In response to my koa & pau ferro demonstration I received a number of questions about how koa compares to mahogany.  Since I think the tones should speak for themselves I decided to put together this comparison.

Click here to view the video on YouTube.

The Gear:

Guitars:
Suhr Standard (natural finish)
Koa Body, pau ferro neck and fingerboard

Suhr Standard (tobacco burst)
Mahogany body & neck, maple top and Brazilian rosewood fingerboard

Both guitars have identical Suhr pickups: DSH – bridge, V60lp Middle, DSV neck

Amp(s):
CAA OD100 Classic + (all but final high gain clips)
David Friedman “Hairy Brow Eye” Modded Egnater Seminar Head (final high gain clips)

Cab: CAA 1×12 with Eminence Governor

Recording gear:
Mic: SM57
I/O & mic pre: MOTU 896
Software: Ableton Live & Final Cut Express

After trying to explain in words some of the inherent qualities of a guitar with a koa body and a pau ferro neck and fingerboard (similar to Reb Beach’s favorite instrument), I decided to put this video together demonstrating a guitar featuring these very tonewoods. This example covers clean, low and high gain scenarios to highlight how these woods work in different genres of music.

Click here to view the video on YouTube.

Guitar: Suhr Standard, Solid Koa Body, Pau Ferro neck and fingerboard, Pickups: DSH – bridge , V60lp Middle, DSV neck

Amp(s): CAA OD100 Classic + (all but final high gain clip), David Friedman Brow Eye Modded Egnater Seminar Head (final high gain clip)

Cab: CAA 1×12 with Eminence Governor

Effects: Z.Vex SHO (for clean boost section), TC Electronic Nova Delay & Line6 Verbzilla – effected clean section, Xotic Effects BB Preamp for 1st High Gain clip

Recording gear: Mic: SM57, I/O & mic pre: MOTU 896, Software: Ableton Live & Final Cut Express

A while back I wrote this post concerning the differences between alder and swamp ash when used in a strat-style guitar and what tones/genres of music those combinations suited best. I originally wrote that post to satisfy my own curiosity, but also to share with others and participate in discussion. Three years later it is still the most searched topic on this site and continues to bring in a steady stream of traffic. Apparently I’m not the only one curious about these things….

Since I wrote the original post, I realized that I was missing a big chunk of the puzzle: how the wood the neck and fingerboard were made from influence the tone of the instrument. I realized the only way to truly see this was by comparing the two most popular neck wood combinations for a strat-style guitar (maple neck with rosewood fingerboard and one piece maple neck & fingerboard) on the same guitar.

To conduct this comparison I used two Suhr Classic guitars with identical electronics (V60LP pickups and the Silent Single Coil system). One was alder with a one piece maple neck and the other, swamp ash with a maple neck and Brazilian rosewood fingerboard. I recorded both clean and dirty passages utilizing every pickup combination on each guitar, then swapped the necks and repeated the process.

note: swapping necks on a Suhr guitar will void your warranty if the factory doesn’t perform the work.

What follows below are the audio clips organized by pickup position so that you can  compare the sounds of the different wood combinations within the same context.

NECK POSITION – CLEAN TONES

Alder Body – Once Piece Maple Neck

Alder Body – Maple Neck with Brazilian Rosewood Fingerboard

Swamp Ash Body – Once Piece Maple Neck

Swam Ash Body – Maple Neck with Brazilian Rosewood Fingerboard

NECK POSITION – DIRTY TONES

Alder Body – Once Piece Maple Neck

Alder Body – Maple Neck with Brazilian Rosewood Fingerboard

Swamp Ash Body – Once Piece Maple Neck

Swam Ash Body – Maple Neck with Brazilian Rosewood Fingerboard

NECK + MIDDLE POSITION – CLEAN TONES

Alder Body – Once Piece Maple Neck

Alder Body – Maple Neck with Brazilian Rosewood Fingerboard

Swamp Ash Body – Once Piece Maple Neck

Swam Ash Body – Maple Neck with Brazilian Rosewood Fingerboard

NECK + MIDDLE POSITION – DIRTY TONES

Alder Body – Once Piece Maple Neck

Alder Body – Maple Neck with Brazilian Rosewood Fingerboard

Swamp Ash Body – Once Piece Maple Neck

Swam Ash Body – Maple Neck with Brazilian Rosewood Fingerboard

MIDDLE POSITION – CLEAN TONES

Alder Body – Once Piece Maple Neck

Alder Body – Maple Neck with Brazilian Rosewood Fingerboard

Swamp Ash Body – Once Piece Maple Neck

Swam Ash Body – Maple Neck with Brazilian Rosewood Fingerboard

MIDDLE POSITION – DIRTY TONES

Alder Body – Once Piece Maple Neck

Alder Body – Maple Neck with Brazilian Rosewood Fingerboard

Swamp Ash Body – Once Piece Maple Neck

Swam Ash Body – Maple Neck with Brazilian Rosewood Fingerboard

MIDDLE + BRIDGE POSITION – CLEAN TONES

Alder Body – Once Piece Maple Neck

Alder Body – Maple Neck with Brazilian Rosewood Fingerboard

Swamp Ash Body – Once Piece Maple Neck

Swam Ash Body – Maple Neck with Brazilian Rosewood Fingerboard

MIDDLE + BRIDGE POSITION – DIRTY TONES

Alder Body – Once Piece Maple Neck

Alder Body – Maple Neck with Brazilian Rosewood Fingerboard

Swamp Ash Body – Once Piece Maple Neck

Swam Ash Body – Maple Neck with Brazilian Rosewood Fingerboard

BRIDGE POSITION – CLEAN TONES

Alder Body – Once Piece Maple Neck

Alder Body – Maple Neck with Brazilian Rosewood Fingerboard

Swamp Ash Body – Once Piece Maple Neck

Swam Ash Body – Maple Neck with Brazilian Rosewood Fingerboard

BRIDGE POSITION – DIRTY TONES

Alder Body – Once Piece Maple Neck

Alder Body – Maple Neck with Brazilian Rosewood Fingerboard

Swamp Ash Body – Once Piece Maple Neck

Swam Ash Body – Maple Neck with Brazilian Rosewood Fingerboard

A while back I had the opportunity to attend Bruce Egnater’s amp building seminar at his shop in Berkley, Michigan.  During this class we learned about the basics of amp building and were taken through the step-by-step process of assembling our own amp – a Mojo Tone JTM45 kit who’s circuit was tweaked by Bruce Egnater to mirror his own design from his modular series (according to Jeff Hilligan its the “3″ in the EG 3/4 module with more gain) .  Premier Guitar Magazine was on hand to cover the event and I was featured in this video demonstrating the capabilities of the amp we had constructed.

As much as I enjoyed the experience, once I got the amp home I had difficulty incorporating its tones into my sound and playing style.  As described by the folks at Egnater, the EG 3/4….

Here in our worldwide headquarters, we asked what would happen if we were to take the SL2 and smooth it out a bit for soloing. We darkened it up a bit, and added a touch of mid range emphasis, and created what is the perfect sound for mic’ing through a p.a. system (which is more and more common for you guys that gig regularly).

Channels A and B were taken from the acclaimed Egnater TOL amplifiers and act as great rhythm and lead channels for guys who favor a lead tone that is a little smokier.

Here’s an example of what the stock Egnater Seminar Head sounds like:

Stock Egnater Seminar Head

Since I found this voicing to be too compressed, dark and saggy for my tastes, the amp sat for some time as the backup that never got played.  Fast forward about a year or so and I became aware that David Friedman of Racksystems was offering his services to mod these amps.  After hearing some pretty amazing clips of his “Brown Eye” and “Hairy Brown Eye” mods on a number of sites and speaking with David at length about what type of sound I was looking for (tight, focused, punchy yet warm), I knew I had to have my Egnater seminar head modded to give it new life.  After all, David is Eddie Van Halen’s rig guru so I knew the amp would be in good hands.

As my #1 amp for the last few years has been John Suhr’s OD100 Classic Plus (under the Custom Audio Amplifiers moniker), I though it would be great to compare these two amps so that folks to hear some of the differences and see what they do well.

Guitar used was a Gibson Les Paul VOS “G” ’60 with stock Burstbucker pickups but upgraded with the RS Guitarworks vintage upgrade kit.  Cab was a CAA 1×12 loaded with an Eminence Governor.  Mic was a Shure 57.  I/O was a MOTU 896.  DAW is Ableton Live 8.  I switched between the amps using a Custom Audio Electronics Amp selector.

CAA OD100 Classic Plus Ch 2

CAA OD100 Classic Plus Ch 2 Boosted

Friedman Modified Egnater Seminar Head – Brown Eye – Gain at 5

Friedman Modified Egnater Seminar Head – Brown Eye – Gain at 10

Friedman Modified Egnater Seminar Head – Hairy Brown Eye – Gain at 5

Friedman Modified Egnater Seminar Head – Hairy Brown Eye – Gain at 7

Friedman Modified Egnater Seminar Head – Hairy Brown Eye – Gain at 10

Whenever I have the opportunity to play a new guitar, I opt to bring one of my own along to serve as a point of reference.  This held true earlier this week as I had the opportunity to play the new EVH Wolfgang and compare it to a few other guitars that, based on their specs, should  handle the “same chores.”

Ernie Ball Muisc Man EVH
- from the 1st run of the originals
- Has a brass block on the floyd

Suhr Standard
- basswood body, maple top, one piece maple neck
- DSH – V60lp – DSV pickups, VG300 bridge

Suhr Modern
- basswood body, maple top, maple neck & fingerboard
- Suhr Aldrich pickups, Gotoh Floyd

FYI – the Suhr Standard is my guitar, while the other Suhr Modern and the 1st run Ernie Ball Music Man EVH model belonged to a friend. Everything was played through a 5150 III head & cab.

According to my ears….

The new EVH sounds bigger (more lows and highs) whereas the original EBMM EVH sounds thicker in the mids. The EVH Wolfgang is also punchier sounding and has more overall low-end. If you’ve caught any of the clips or heard any bootlegs of Eddie from the most recent tour, the new EVH Wolfgang (especially through ch 3 on the 5150 III) IS that sound.

The neck on the EVH Wolfgang is much slimmer and flatter than the EBMM. I would consider it more a Charvel type of neck as opposed to any Ibanez comparisons that some have mentioned (I just don’t see that). To that point, my favorite neck shape is an even C medium with a compound radius (10-14) and I was much more comfortable on the new EVH Wolfgang than on the old EBMM EVH.

As far a quality is concerned, the EVH Wolfgang felt like a really nice guitar. It felt like a very solid construction and played effortlessly. The action was insanely low and the stainless steel frets really add to the ease of playability. A real plus in my book.

As these guitars were not available for sale yet (at the time of this demo), we didn’t break into the case candy for the trem arm, so the Floyd wasn’t put to a full out test. We were also not able to verify if these guitar were sporting brass blocks or not. I would tend to think not.

Compared to the basswood Suhrs, I honestly say that the EVH Wolfgang is right up their in tone. The pickups are clearly high output, but retain a great amount of clarity….especially compared to the old EBMM. They are almost hi-fi by comparison. While the EBMM would certainly nail the Van Halen sound, the Wolfgang felt much more versatile…..it did the Van Halen thing for sure, but also did a lot more.

This all said, I was immediately more comfortable on the Suhrs than on either of the EVH guitars, but that’s because the Suhrs sported necks much more similar to what I normally favor (even C medium types).

In the end, I’d say the EVH Wolfgang is a great guitar for Van Halen music and more. Is it worth the money? Based on quality of construction, playability and tonality, yes it feels like a $3,000 guitar should. But as I mentioned earlier in this thread my tastes are suited to different neck styles and I’m not huge on putting down that kind of coin if I can’t pick out all the specs.

But don’t take my word for it, check one out for yourself.

This is the sort of story that we gearheads just love.  Being that I was heavily influence by the music of Phish and its guitarist Trey Anastasio in the 90′s, I became a big fan of hollow body guitars used in conjunction with a compressor pedal to achieve loud and clear sustain with a clean, undistorted tone.  Well in the last few years of Phish’s existence, Trey ditched his long-used compressor and his tone took on a darker, edgier and grungier sound which was far removed from its pristine and singing mid-90′s hey-day.

As fate would have it, I was not alone is my disdain for Trey’s tone of late.  The folks over at phantasytour.com had been discussing the demise of Trey’s tone and the discussion heated up once the band announced that it would be reforming for some shows this spring.  The conversation got to Trey via his long-time songwriter partner and lyricist Tom Marshall who had stumbled up these discussions.  The following is an excerpt from Tom Marshall’s conversation with Trey Anastasio:

I spent the last two days and last night in New York writing three cool songs with Red. In direct response to msharky’s request, I asked Trey what the deal is with this compressor stuff?.I explained the PT threads requesting that he bring back the compressor. He was very surprised that I was asking him this, because I’m not really a ‘tech’ guy…you know? I also don’t listen too much to old shows, and so the “tone change” was lost on me. I like writing new songs, and I don’t focus too much on the past. First i must explain that he found it funny that I brought it up, because he had been thinking the EXACT SAME THING: Phish is coming back, maybe the Ross should also come back. He’s thinking of the Mesa and possibly the cabinets too — but he does like that little fender.

Basically, he used the compressor differently than people normally do — often people will place it early in the effects chain to smooth the sound going into the other effects. Trey did it backwards, and had the Ross last — AFTER his two tube screamers. The Ross was always on. Always. His signature Squirming Coil “playable sustain” was the result of full volume pedal and both screamers on and pumping that signal into the Ross.

Me: and so you got rid of it?

Trey: I started playing without it after Phish and found that I could get an “edgier” sound that I can’t get with it.

Me: so it’s gone? or just off?

Trey: gone

Me: forever?

Trey: no, I’ve been thinking of bringing it back for a while now…if i can find it!

Well with the news that Trey would consider returning to his old sound if he could find his old compressor, the People for a Compressed Trey banded together to procure one for him!  The future just got a lot smoother!

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Sources: Relix, Rolling Stone, Phantasy Tour, Tom Marshall’s Picassa Album

It’s official! My wife Erin Weed has been chosen by Campus Activities Magazine as a top 5 finalist for Best Female Performer.  This is a tremendous honor in recognition of her speaking on the topics of personal safety and self-defense for women via her Girls Fight Back program.  Please join me in congratulating her on this wonderful accomplishment and cast your vote!

As I’ve been finding myself lately really gravitating to the sound of my VOS 1960 plain top Les Paul Standard, I’ve become curious as to why folks chose Les Paul Standards over Les Paul Customs and vice-versa.

Through my own observations, I’d say that most organic classic rock stuff (Allmans, Zeppelin, Skynard, Aerosmith, etc) tends to be played on Standards (with Fogarty & Framptom being the exceptions) while more metal tends to be played on Customs (John Sykes, Zakk Wylde, Adam Jones (Tool), Randy Rhodes, etc).

I also realize that there are a few different variations of the Custom including the fact that several were all mahogany (no maple top i.e. Black Beauty I believe) while others sported maple necks instead of mahogany (namely 70′s era Customs favored by Wylde & Sykes).

So to that point, what style of Les Paul would you use for which styles of music? I’ve been thinking about getting a ’68 reissue custom (black one at Wildwood), but I really love the organic nature of my VOS Standard and wonder if I would wander away from the tones that I favor by going the Custom route.

To help gain perspective on this, I’ve posted these sames questions along with a poll at Huge Racks Inc and The Gear Page.  Please visit the threads to cast your vote and participate in the conversation.

I’ll be playing with Stone Blue on Saturday, December 27th at The Buffalo Rose in Golden, CO. Classic rock covers. Show starts at 9pm.

Check out more information at http://www.buffalorose.net/

In an effort to decode the mystery between high-priced Gibson Les Paul’s and their lower-priced Japanese siblings manufactured by Edwards, we are comparing a Gibson Les Paul VOS 1960 with a Edward Les Paul LP130.

We recorded four clips with each guitar, playing essentially the same riffs/changes through the exact same amp & volume settings in order to get a truly fair comparison. To that point, example 1 is a riff (same one that I used to demo the Egnater seminar head last February for Premier Guitar), example 2 is a series of distorted chords, example 3 is a brief solo/lick and example 4 features some changes played clean through the neck pickup (all other examples feature the bridge pickup). Each clip is short so you can go back and forth between them for comparison purposes.

Edwards Les Paul

http://www.petelacis.com/music/gibson-vs-edwards/Edwards-1.mp3
http://www.petelacis.com/music/gibson-vs-edwards/Edwards-2.mp3
http://www.petelacis.com/music/gibson-vs-edwards/Edwards-3.mp3
http://www.petelacis.com/music/gibson-vs-edwards/Edwards-4.mp3

Gibson VOS 1960

http://www.petelacis.com/music/gibson-vs-edwards/Gibson-1.mp3
http://www.petelacis.com/music/gibson-vs-edwards/Gibson-2.mp3
http://www.petelacis.com/music/gibson-vs-edwards/Gibson-3.mp3
http://www.petelacis.com/music/gibson-vs-edwards/Gibson-4.mp3

A few interesting points to note. First off, the Edwards was considerably lighter in weight and rang much more loudly when strummed acoustically. The body seemed to just resonate much more than the Gibson. To that point, when I bought the Gibson, it was after playing about 30 Les Pauls and this one was the lightest and most resonant of the bunch, so take that into consideration. The Gibson did feel more solid to the touch…..but dare I say it was like the “solid” you feel from late 70′s and early 80′s Les Pauls by comparison…..they’re solid, but they don’t sustain well acoustically. Point for Edwards.

The stock Burstbucker 1 & 2 pickups in the Gibson are clearly hotter than the Seymour Duncan Antiquities that are features in the Edwards, but I think that was certainly a plus for the Edwards (for my tastes), especially when the neck pickup was concerned. When plugged in, the Gibson appears to have more “ass” to the sound (i.e. low-end) which I found surprising, because I’ve found that guitar to sound much brighter and less “thick” than many other Les Pauls, and I have since been interested in finding a LP with more “ass.” I had recently played a Warren Haynes model that had the same pickups as my VOS 1960 and it just sounded so much thicker…..still kicking myself for letting that one go.

From a playability standpoint, the action and set up on the Edwards (out of the box, actually) was fantastic. The fretboard radius on the Edwards appears to be flatter than that of the Gibson. As a result, I’d dare to say that the Edwards played better with lower action than the Gibson could. At first glance, one concern about the Edwards was that the tune-o-matic bridge was set up rather high. However, after close inspection, it appears as if the neck angle on the Edwards is considerably more steep that that of the Gibson VOS. Not sure what that means….just found it interesting. You can see examples regarding this in the pictures which will follow below.

Bottom line is that I would be impressed with the Edwards if it was as $2,000 guitar…..but its a $800 – $1,200 guitar and that’s just fantastic. If anyone was hesitating to give these guitars a try, I don’t see what could possibly be stopping you now. I wonder if they make a non-reverse all mahogany Firebird!

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