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Godin Core P-90

Thu, 24 May 2012 08:01:00 GMT

Godin is Canada's most prominent guitar manufacturer, the company's first solid electrics appearing over 20 years ago now.

These first guitars were along Fender lines, while later instruments adopted other influences, along with more original thinking. Launched earlier this year, the Core line obviously leans in Gibson's direction, although the end results avoid copy criticisms.

"The Core P-90's fat-sounding single-coils prove to be classy companions."

The Core's headstock recalls the gently curved, slimline shape seen on Gretsch solids from the '50s, while the neatly edged black face bears appropriate Godin and Core logos, plus a proudly prominent 'Made In Canada' legend. The contemporary-type tuners also carry the company brand and are chrome-plated to match the other metalwork, but small black buttons offer an effective cosmetic contrast.

A mahogany neck is glued-in and this follows in the construction footsteps of the Icon line, which was the first to depart from Godin's usual bolt-on neck join.

A nicely proportioned 'C'-profile provides a player-orientated handful, while the unbound rosewood fingerboard has small front position dots and sensibly large white side repeaters that ensure excellent visibility. It also features Godin's 'Ergocut' shaping, with rounded edges engendering a well-fingered feel.

The fingerboard's shallow 300mm (12-inch) radius and 629mm (24.75-inch) scale length, both Gibson staples, make for bend-friendly blend. The 22 frets fall on the slim side of medium but are all are nicely fitted and finished with consistently sleek tops and snag-free ends. The Graph Tech Tusq nut helps to eliminate tuning-induced creaks or jumps via smooth slots that are cut to optimum action depth.

The Core's body outline is a well-established Godin design, also employed across the company's Icon and Signature series, as well as on certain models in the Performer range. The upper bass bout meets the neck back at the 15th fret, but the deep cutaway contributes to a reasonably easy upper end reach.

In keeping with the Core's no-nonsense image, the body is flat on both front and back, apart from a small amount of rear waist contouring to add some creature comfort. Core construction is actually semi-solid (or 'chambered' at least), although the internal airspace isn't exactly over-apparent in terms of weight, which is an evenly distributed 4kg.

Timber choice maintains the mahogany theme, but the three-piece body boasts a maple face, with the review example's very plain grain visible beneath a somewhat speckled sunburst finish. This colour scheme is contrasted by broad cream binding around the front edge and the rest of the instrument is left in natural brown.

The evenly applied paint job is what Godin calls semi-gloss, although the end result is actually more of a satin sheen. This finish obviously helps to reduce production costs, but normal use will soon buff things up to a full shine.

Appropriately enough, the Core P-90 carries a pair of large, soapbar-style single-coils. As confirmed by the logos on the cream plastic covers, these are by Seymour Duncan, with a Vintage SP90-1 at the neck partnering a Custom SP90-3 located by the bridge.

Both sit in precisely machined, smooth-edged body cavities and it's pleasing to see that pickup angle matches the string slope, which isn't always the case on P-90-equipped instruments.

A black laminate pickguard adds another hint of Gibson and this influence is further emphasised by a control configuration that offers volume and tone per pickup, while a three-way toggle is predictably positioned on the left upper bout. The black control knobs are also from the Gibson school of design, while a cream switch tip matches the P-90 pickups.

Strings secure at a GraphTech ResoMax NW1 bridge/tailpiece, which is a wrapover type mounted on twin, height-adjustable studs. This shapely variation on traditional design incorporates a gently curving rear edge with grooves that keep strings centred, while a comfort conscious top employs six smooth-surfaced saddles. Each is individually adjustable for intonation and a grub screw at each end of the bridge facilitates overall angle alterations.

Strap buttons are Schaller Straplok-style and their small top flange doesn't offer a very secure anchorage. To perform properly, they require their partner strap-mounted locking sections, but, as usual, Godin doesn't include these important other-halves, which is a bit stingy on an £800-plus electric.

Sounds

The Core's semi-solid chambered construction may not be immediately apparent weight-wise, but it does contribute to an open and quite resonant acoustic character. This suits the Core P-90's fat-sounding single-coils, which prove to be classy companions. There's plenty of poke from both, but delivery stays well balanced across all three switching options.

Performance is actually better mannered than expected, with the pickups not as gruff, rough and ready as some P-90s can be. That said, the neck selection is still suitably sturdy, with a full-fat low end partnering nicely defined highs. The bridge alternative is tighter all round, with a gritty bass aided and abetted by middly muscle and extra attack. Combining both pickups automatically induces hum-cancelling operation, along with a nice blend of twang and chime.

Predictably, the Core P-90 really comes into their own when things start getting dirty. It lends itself to woody blues break-up, but under grubbier conditions it adopts a meaner alter ego, delivering extra grunt and snarl in equal proportions.

Pots prove very effective, with each benefiting from a consistently gradual sweep. The volume controls maintain the same sonic character when reducing output, while the tone controls smoothly slacken off treble content, taking on an almost acoustic quality that keeps the sound essentially mud-free all the way back.

This guitar is stripped to the essentials and is ideal as a rock machine. It succeeds with straight-ahead duties, but is also capable of meeting more subtle demands.

Similarly, while keeping things simple in style, fixtures and fittings, construction quality is far from basic, with precise woodworking partnered by exact component installation.

It has to be acknowledged that value for money could be keener – though street pricing ought to go some way to setting this niggle right. With this in mind, the Core series warrants more serious consideration by any player who appreciates an effective, combination of quality and simplicity in their guitar.

GJ2 Arete Four-Star

Sun, 20 May 2012 20:13:00 GMT

When the history of the electric guitar is written, Grover Jackson will surely merit a chapter of his own.

With help and foresight from fellow innovator Wayne Charvel, he took the concept of a customised, hot-rodded rock axe and made it a reality, first with Charvel and subsequently with Jackson guitars. Such was the impact of the instruments that were being produced at the time, you just couldn't be considered a bona fide guitar hero without sporting a guitar with Grover's fingerprints on it - just ask Eddie Van Halen and Randy Rhoads, let alone Alex Lifeson, Warren DeMartini and even Gary Moore.

"The mahogany of the Four-Star (perhaps aided by the relative lack of finish) ushers a lively tone with strong mid-range punch and depth."

Ironically perhaps, Grover ended up treading the same path as his former business partner in that Fender MIC now owns not only the right to put his name on guitar headstocks, but many of his design aspects too. Charvel has pressed on, producing small numbers of custom-made instruments under the Wayne Guitars brand for some time, but Grover has mostly kept to the sidelines.

Until now - as he launches the GJ2 brand in partnership with former Fender man Jon Gold. The range of guitars carries many of the hallmarks of the custom classics of yore - plus a twist or two.

There are two price-points, Four-Star and Five-Star and, as befits Grover's Custom Shop heritage, just about every part of the spec can be altered and refined to a player's specific needs. All of the tonewoods, pickup configurations, finishes, livery and hardware options can be chosen from an extensive list and are priced accordingly.

The more affordable of the initial two GJ2 options is the Four-Star, which includes a mahogany body and through-neck alongside the double humbuckers in the basic spec. The construction sees a solid sandwich of three strips of the tonewood run from the tip of the headstock to the strap pin; options on our example include Infinity neck inlays and black hardware.

This guitar also shows off the finish option of hand-rubbed oil on the bare wood. It's applied beautifully and extends all the way up the bound neck.

Naturally, this enables you to see the full construction of the through-neck, not to mention the quality of the mahogany; the guitar is built very tidily throughout.

The neck's dimensions are the same as those of the Five-Star, with a wide feel and topped with a conical, 254-356mm (10-14-inch) radius - and a pleasantly palm-filling girth. Some players will doubtless prefer the feel of the unlacquered wood; that's up to you - all we'd say is that this is among the most engaging rock axes we've played.

Sounds

The mahogany of the Four-Star (perhaps aided by the relative lack of finish) ushers a lively tone with strong mid-range punch and depth. With a driving rock amp, the neck pickups retain breath, almost Slash-like (albeit without the ultimate Les Paul girth). The middle single-coil does increase versatility: a traditionally lighter, Strat-style tone whether used on its own or combined via the five-way switch with the humbuckers.

The action is low, so much so that the Four-Star frets out on the neck pickup if you pull back too enthusiastically on the bar, and again there's a discernible level of Floyd Rose string warble: too much in our opinion. It needs more tension in the bridge, which is but a set-up tweak away.

We played some frankly stunning Arete prototypes at this year's NAMM show, packed with the no-holds-barred, early custom shop excitement factor that remains lacking from so many modern rock guitars. Some set-up issues mean that this production model falls short of that remarkable first impression.

Nonetheless it packs a great list of options from which to spec up your very own instrument - a cornerstone of the whole boutique deal. With the basic-optioned Four-Star coming in at £1,999, the cost is not insignificant, but neither is it unreasonable.

GJ2 Arete Five-Star

Sun, 20 May 2012 20:00:00 GMT

With the launch of the GJ2 brand Grover Jackson has made his return to mainstream yet high-end guitar manufacture. In partnership with former Fender man Jon Gold, has produced a range of guitars that mirror his custom classics of yore for Charvel and Jackson - but with a twist or two.

The first two GJ2 guitars are from the Arete line: the name comes from an ancient Greek word that broadly translates into both 'excellence in all things' and 'courage in the face of adversity'. There are two price-points, Four-Star and Five-Star, and as befits Grover's Custom Shop heritage, just about every part of the spec can be altered and refined to a player's specific needs.

"The Five-Star's basswood gives a well-balanced modern rock tone; with a driving rock amp, the neck pickups retain breath, almost Slash-like."

All of the tonewoods, pickup configurations, finishes, livery and hardware options can be chosen from an extensive list and are priced accordingly. Completing the package is a hard case resplendent in bright blue vinyl, and lined with what resembles Pokémon fur.

Among other things, the basic spec of the Five-Star range includes two GJ2 -made humbuckers and chrome hardware. On our review guitar, the options consist of the reverse headstock, a central single-coil, Infinity neck inlays and black hardware.

One thing that's also part of the basic spec is the body material used here - basswood. As with the Four-Star, the construction sees a solid sandwich of three strips of the tonewood run from the tip of the headstock to the strap pin, giving a through-neck that's flanked by solid wings.

Pickups are manufactured by GJ2 at its HQ in Laguna Hills, California, and both the humbuckers and single-coils are based around Alnico V magnets with 18/20 low carbon steel pole-pieces on nickel silver baseplates. Although named Habanero, which suggests a hot and fiery performance, the voicing is intended to be of a more vintage flavour.

They're selected by a standard five-way and controlled by master volume and tone pots that are capped by custom-made knobs.

"If we can make it we will, rather than buy standard parts," comments Gold, and even the pickup surrounds and cavity plates are machined from billeted aluminium.

The reverse headstock has an ebony cap, in keeping with the use of that wood for the fingerboard. The 'board itself, with its ivoroid binding, sports eye-catching pearl Infinity inlays on this example - dots are part of the basic spec.

Hardware here includes a double-locking Original Floyd Rose vibrato system, although a hardtail is available too. Gold also informs us that a seven-string is in the works.

Early Jackson guitars were well loved for their seemingly effortless playability and that's certainly the case here. The neck is mirror-smooth, finished in the same gloss black as the body - it's simply gorgeous to play.

With a wide feel and topped with a conical, 254-356mm (10-14-inch) radius, rock players are well served. Also notable is that where the more, shall we say, 'youth-orientated' brands now tend to go for waif-like necks, the GJ2s fill the palm more like old-school, grown-up rock necks.

There were tuning and set-up niggles out of the box; some perhaps down to transit and recent bonkers weather, and one down to a vibrato that's set up way too light. A quick string change and some tweaks solves all, just as any dealer would do.

Sounds

The Five-Star's basswood gives a well-balanced modern rock tone; with a driving rock amp, the neck pickups retain breath, almost Slash-like (albeit without the ultimate Les Paul girth), while the bridge pickup gives more of a late-'80s and '90s rock tone in the vein of Vai and Gilbert.

The middle single-coil does increase versatility: a traditionally lighter, Strat-style tone whether used on its own or combined via the five-way switch with the humbuckers. If you're approaching this guitar from a heavy rock angle, you might be interested in hotter pickups.

It's great to see Grover Jackson making guitars again. His instruments will attract serious interest from players in the high-end, boutique rock guitar market, which is still a very healthy and active part of the guitar world. Whether they shout loudly enough to be heard over the noise made by Suhr, Tyler and Anderson - not to mention the higher echelons of Jackson, Charvel and Ibanez - remains the killer question.

At £2,999, the Five-Star is a very serious investment, flanked by equally serious competition: life is going to be tough for GJ2 at that price, in the UK at least. However, it definitely has its own identity and feel among rock guitars - reason enough to try one.

EternaShine Guitar Scratch Remover

Sat, 19 May 2012 20:07:00 GMT

Anyone who wants to keep their instrument pristine knows how frustrating minor scratches and pick marks can be.

Normal polishes won't remove those, so many of us resort to more abrasive options, such as T-Cut, which can be too harsh for some finishes. EternaShine's Guitar Scratch Remover is a new solution.

The package includes two polishes, one slightly more abrasive than the other, for those small scratches, plus a microfibre cloth. EternaShine says there's enough polish for about 25 applications.

In Use

Designed for any modern gloss finish (not satin or older, worn finishes) we try it on our well-gigged Yamaha NCX2000, which is beginning to look a little tatty with a lot of marks that a casual clean hasn't removed. Using the coarser number two polish on the back where small scratches are clearly visible, along with lots of elbow grease, our favourite Yamaha soon looks much smarter, especially after a final application of polish number one.

While some of the marks did disappear, some where still visible, though seemed less obvious; to remove these you'd probably need good ol' T-Cut.

Super-Vee BladeRunner Tremolo System

Sat, 19 May 2012 19:59:00 GMT

Easily the most popular vibrato ever, the Fender Strat's waggle bar is not perfect, and one of its 'problems' lies in the relatively crude fulcrum point.

But now Super-Vee has come up with a unique solution: its Blade technology, a 'pivot' created by a small insert of industrial grade stainless spring steel. There is no actual pivot point to wear or prevent return to pitch, the flexible insert just bends as you move the arm.

Very nicely made with a lightweight aluminium block and an arm that screws into a nylon insert so it stays where you put it, the BladeRunner is a direct replacement for most Strat-style vibratos.

Simply remove your old vibrato and its six pivot screws and fit the BladeRunner - you only use the outer four screws but screw them hard down. The front on the vibrato doesn't move, it's the insert between that and the main vibrato block that provides the flex.

In Use

Fitted to our reference Road Worn Fender Strat there's a really nice lively resonance to the guitar - subtly different to the original vibrato. Things do feel a little stiffer: the arm stays put and you seem to need a little more push; but again it's subtle and after half an hour of playing, unless you like a really light vibrato feel, we think you'll adapt.

But it's the tuning stability that is most impressive. Our Strat feels (and sounds) well and truly upgraded!

Fender Johnny Marr Jaguar

Sat, 19 May 2012 19:02:00 GMT

Rarely have we come across a redesign of a classic instrument that is so thorough… yet still adheres so closely to the original!

Neck shape, body contouring, hardware, pickups and electronics have all been under the microscope of Marr and his design cohorts: UK repairman Bill Puplett, engineer John Moore and Tim Mills of Bare Knuckle Pickups. The body contouring is subtly different: the ribcage contour is longer but not quite as deep as the American Vintage or 50th Anniversary Jaguars; the forearm contour is slightly more rounded, and less angular than the other models.

"The neck pickup again goes for musical sweetness and the darker humbucking linkage of the combined coils is mellow, fruity and surprisingly big sounding."

If that's pretty marginal to the playing experience, the neck shape - inspired by Marr's favourite '65 model - is much more profound. In the hand it feels similar in the lower-fret positions but fuller as you move up the neck - 21mm at the first fret, 24.85mm at the 12th.

It also retains the original-style smaller vintage frets and the more curved fingerboard radius (like the American Vintage) making it feel even fuller than the dimensions suggest. These subtle changes have a huge effect: the neck feels more 'grown-up'.

The new bridge design swaps the threaded rod saddles of the Jaguar for the bigger, solid,
non-height adjustable Mustang saddles that sit flush on the bridge tray. The string spread of 56.5mm is wider than the 50th Anniversary - which is closer to 54.5m and, of course, you can alter this by moving the outer strings inwards and resting them in another adjacent thread.

The Mustang saddles just have a centre-placed string groove but this increased width means there's very little gap between the low E and the outer edge of the fingerboard the further up the neck you go. The bridge pivots in the same fashion, but nylon 'locks' prevent those needle-point screws from moving under tension - thus avoiding the decrease in string height that Marr had noticed and was confirmed by Puplett.

Another of Moore's engineering ideas was adding a nylon insert to the vibrato arm collar: the arm still push-fits but it feels smoother, more precise and more importantly absorbs any free play.

Marr has also ditched the dual rhythm/lead concept. This Jag has just one circuit: standard volume and tone controls and a four-position lever switch mounted on the smaller of the three chromed plates.

In position one, it offers just the bridge pickup; position two, bridge and neck pickups (in parallel); position three, neck pickup; and lastly position four, neck and bridge pickups (in series). We still have the slide-switch style of the original Jaguar to engage not one, but two, of the original's high-pass filters.

The top switch is the master filter (up engages the cut); the lower switch, mounted at a right angle, only works on position four where forward is on (ie it introduces the cut). Both these switches stick up less than the standard slide switches too, and are slightly more comfortable: typical of the thought and detail that has gone into this guitar.

Sounds

To get into Jaguar world we started our test with a new American Vintage '62. Initially it seems weedy, bright and a little bass-light. But dialling in a clean Fender valve amp tone with reverb, generous bass and some mid-range scoop, we're transported back to the '60s, surf 'n' all.

The high-end attack from the bridge pickup will get you heard in the densest of mixes, the twin pickup mix is more three-dimensional with added weight and a really percussive, almost metallic attack.

The neck pickup, which sort of sounds like a Strat's middle pickup, retains plenty of high-end with a more fundamental depth - it's certainly bright enough as a 'lead' pickup for many of us. Switch to the rhythm circuit and even with both roller controls full up it's like you've engaged a 'muffle' switch.

If the American Vintage takes us very nicely back in time, then the Marr Jag just wants to make music and write songs. The combination of all the tweaks, especially that neck, gives a superbly functional platform - yes, you still have to think about those slide switches - but that aside the four-way switch is just so useable.

The bridge pickup sound combines brights with a certain sweetness that's far from ear-wearing; there's a hint of out-of-phase to the combined position, which in a good way adds character, a little Tele-like with it. The neck pickup again goes for musical sweetness and the darker humbucking linkage of the combined coils is mellow, fruity and surprisingly big sounding.

Add in some modulation, delay and reverbs and you can create some huge soundscapes and, with some funky distortion added from front-end boost, tougher, classic Jag wiriness is no problem either.

There's Fender-aplenty in the sounds but, as Marr says, Grestch and Rickenbacker spring to mind, especially with a little tone roll-off. Above all though, the clarity, and the musical sweetness of the tones allow for complex chord voicings for jazzier rhythms or simpler soul and funk styles.

The Johnny Marr Jaguar is a thorough redesign from the perspective of a very busy working guitarist. Aside from the low E being rather too close to the fingerboard edge in higher positions, it's faultlessly built for purpose, addresses five decades of 'Jaguar-ness' and puts a decidedly leftfield design squarely back in the mainstream.

Yup, it's not cheap, but bearing in mind the USA build, lengthy R&D time, mechanical improvements and the simply superb-sounding Bare Knuckle pickups, it's hardly unreasonable. If you're drawn to the looks and distinctive voice of the Jaguar but have never got on with its 'faults', here's the guitar you've been waiting for.

Fender 50th Anniversary Jaguar

Sat, 19 May 2012 18:43:00 GMT

With a short scale length of 610mm (24 inches), a seemingly over-complex dual rhythm/lead circuit control array and a vibrato that appears low-tech at best, the Jaguar is a strange cat.

The 50th Anniversary Jag isn't a direct replica of the original: the pickups, as on the Classic Player Jaguar Special, have been given more output, the neck pitch slightly increased and the tailpiece assembly has been moved closer to the bridge by about 22mm (to, in theory, increase downward pressure on the bridge).

"On the 50th Anniversary Jaguar, the original's more delicate, highly retro and evocative sounds are replaced with a hotter tonality with quite an upper-mid push that clouds the 'Fender-ness' a little."

Then there's the bigger medium jumbo frets on the modern, flatter Fender radius fingerboard - 241mm (9.5 inches) as opposed to 184mm (7.25 inches). Visually though, it's pretty much the same deal.

The neck not only feels short, it feels quite thin, enhanced by a shallow 'C'-section - 20.7mm at the first fret, 22.8mm at the 12th. It's a tidy job though: the binding and block inlay features hark back to 1965 and 1966 respectively, the original '62 being dot inlaid and unbound.

Aside from the different location of the vibrato tailpiece, and the omission of the flip-up string mute that still graces the American Vintage model, the vibrato and bridge are virtually identical to the original. So we get the six threaded-rod saddles, adjustable for height and intonation, which sit in the tray of the bridge.

It rocks on the tips of two needle-point screws sitting in oversized body ferrules. The strings
top-load at the back of the vibrato assembly. Forward of that is a tension-adjustment screw for the large hidden spring and in front of that is the trem-lock.

When adjusted correctly, this can be moved backwards to stop the vibrato's up-bend, but not down-bend, without changing the overall pitch. The long arm simply push-fits into the protruding collar giving a slightly sloppy yet flexible feel, more Bigsby-like than the Stratocaster's more precise vibrato.

The Jaguar's pickups (with their distinctive 'saw blade' partial shields that help focus the magnetic field) direct-mount to the body, but are height adjustable. Fender has upped the output considerably. Using a DC ohm meter reading to measure the pickup output you can see the change: they're nearly double those of the American Vintage's pickups.

The rhythm circuit, engaged with the uppermost slide switch on the bass-side chromed control panel pulled up, voices just the neck pickup with its own volume and tone roller controls. Pushing that slide switch downwards engages the lead circuit, controlled by the conventionally placed volume and tone controls on the lower chromed control plate.

The third chromed plate houses three slide switches. The top switch (pulled up) voices the neck pickup, down is off; it's the same deal for the middle switch which controls the bridge pickup. The lower switch is a high-pass filter - down is off; when up, we lose some mids and lows for a brighter tonality.

Sounds

The high-end attack from the bridge pickup will get you heard in the densest of mixes, the twin pickup mix is more three-dimensional with added weight and a really percussive, almost metallic attack.

The 50th takes us on a different route. Those more delicate, highly retro and evocative sounds are replaced with a hotter tonality with quite an upper-mid push that clouds the 'Fender-ness' a little.

This pup is begging for gain so we don't stay too long in the '60s. And that's the strange thing: upping the amp gain and adding some front-end boost, the Jag takes on its more modern voice. Edgy distortion, wiry leads… it's nastier, punkier, way more CBGBs.

Ulimately, we have to ask whether this is such a bonus. The 50th Anniversary Jaguar is a nice piece, and takes us to a slightly more contemporary place, but does it really bring anything new to the table? It's pretty much just a USA-made version of the cheaper Mexican-made Classic Player Jaguar Special.

Egnater Armageddon

Mon, 14 May 2012 17:27:00 GMT

Bruce Egnater's Rebel, Renegade and Tweaker amps have raised the bar for build quality and tone.

Now two fresh heads have made it to the UK, the straight-up rock-oriented Vengeance and the three-channel Armageddon, with extra features focused on the more demanding and specific requirements of heavy metal.

"The clever master mid-range circuit makes it easy to sculpt the Armageddon's response for American or European metal flavours, with plenty of deep end to satisfy seven string users."

As you'd expect from the name, the Armageddon is a full-sized amp intended to make a lot of noise. It has a smart aluminium front with an LED light bar that illuminates the controls.

The amp features a heavy-duty steel chassis and 120-watt 6L6-powered output stage, fed by a pair of suitably massive transformers. The electronics are typical of the high standard we've come to expect from Egnater, with everything mounted on robust through-plated circuit boards.

There's one main board that holds the front panel controls and preamp valve bases, with smaller ones for the output valves, power supply and rear panel connections. It's common to see multi-pin connectors and ribbon cables for amps like these; however, the Egnater uses neatly bundled individual hook-up wires, improving reliability and making servicing easier.

Care and attention to detail is very evident in the way the amp has been designed and put together; it's built to a very high standard and should handle years of heavy use without any issues.

As you'd expect, the Armageddon's front panel is quite busy, although everything is in line with Egnater's familiar and logical approach. It has three distinct channels dedicated to clean, crunch and lead.

The latter two share bass, mid and treble controls, however, there are separate gain and channel volume controls with separate tight, bright and gain switches for all three channels, providing a lot of versatility from a relatively simple layout.

The Armageddon's master section features an ISP Decimator noise reduction circuit, global controls for density and presence (affecting the power stage's low and high frequency response) and a very clever master mid-range function.

Precise mid-range control is crucial to dial in the perfect metal sound and the Armageddon's master mid-range controls cut or boost mid frequencies. Moreover, this feature is assignable to any or all of the three channels using mini toggle switches on the Armageddon's seven-button foot controller.

Talking of control, the Armageddon is also MIDI compatible and in addition to channel changing, you can MIDI switch the reverb, Decimator, master mid-range and effects loop; there's also a handy mute function to prevent any unwanted noise.

The rear panel offers carefully protected mains voltage switching, a switchable effects loop with send and return level controls, plus an XLR connector for the six-button foot controller, along with separate external control jacks. MIDI in and thru sockets and a trio of reverb level controls - one for each channel - are present too.

There's also a pair of speaker outlets with switchable impedance, a speaker-emulated balanced recording output and separate bias controls, test points and HT fuses for both pairs of output valves. Although the Armageddon comes equipped with 6L6s as standard, there's enough bias range to cope with most common pentodes, including 6550s, EL34s and 6V6s.

Canny readers may have already figured out that the bias arrangement also allows you to mix different valves in pairs, so you can combine their sonic flavours to taste.

Sounds

The Armageddon switches on with very little background noise, indicating the circuits are well sorted. Egnater's trademark clean sound is quickly recognisable, with a shimmering treble, smooth mid-range and tight focused lows that have a satisfying snap to them.

There's plenty of clean headroom on the Armageddon's clean channel, with the second channel taking on more of the crunch function. As you might expect, the third lead channel really pushes gain and overdrive levels to the limit for some seriously good metal tones.

The Decimator noise reduction enhances things by replacing the usual hiss and hum heard in between staccato notes with complete silence and works seamlessly - in fact, we don't notice it until we switch it off.

Meanwhile the clever master mid-range circuit makes it easy to sculpt the Armageddon's response for American or European metal flavours, with plenty of deep end to satisfy seven string users. With 120 watts on tap, both amps are capable of serious volume, especially into their dedicated 4 x 12 enclosures, and easily cope with the cacophony of a live band.

The Armageddon is equipped with an excellent digital reverb circuit that adds space and definition to solo tones and has a clever 'spillover' effect that retains the reverb tail when you change channels. We were extremely impressed with the quality and range of tone it produced.

As with most of Egnater's range, this amp is made in China, but the build and component standard is as good as anything coming out of Europe or the USA and better than some. There is some stiff competition from the traditional leaders in this arena, but for sheer tone Egnaters are hard to beat.

The Armageddon is ideal for players who like to footswitch everything and it will seamlessly integrate with any MIDI-compatible effects unit. Yes it's expensive but you get plenty for your money - we think it's worth it if you need the extra functionality and versatility of three channels.

Egnater Vengeance

Mon, 14 May 2012 17:16:00 GMT

One of the world's top amp designers, Bruce Egnater has recently been enjoying a much higher profile in the UK and Europe; thanks to his very popular range of affordable heads and combos being offered though a top UK distributor. Now it's time to look at a head that Egnater hinted at over a year ago that has finally made it to the UK.

The evocatively named, two-channel Vengeance is aimed chiefly at straight-ahead rock. Accordingly, it sports a traditional appearance with a black front grille; if your tastes lean further towards metal you may wish to check our review of its sister amp, the Armageddon.

"The Vengeance's lead channel pours on the gain for a smooth and slightly compressed solo sound with just the right amount of harmonic bite."

The Vengeance has a straightforward control panel with two sets of gain, volume and EQ controls, and individual reverb level knobs. There are also two sets of tight, bright, mid boost/cut and hi/lo gain toggle switches, which considerably extends the EQ and gain range on both channels.

Over to the right near the mains and full/half power standby toggle switches there's a master section with global presence, density and master volume knobs, plus a second footswitchable volume control.

The rear panel offers carefully protected mains voltage switching, a switchable effects loop with send and return level controls, plus an XLR connector for the six-button foot controller, along with separate external control jacks. There's also a pair of speaker outlets with switchable impedance, a speaker-emulated balanced recording output and separate bias controls, test points and HT fuses for both pairs of output valves.

Although the Vengeance comes equipped with 6L6s as standard, there's enough bias range to cope with most common pentodes, including 6550s, EL34s and 6V6s. Canny readers may have already figured out that the bias arrangement also enables you to mix different valves in pairs, so you can combine their sonic flavours to taste.

Sounds

The Vengeance has Egnater's trademark clean sound, with a shimmering treble, smooth mid-range, and tight focused lows that have a satisfying snap to them. Single-coils and mid-heavy humbuckers are both easy to dial in, using the tight and bright switches.

The clean channel's gain switch is key to getting the sound properly dialled in, with higher gain settings switching between a hint of edge to serious crunch. The Vengeance's lead channel pours on the gain for a smooth and slightly compressed solo sound with just the right amount of harmonic bite.

It's perfect for modern and classic rock or high-octane Bonamassa-style blues - it sounds great with single-coils but really takes off when you use a decent humbucker. We tried the Vengeance out with a Fender Custom Shop Nocaster, a Strat fitted with lowish-output Duncan Alnico Pros, and a stock Gibson Les Paul Standard fitted with '57 Classics, and were duly impressed with the amp's clarity and ability to project each guitar's distinct tonal character.

The head is equipped with an excellent digital reverb circuit that adds space and definition to solo tones and has a clever 'spillover' effect that retains the reverb tail when you change channels. Overall, we were seriously impressed with the quality and range of tone the amp produced.

Aimed at dedicated amateurs and professionals, the Vengeance offers further proof that right now Bruce Egnater is building some of the best guitar amps in the world - and they're good value for money, too. It won us over with its ease of use and fabulous dynamic response.

The Vengeance is good enough to compete with products that cost over twice as much and is therefore excellent value for money. With top-drawer build standards, superlative tone and all the features you could ask for on a mid-priced rock head, Egnater has raised the bar once again.

Collings I35LC

Sun, 13 May 2012 20:04:00 GMT

For most high-end guitar makers, wood choice is everything.

But of late, Bill Collings has been hankering to try something different - something that Gibson got right when it made the ES-175 in the forties and the fabled ES-335 in 1958 - laminate instruments. While Gibson's laminates have varied in both number of layers and in material used - three or four, all-maple or maple/poplar/maple and so on - Collings wanted consistency of weight and tone so set about actually making his own, inspired by the dynamics and sonic range of Texan guitarist, David Grissom's, 1959 ES-335.

"Select the bridge pickup, strum an AC/DC-style open G chord, shake the neck slightly and heaven awaits. "

The result is the I35LC: a scaled-down laminate-bodied ES-335-style guitar. At just 381mm (15 inches) wide and 41mm at the rim, the Collings is noticeably smaller than its forbear (although similar in size to its later ES-336, ES-339 and more recent Midtown models).

"You have to admit," muses Bill Collings, "we are all swayed by design. There's a beauty to something that has the proper perspective, so we tried a few different horn shapes. Some early prototypes were too pointed and others looked like they had Mickey Mouse ears. We settled on a shape that worked well with the 15-inch body.

"Upper-fret access hasn't seemed to be an issue and we wanted something that worked well and looked good. As for the 15-inch body, we just wanted to make the guitar a bit more comfortable."

Like an original ES-335, a mahogany neck is set into the body, a long tenon ensuring strong contact, rigidity, mass and sustain. "Making the cutaways deeper would have affected the neck joint," Collings elaborates, "and we knew we wanted a certain amount of mass there."

High-grade Indian rosewood is used for the unbound, pearl-dotted fingerboard with its 22 medium oval frets and 43mm wide bone nut, while the asymmetrical peghead receives a classy ebony veneer facing, pearl company logo and a set of Gotoh tuners with stylish cream buttons.

Electrics and hardware ape the original in operation and layout, with lockable TonePros tune-o-matic bridge and stud tailpiece, plus a pair of Lollar Imperial humbuckers.

"We tried lots of pickups," offers Collings, "but decided to stay with the Lollars on the laminates. However, we wanted to distinguish them from the solid wood I35 models by enhancing the mid-range and increasing output.

"Since feedback is limited due to the laminate construction, we were able to use a little 'more' pickup. The solid I35 is so sonically active that it can get muddy with a higher wound pickup, so we use low winds for the solid wood models and standard for the I35LC."

It's all but impossible to find any fault with Collings' construction. The finish - stained brown on the back and only 'bursted on the front - is nitrocellulose, superbly applied, flatted and buffed.

Other touches we love are the offset cleft headstock design, the arrowhead truss rod cover, and how the rear body binding is elegantly sculpted around the body's heel.

Much has also been said about the playability of Collings necks and the I35LC doesn't disappoint. "It is our interpretation of a very playable late '50s neck," says Collings; "there's enough mass to have a great tone, but enough contour to be comfortable."

Strung with 0.011-gauge D'Addario strings, there's pleasing resistance yet enough looseness to prevent you from feeling 'shut out', as heavily strung guitars all-too-often do. To be honest, most people assumed they were 0.010s! A couple of players did comment on the slightly tight cutaway when reaching for tricky top-end bends, but for the majority those upper reaches shouldn't pose a problem.

The nature of the guitar lends itself to anything from straight jazz to classic rock, pop and of course blues. It's such an 'in-tune' instrument that open-position strumming, power chords and complex jazz shapes up the neck are equally well served.

Likewise string bends and vibrato feel entirely natural. There's nothing extreme about the LC's feel - simply pick it up and you're at home.

Unsurprisingly, the diminutive body size affects playability too: lighter in weight than a modern ES-335 and with reduced width and girth, it hugs the body that little bit better - this reviewer's own 50th Anniversary 335 feeling decidedly old-fashioned alongside it. Yet you still don't want to chuck it around like some metal axe - the LC retains that peculiar upmarket vibe that ensures you treat it with the respect that a great musical instrument deserves.

Sounds

Bill Collings has spoken about wanting the sound of "ripping cardboard" from his I35LC - something he hears in great old Gibsons. Well, there's a lovely 'dryness' about the guitar that makes it full and immediate.

Straight into a tweed Twin with no reverb or other effects and it sounds musical, right off the bat. Select the bridge pickup, strum an AC/DC-style open G chord, shake the neck slightly and heaven awaits.

Wind up the output volume and the guitar and amp work in tandem, getting better with every notch on the control. Back off a touch, flip to the neck Imperial and all the clichés come tripping out - 'flutey', 'woody', 'rounded' and yes, 'articulate'.

With the tone control wide open there's real air in the sound - "openness" as Bill describes. We have to presume it's the combination of fine materials and that "stressless" construction - along with Jason Lollar's fine pickups of course - that ties it all together. Experiment with the funkier middle position, then start exploring those all-too-rarely-used tone pots and all manner of vintage and modern tones emerge.

Whatever amp you use it with, we'd bet that the I35LC will make it sound as good any humbucking guitar you're likely to have tried – though the thorny subject of a price tag that nudges four grand cannot, of course, be ignored.

And while we could carp on about quality materials, high production values, low quantity output, painstaking build, boutique desirability and so on, such details - or excuses, if the business of high-ticket guitars passes you by - are irrelevant with a guitar like this in your hands and plugged into the kind of amp it deserves. Bill Collings and his team have created a superb guitar.

The concept of a smaller-bodied thinline semi is not new - Gibson even got there first - but to find one so perfectly reasoned and so stringently put together, makes one glad to be in this job. You could examine the I35LC for hours and not discern a flaw; play it all night and not find a bad sound, a choking fret or a dead spot (not unheard-of on semis).

But above all is a feeling that you may just have bonded with a new friend, or perhaps discovered a wonderful old relative you never knew existed. A stunning guitar.

Ampeg GVT5-110

Sat, 28 Apr 2012 19:18:00 GMT

Ampeg will forever be renowned as the bowel-quaking lord of the low-end, but the US builder has fingered the guitar pie convincingly with the GVT range and rams a useful five-watt grunt into this smallest member.

Next to the likes of Blackstar's HT-5R, it feels a little heavy, pricey and minimalist: you've only got a Master Volume, plus a Bass and Treble Baxandall EQ, although a bone is thrown to punters in shared accommodation by switchable 5/2.5-watt power modes. Round the back, you'll find the usual speaker out, but no effects loop, headphone socket or other deal-sweetening sundries.

"Past half-volume you're rewarded with a characterful, responsive bite, as well as the low-end you'd hope from the home of seismic tone. Dial-"

It's easy to crank a killer tone from this combo. The fusion of 12AX7 and 6V6GT valves can't go far wrong, and once you get past half-volume you're rewarded with a characterful, responsive bite, as well as the low-end you'd hope from the home of seismic tone.

Dial-spinners, though, may find the stripped ethos makes the amp limited; to state the obvious, the tone isn't exactly tweakable. Ampeg makes much of the Baxandall EQ (circuitry that means the frequency bands don't tread on each other's toes), but the benefits are undercut a little by the lack of a Mid dial.

The smaller speaker also doesn't shake the room as convincingly as a 12-incher, and the low power setting just doesn't have quite enough oomph.

Blackstar HT-5R

Sat, 28 Apr 2012 19:10:00 GMT

With the HT-5R, Blackstar has tapped into two universal human truths: everyone loves bargains and everyone loves buttons.

Priced £349, the HT-5R comes tearing out of the blocks with a super-spec, and the best news is that the manual's hot air translates into tangible results.

"Pushing into the red on the overdrive side unlocks a full-bodied, brown-sounding bark that eats up classic rock riffage."

Plugging in, you've got a choice of two channels, each with dedicated gain and volume, and both snapping at the Marshall Class 5's heels with a tone that made us achieve 'ear-gasm'.

On the clean channel, you've got a stunning shimmer-with-attitude that frays beautifully around the edges when you pick hard at higher gain, while pushing into the red on the overdrive side unlocks a full-bodied, brown-sounding bark that eats up classic rock riffage.

Admittedly, there's only one set of Treble, Mid and Bass controls to service both channels, but you'll forgive the HT-5R once you've dialled in some digital reverb, coating your licks in an atmospheric sheen. Blackstar's Infinite Shape Feature sounds like a gimmick, but it genuinely opens up the sonic palette, spinning your tone from a tight-bottomed US grind to a woodier British boom.

Where most of its valve brethren offer one tone, all these features stack up to give the HT-5R a real sense of versatility.

Washburn XM-DLX2

Sat, 28 Apr 2012 18:29:00 GMT

It wasn't so long ago that a guitar equipped with a go-faster set neck, Seymour Duncan-designed pickups and a solid mahogany body was something you'd work all summer for, washing cars and cutting lawns.

But these days, just rummage down the back of the sofa and you'll be on your way to convincing Washburn to part with one. The Chicago company's latest act of philanthropy is its XM series.

"With the gain cranked up, the bridge pickup is all responsive tight crunch, with a vibrant tonal response that's just the ticket for squealing harmonics."

Straight out of the case, the XM-DLX2 (pronounced deluxe, surely) is like an asymmetric throwback to Ibanez's ergonomic Sabre series, with a solid mahogany body carved judiciously to preserve the player's spine. There is no Floyd Rose floating vibrato to have today's yoof-gone-Wylde spending pocket money on Allen wrenches.

There's an appreciation of minimalism and pragmatism that runs through the guitar's unfussy design: twin humbuckers, a three-way selector switch, string-through body with a tune-o-matic style bridge. The electric guitar doesn't get much simpler than this.

The XM-DLX2 delivers instant gratification as soon as you pick it up. Wrapping your fret hand round a flattish, slim neck is reminiscent of Hagstrom's speedier offerings, and should be taken as an invitation for all intermediate shredders to super-size their arpeggios and take their playing to the next level.

Sounds

There are plenty of guarantors of quality that will help the XM-DLX2 punch its weight in a market where Jackson's Dinky and Ibanez's RG series offer stiff competition. With such bullish moves as to glue a maple neck to a solid mahogany body, fit Grover tuners and a tone-preserving Graph Tech TUSQ nut as standard, Washburn means business.

Though the sustain might not reach Les Paul levels of tantric eternity, it's not too far off, and tonally the XM-DLX2 is well-serviced by the Duncan-designed pickups.

With the gain cranked up, the bridge pickup is all responsive tight crunch, with a vibrant tonal response that's just the ticket for squealing harmonics. In the neck position, there's plenty of thickness and warmth.

Alnico magnets in a humbucker pickup should make you think vintage tone, with said pickups generally lower in output in comparison to their ceramic counterparts. But having proved capable, and indeed at home with rock and metal, it's great to learn that rolling off the gain emphatically proves that the XM-DLX2 is no one-trick pony; the neck pickup easily handles fat, rounded jazz/blues tones with the bridge pickup fluent in Skynyrd-esque raunchy pickin' country.

OK, we'd never send Washburn out to buy us fruit if this paint job is its idea of tangerine, the XM series has a carbuncle of a headstock - and it's a bit too dowdy to drop jaws when resting in the stand. Aesthetically, there are better guitars at this price.

But to moan about such things is to sound shallow when you're confronted by an instrument as good as this one.

Squier Vintage Modified Telecaster Special

Sat, 28 Apr 2012 18:11:00 GMT

If all guitars are girls, then this one is Zooey Deschanel.

Like Zooey, Squier's Vintage Modified Telecaster Speical is beautiful but kooky at the same time. And sure, the classic Tele look is there, but it's offset by modern sensibilities and a quirky, retro-styled twist: Classic Deschanel, in other words.

"Once you start experimenting with pickup combinations and amp settings you'll soon realise just how broad the range of tonal possibilities on offer here are."

This is a guitar for players who appreciate the versatility and tank-like quality of the common or garden Telecaster, but pine for something a little outside of the usual. That's what the Vintage Modified series is all about, really.

Most of us don't have pockets deep enough to stretch to anything of actual vintage these days, and finding something that has tone, genuine old-school charisma and that won't fall apart after a light thrashing isn't exactly easy.

But consider this: familiar Tele curves; silky butterscotch blonde finish with a hint of the basswood grain underneath; 50s-style bridge and black pickguard combo guaranteed never to go out of fashion; and a neck ripped straight from a Squier Jazzmaster, chunky medium-jumbo frets and all. Squier has put the effort in here - this guitar is light, poised, ready for anything and built to last.

Sounds

That pickup combination might raise a few eyebrows, though. The chunky singlecoil at the neck (Duncan Designed and also borrowed from a Jazzmaster) jars a little at first, but you soon forget that when you plug in. Full-bodied, growly with a bit of well-deployed distortion and handy for art-rock noise, chugging riffs and much more besides, it's got a lot of balls for a singlecoil.

Select the bridge pickup and it's back to business as usual Tele-wise, sharp and stinging in all the right places and pretty much perfect for anything from folk rock to funk. If you're considering buying one of these you're probably not planning on shredding your days away, but you could give it a bloody good go. Teles can do anything. True story.

The Jazzmaster headstock won't be to everyone's taste, and the machineheads look a bit on the cheap and cheerful side of things - but they hold their tuning well enough. The maple neck is a joy, comfortable and slick with well finished frets, and once you start experimenting with pickup combinations and amp settings you'll soon realise just how broad the range of tonal possibilities on offer here are.

It's often said that you can't go wrong with a Tele. They can cope with anything from post-punk to Peruvian pop, they look the part and most will outlive you.

It's the kooky girl at the party with the pretty smile and the faded Stones badge, and you won't regret taking it home for a second. The Deschanel formula - it works.

Ibanez AW3010CE-LG

Sat, 28 Apr 2012 17:53:00 GMT

You'd be forgiven for not being aware that Ibanez makes acoustic guitars.

Yes, as well as rib-bruising widdle machines there's a side to the Japanese luthier that takes in sensitive troubadours, the quiet bits in power ballads and even folk music.

"Hit the guitar with some feeling and it comes alive."

That said, you'll still know this is an Ibanez. The neck on this model is a slim specimen that's only a generous Sunday lunch fatter than that found on Steve Vai's signature JEM (in metric, that's 22mm at the first fret compared with 18mm on the JEM).

It's comfortably rounded at the lower frets and flattens off considerably towards the body, and that big cutaway enables you to get up close to the business end of the fretboard. Make no mistake - this guitar is meant for more than just playing Kumbaya by the campfire.

In the best anatomical tradition that gorgeous, playable mahogany neck is joined to an equally beautiful body. This is an all-solid wood machine, with mahogany back and sides and a beautiful, shimmery Engelmann spruce top. There are no rough edges here and no sharp fret edges that might snag the sleeve of your Aran jumper.

Sounds

Ibanez has followed the traditional dreadnought scale length of 25½ inches, which gives a nice snap and snarl to the strings, rather than the mellower feel that results from the 24¾" scale length used by Gibson. Combine this with a bone rather than plastic nut and bridge, a rosewood fingerboard and that spruce top, and you get an incredibly crisp, cutting sound with oodles of treble.

Tickle the strings for a crystal clear top end and chunky bass rather than mid-range - exactly what we'd expect from a dreadnought.

But the AW3010CE doesn't want to be tickled: it's a kinky little thing and it wants to be spanked. Thrash out some open chords, barre the neck up and down the fretboard and hit the guitar with some feeling and it comes alive.

That spruce top kicks out a hell of a sound, fizzing and vibrating with every touch - and the more effort you put in, the more you get out. Once you get over the novelty of this it really makes you think about dynamics, about how you're going to play, not just what.

The amplified tone doesn't match the acoustic sound, but if it did this guitar would cost a lot more and have an ugly great rectangle hacked out of the side, so we can't complain. Instead, it's best to think of it as a great acoustic that you just happen to be able to plug in when your band mates bugger off for a drink mid-set.

This really is a peach of an instrument. It knocks the socks off most of the competitors in its price range, and it's hot on the heels of guitars that cost far more.

ESP Horizon NT-II

Sat, 28 Apr 2012 17:39:00 GMT

The ESP Horizon series has proved an enduring victory for guitar design.

Introduced in 1986, it has aged well. That dagger-shaped headstock casts an instantly recognisable silhouette, with a level of threat, too.

"Five minutes with the NT-II is long enough to recognise the appeal that it has with metal guitarists"

Yet the NT-II is clearly reaching for the gentrified shredder and wears its quilted maple livery and antique Dark Brown Sunburst well - an ebony fretboard with a minimum of pearloid fills out an enigmatic guitar that reeks of class.

The NT-II comes well-equipped with a Seymour Duncan SH-4 (Jeff Beck model) in the bridge, and SH-1 ('59) in the neck. It's a classic pairing.

Sounds

The punch, attitude and expressive high-end of the SH-4 makes it one of the finest high-output passive humbuckers in the business. Even in high-gain scenarios, the SH-4 won't go shrill on you; it articulates your rhythm and lead work perfectly, complementing rather than compromising your playing.

The SH-1, as you'd expect, is channelling a vintage PAF tone. When selected, it provides log-fire levels of warmth with just the right amount of break-up, and is perfect for smooth, creamy overdrive. And where the SH-4 has the bite, an abundance of presence even in clean tones, the SH-1 is that bit more civilised.

Part of the raison d'être of the shred double-cut is versatility, and in the warm, spongy tones of the SH-1, the NT-II has an expressive range of cleans, aided and abetted with the coil-split for some single-coil subtlety.

Five minutes with the NT-II is long enough to recognise the appeal that it has with metal guitarists who want a guitar that has all the dynamics to handle clean, chimey arpeggios and ill-tempered, overdriven riffs alike.

The U-contoured neck, with a neck-through construction for added stability and tone, is slim without being so emaciated that your hand cramps after thirty minutes. The high-gloss finish does have a tendency to gum up with sweaty hands, but this is our only minor gripe.

Jaden Rose Tachyon 6

Sat, 28 Apr 2012 17:29:00 GMT

Its name might be unfamiliar to all but those guitarists ensconced in the progressive metal scene, where Jaden Rose and his brand have built a rep for its complement of seven and eight-string guitars.

But it's only a matter of time before the market en masse turns its attentions to the superlative work of this UK bespoke luthier. It's all about the wood for Jaden Rose - you could picture him wandering like Ray Mears through a remote forest, stripping bark and sniffing the wood underneath as he sources the raw materials.

"With an all-DiMarzio pairing of a ToneZone humbucker in the bridge and Air Norton in the neck, there's no way the Tachyon could sound anything other than jaw-dropping."

Here he has plumped for sapele for the body, chosen for its bright character. But it sure weighs a ton.

With a rock maple and sapele laminated mahogany neck bolted onto the body, the Tachyon6 is a real lump. It feels weird, with an open-grain finish more reminiscent of a rather lovely chest of drawers than a guitar, giving the body a sort of naked look. But then it's got to be all about the tone, right?

Sounds

With an all-DiMarzio pairing of a ToneZone humbucker in the bridge and Air Norton in the neck, there's no way the Tachyon could sound anything other than jaw-dropping. If the open-grain finish fails to woo your eyes it should win over your ears with little trouble; the Tachyon is warm, human and hugely compelling.

You can order a Tachyon with Crunch Lab/LiquiFire or DiMarzio Dominion Mark Morton signature humbuckers, but the ToneZone/Air Norton combo would take some beating, and it's perfect for funk, jazz and blues as well as raw-meat metal riffing and searing hot lead guitar.

Other super-smart features include a jack socket that points upwards, keeping the health of your cables in mind as you tuck it inside your strap, and the choice of Hipshot locking tuners affords the Tachyon great tuning stability.

Vox amPlug Twin

Sat, 28 Apr 2012 17:05:00 GMT

Vox's range of amPlug headphone amps has expanded once again.

The Twin offers those classy American cleans and crunchy blues leads we all know and love, with the addition of an optional chorus effect.

For the size of the actual units, the touch-sensitive tones really are very impressive, and the aux input is a handy feature. Highly recommended.

EC Custom The Mystical Sustainer

Sat, 28 Apr 2012 16:57:00 GMT

This little handmade noise box from Israel aims to provide you with a huge range of distortions, from a soft and subtle crunch to high gain rhythm and lead.

Low gain sounds are perfect for smouldering lead runs and crisp, crunchy chord work. If you're not interested in the higher gain sounds you'll only be using a small portion of this pedal's potential - but if you are, then hold on to your headstocks because you're in for a treat.

"Turn muddy into thick or hiss into sizzle; it really is up to you."

From thunderous waves of saturation to liquid smooth sustain, this pedal obliges and owes a lot of its mojo to the controls. The level control works almost like a boost, so you get the exact volume increase you're after when you engage the pedal. Switch between different combinations of level and gain for a feel of what this pedal can do.

The tone control works as normal, but from here the fine control enables you to tweak the frequencies even further. The clever thing about this is that it solves the problems that can arise on other pedals from dialling in too much of one area. Turn muddy into thick or hiss into sizzle; it really is up to you.

The Mystical Sustainer is great as a straight boost/drive pedal, and high gain tones this good are worth every last penny. Exceptional.

Dunlop Joe Bonamassa Cry Baby

Sat, 28 Apr 2012 16:49:00 GMT

The JB Cry Baby, unveiled at the NAMM Show in January, features a number of tweaks designed around Joe's personal preferences.

For starters, the pedal has been designed with an especially large vocal sweep. Controlling the extended range may take some getting used to, but the tone has been balanced perfectly, so you'll soon find oodles of expression and control at your disposal.

"The tone sings with plenty of mid-heavy oomph to get you noticed"

The tone sings with plenty of mid-heavy oomph to get you noticed, but also has a snarling, throaty side to it that supposedly comes from the implementation of a Halo inductor, a prized component that was common on early Vox wahs. Other than the tone itself, this Cry Baby also features an output buffer, which means it'll work much better with the kinds of vintage pedals that Joe adores.

The pickiest of tone-hounds can often spend hours debating the use of true or non-true bypass, and the good news is that Dunlop has seen fit to include both, thanks to a switch hidden beneath the base plate.

Dunlop has no less than nine signature Cry Baby pedals currently wailing away in its catalogue. So is the JB any different?

Well, the fact that it's the only model that sports the ever-desirable Halo inductor, in conjunction with the extended range and clever extras, means we're inclined to say yes.

Fender Kurt Cobain Mustang

Sat, 28 Apr 2012 16:36:00 GMT

When Fender released the Kurt Cobain Jaguar last year we were blown away by just how brilliantly it had recreated the guitar that the Nirvana frontman played throughout the Nevermind tour. It was a triumph, plain and simple.

Now, as much as Kurt loved his modified '65 Jag, it wasn't his only guitar. He also loved the 1969 Fender Lake Placid Blue 'Competition Stripe' Mustang (serial number F279651) that he thrashed in the Smells Like Teen Spirit video. Naturally, when we heard that Fender was set to release a '69 LPB Mustang with a couple of classic Kurt modifications we began to salivate at the prospect of a faithful replica of just about the most iconic electric guitar of the past 20 years.

"Anyone with a fondness for snotty garage punk riffs or trashy White Stripes or Black Keys style blues will love the tones on offer from the KC."

If you're anticipating a 'but', here it comes. The new Japanese-made Kurt Cobain Mustang is not a spot-on tribute like the tastefully executed Jaguar. Yes, the Dark Lake Placid Blue finish is correct, ditto the blue three-line 'Competition Stripe' that runs across the front of the contoured body.

That's great but there are some big differences between the two. While the new guitar has a plain wood headstock, Kurt's guitar was one of the original run of Mustangs with its 'stock' colour-matched to its body.

Also, unlike his other Mustangs, Kurt didn't modify his '69 with a Seymour Duncan SH-4 JB humbucker in the bridge position. He loved the guitar too much to start chiselling holes in it, bless him.

The direct-mounted (aka screwed to the body) JB humbucker pickup is the most conspicuous tweak on the new KC Mustang. The bridge is another.

In one of Kurt's favourite mods he famously switched the stock unit on his Mustangs (the '69 included) for a Gotoh tune-o-matic. Fender has used its own fiendishly renamed Adjusto-Matic version on the KC.

Kurt didn't care too much for the Mustang's Dynamic Vibrato unit either. Not many Mustang players do. He had his tech Earnie Bailey convert his Mustangs to hardtail spec by modifying the vibrato with a bunch of metal washers.

The reason is obvious as soon as you wobble the arm on the KC 'Stang. It won't stay in tune no matter how much you stretch the strings.

Sounds

Where this Mustang does excel is in its tonal variety. The quirky on/off/on pickup slider switches serve up ice-pick sharp out-of-phase, sweet clean neck single-coil and spiky humbucker tones.

We love that the JB never strays into metal territory even on the highest gain settings. Anyone with a fondness for snotty garage punk riffs or trashy White Stripes or Black Keys style blues will love the tones on offer from the KC.

If you fancy a Mustang but don't feel Kurt's mods, take a look at the '65 reissue (£934) with its period-correct slab body, Dynamic Vibrato and single-coil pickups. Alternatively, the twin-humbucker Pawn Shop Series Mustang (£838) replaces the pesky 'Stang vibrato with a stable hardtail bridge.

But as great as those guitars are, we'd be most tempted by the tonally versatile and frankly great-looking KC Mustang. OK, the tuning stability blows if you use the vibrato. Solution: don't use it.

It's also bloody expensive, but shop around and you'll pay around £750. Problem solved.

Rock Slide Swamp Slides

Sat, 28 Apr 2012 16:22:00 GMT

More than just a pretty face, Rock Slide's bronzed brass Swamp Slides feature an ingenious tapered interior, meaning the slide gets thicker closer to your fingertip, making for a snug fit and a wonderfully warm and sustaining tone, even with the smallest model.

The cutaway at the bottom enables you to bend your fingers easily, and the indents at the side keep wobbling to a minimum. Best of all, the aged finishes are also completely smooth and have no negative impact on tone or playability whatsoever.

Vox amPlug Night Train

Sat, 28 Apr 2012 16:12:00 GMT

Vox's range of amPlug headphone amps has expanded once again.

The Night Train emulates the Bright and Thick channels of the titular Vox amp, specialising in high-gain classic rock but also sneaking in some decent clean sounds.

For the size of the actual units, the touch-sensitive tones really are very impressive, and the aux input is a handy feature.

Bizzy Bee Contact Mic

Sat, 14 Apr 2012 12:27:00 GMT

You'd think the days of the lo-tech, humble contact pickup would be well over.

Bizzy Bee doesn't think so and this piezo transducer sticks onto your instrument with a supplied mini ball of beeswax. A thin diameter RCA-to-standard jack lead (2m long) is also included and it comes in a little bag, which is also handy for removing the beeswax residue from your guitar.

In Use

Obviously if you want to amplify an instrument without an onboard pickup, the Bizzy Bee works well. It seems to have a pretty wide frequency response but that will depend on its placement.

The RCA plug is quite a loose fit so you might want to secure that before you head to a stage. We're also not convinced that beeswax is the best material but, hey, it seems to work.

However, you can use it to augment the pickup system you may already have, primarily to add 'body' to a soundhole or piezo system both for performance or recording. We got some very lo-fi sounds from a Taylor GS Mini by placing it just behind the bridge; or added body sounds for percussive techniques by placing further towards the body's edge. Back of the headstock for a brighter, thinner tone? No problem.

While the fixing and trailing lead seem a bit Heath Robinson for serious gigs, it works well in terms of sound.

Ahead Custom Molded Earplugs

Sat, 14 Apr 2012 12:14:00 GMT

The one thing that would impair anyone's enjoyment of playing and listing to music is hearing damage, and it's frightening how little time it takes for your ears to start ringing if your amp's just a little too loud or your drummer overly zealous.

There's a wide array of ear plugs and defenders available today, but what sets this product apart is it's wholly customisable to the unique shape of your outer ear canal, thus giving extra protection.

Here you have a pair of small pots that contain two samples of a substance that feels a little like rather greasy Blu-Tack and, when combined together, hardens to form a pliable material that can be pressed - gently - into your ears. Wait for 10 minutes to allow it to cure to the consistency of rubber, carefully remove and - voila - a pair of pliable custom earplugs.

In Use

The system has a Noise Reduction Rating of 26 decibels that, on a scale of zero to 34, isn't bad and, as you'd expect, does reduce the amount of sound actually hitting your beleaguered tympana.

As is almost always the case, though, they also siphon off significant chunks of your carefully constructed tone, and if you dabble in vocals, can affect your ability to sing in tune.