightweight, tonally speaking, when plugged in. I decided to carry on with the upgrades and after a constructive talk with the guys at Bare Knuckle, in fabulous Falmouth, I chose a set of late-60s-style Mother’s Milk pickups mounted on a mint-green ’plate with all the pots and fittings.
A good clean-up and new screws followed and once fitted to the guitar the sound was instantly better. This Strat has now become one of my favourites, being able to handle virtually any sound with just a volume/ tone adjustment. The guitar positively shines through a THR3011 at home, too. Anyone thinking about upgrading a basic guitar, I’d say go for it: mine has become at least as good as any USA Stratocaster vintage reissue I have owned for a fraction of the cost. It’s a definite keeper. Kevin Larcombe, via email
Thanks, Kevin. Like any part of what you might call the tone equation, pickups alone can never be a panacea for all the tonal ills of a bad guitar. But, all things being equal, they can certainly improve matters if carefully chosen. We remember swapping out a pair of stock pickups in an 80s MIJ Thinline Tele for some really nice ones by Cream T. The guitar was the same but now there was more ‘air’ and sweetness in its amplified tone; it was simply a more musical, beguiling instrument for the change. Clearly that was a good match‑up but, like pairing foods, not all combinations will work as well, so we’d certainly advise working with a really professional experienced company, such as Bare Knuckle to name but one, to find the best fit for you and your guitar. That way you stand a really good chance of making a pickup swap an actual ‘upgrade’ rather than just ‘different’.
BIRDS OF A FEATHER?
Hi, I frequently read the magazine and enjoy seeing the quality of the DIY kit guitars from readers that are featured. I had a go recently at a PRS-style kit guitar made using a Coban kit. I finished it using a Wudtone oil stain finish and installed a set of Wilkinson zebra humbuckers. Overall, it was a great learning experience, from gluing the neck to completing the wiring and undertaking the final setup. I only recently managed to iron out the final wrinkles of the floating tremolo – it caused a tuning issue – but all is now very stable after I balanced the tremolo with two additional springs. I even managed to get my signature on the headstock: a DIY signature guitar! Malachy O’Brien, via email
Thanks, Malachy, and congratulations on finishing such a handsome‑looking and relatively ambitious build. We think even Mr Smith himself might be a bit flattered by such a well‑turned‑out tribute to the guitars that bear his moniker. If it sounds as good as it looks, then you’ve crafted yourself a home‑built belter there.
CARL’S CLAW
I am a long-time Guitarist subscriber from Australia. I just received issue 461, which was so exciting, as I haven’t had one since the April 457 edition, due to COVID-19. I did get the email explaining that my missing issues will be delivered in due course, and I appreciate that. Thank you.
I was reading with interest the article on guitar setups [in issue 461], and I saw Matt Gleeson’s comment about setting up Strat tremolos (page 59). He says that he thought Jeff Beck set up his tremolo with the claw on a slant to give more tension on the bass strings. And that may be the case, but I was made aware of this method by Carl Verheyen several years ago, as he details in various YouTube clips, one of which dates back to 2011.
I use Carl’s trem setup on all of my Strats now, and it works a treat! As I said, maybe Jeff does set his tremolo up this way as well, but I think that Carl deserves some credit for this great idea.
Keep up the great work with the mag, and I look forward to receiving my back issues and future issues.
David Hinds, via email
To give Matt his due, he did mention that Carl was also a big exponent of this technique – though, to our shame, that
little bit ended up on the cutting‑room floor. Never mind, we’re more than happy to acknowledge Mr Verheyen’s role in popularising this little setup trick. His playing is stunning, too, so if it works for him and Jeff there must be something in it.
GAME ON?
Further to reading issue 461 of your wonderful magazine, it’s fantastic to see what people like myself have making during the recent lockdown.You mention a home-build guitar competition, for both kit and scratch builders. I have been making a scratch-built modern ‘T’ shape guitar and so far the process has been enjoyable, if a little challenging at times! My guitar is nearly finished and it would certainly be ready by the time you run the competition. I would love to take part.
Please find attached some photos [to the left is an in-progress shot]. Of course, I’ll send along a photo of the finished guitar when it’s complete!
Dan O’Sullivan, via email
Thanks for the work‑in‑progress pics, Dan, which look extremely promising. Okay, we’ve talked about it enough and your letter is the final spur we need to action. We’ll get the competition up and running in the next issue – and may the best home luthier win. We’ll likely have a category for acoustics, too, so no need to feel left out if that’s your passion. Look out for details next issue…
OPEN & SHUT CASE
Hello all! I wondered if you could run a feature on guitar cases – not gigbags – as they seem to be less available nowadays. Forgive me if you have run such a feature before, but I’m a relatively new reader of your splendid magazine. The thoughts that occur to me are, for example: Do guitar makers produce their own cases? Why are they so expensive? Why have they seemingly fallen out of popularity, despite their obvious superiority to bags in terms of protection and storage?
Chris Prior, via email
Great idea, Chris. We did take a look inside the Hiscox workshop a couple of years ago but a detailed look at the broader questions you raise sounds a great idea. Editor Jamie will be tackling the topic in his Raising The Tone column in coming issues. Also, your letter inspired us to start up a regular Readers’ Ideas box in these letters pages. Send us your best ideas for what you’d like to see in the mag and we’ll do our best to make them happen.