Yep, that's clickbait. But I only use clickbait when whatever drove me to write a piece is somewhat silly.
Had one of those moments on Facebook a couple of weeks ago that was most definitely a moment of disbelief. I think it was the first one in a long time that I couldn’t understand what I was reading, so… you know me… thought I’d put this out there in the vain hope of correcting a misconception.
It all started with this picture...
...which as you can see is long time Wampler signature artist Brent Mason in the studio playing a rather nice looking white Gibson SG. I fully expect you to all know who Brent is, but in case you don’t, let’s just say this… Brent has been one of, if not THE, first call session musicians on the Nashville studio scene for over 30 years for guitar. In a nutshell - Brent is one of the most recorded guitarists in history. As well as being a Grammy Award-winning artist he is also a 14 time winner of the Academy of Country Music (ACM) Guitarist of the Year Award and a 2-time winner of the CMA Award Musician of the Year (being nominated every year since 1991). In 2011 he was inducted into the Thumbpickers Hall of Fame. He has played on well over a thousand albums and shows no sign of letting up yet, in fact, click here to see his list of credits on Allmusic (although it does have to be said, this list is woefully incomplete… About 6 years ago many record labels stopped putting the musicians who played on albums on the sleeves, and that would appear to be where AllMusic get their credits from, so a lot of the more recent work is uncredited. When you consider the last 3 George Strait albums and the most recent Blake Shelton, of which Brent recorded for and not listed on AllMusic, this becomes a glaring omission. I do believe that AllMusic tends to only note music recorded and released in the US so stuff outside is also missing… it also only shows music that has been released, so all the demos are not on there, songs that didn’t make the album or released on Indie labels… So, by my estimations, take the AllMusic list of credits and at least double it to get an idea of how many recordings Brent has made over the years) – now (rant over about AllMusic) if you have the patience to go down that list all the way back to 1985 then props to you, but in case you don’t, here is what you will see. He has played on a lot of country music over the years. And I mean a LOT. I’m not wrong if I were to say ‘He’s just about played with everyone”. However, if you look closely, you’ll also notice that he’s played on a lot of things that aren’t country as well. In fact, if you don’t know about the other side of Brent, I strongly suggest you check out the album he recorded and self released with his brother Randy in 2006, “Smokin’ Section”. His knowledge and vocabulary in jazz and western swing is his strength (in my opinion), which often surprises people as they think “He’s a country guy”… which of course he is, but as a wider part of the puzzle of his playing.
I get what you are thinking now… Jason, why are you writing this piece? Well, the thing that shocked me was the number of people on the thread (that went with that picture) saying things like ‘The SG threw me for a second’, 'why are you playing an SG', 'what happened to your tele' and comments similar to that.
I’m in the VERY lucky position of knowing Brent (in fact, it was getting to know Brent about 10 years ago that ended up with me working for Brian), so I got into a little bit of a conversation about this with him as I was staggered by it, I thought everyone knew that he played other guitars. I mean, we ALL know that THE highly modified Grey ’68 Tele is his number one, but you know… a telecaster only works on the songs that a telecaster works on. What happens when he needs something that requires an LP, an SG, a PRS, a Strat, an ES335? Well, this is what happens. Brent puts down the Tele and picks up his LP, his SG, his Strat and so on… you see, he’s got a LOT of guitars at his disposal. You don’t get to where he is musically and reputationally without having the right tools for the job. I look at it this way, Brent is an artist (let’s say for the purpose of this comparison a painter). If Brent was going to paint a picture would he only use one brush? Nope. He’d use what he needs to get the job done. He may have a favourite brush that he likes to use, but you know, other brushes will be used to create the perfect picture.
One of the best things I’ve seen said about Brent over the years I’m been an avid fan is the description that he is a musical chameleon - he is able to switch between many many styles at the drop of a hat, instantly camouflaging himself into his surroundings. This is why he is in such demand, which is why he has to have so many guitars at his disposal… Here is a snapshot of the guitars that Brent uses in the studio
- Fender ’68 Telecaster, modified by Joe Glaser – probably the guitar people most associate with him, because… well, you know, it’s legendary. Seymour Duncan pickups… all pretty stock apart from the SD ST2 in the middle (that only has half the stack wired that he brings in via that third pot, a ‘blend’ pot). Mini Gibson HB in the neck and Glaser B bender.
- Fender Cream Tele, with Glaser B Bender.
- Several PRS “Brent Mason” signature models
- Gibson ’71 Les Paul gold top, with mini HB
- White Gibson 1972 SG
- PRS Mike Mushok Baritone (tuned to down to B)
- Whitfill Turquoise Baritone
- 1998 Red Gretsch 6120 Duane Eddy model, with Bigsby
- PRS 12 string
- Fender ’65, stock – survived the flood of Nashville 2010 and was bought back to life by Glaser.
- Gibson 1968 335 (also survived the flood and Brent is on record in saying that it sounds better now than it did before the flood after going through Glaser’s workshop).
- Blue Ridge 371 Parlor Acoustic
- 2011 Buddy Holly Tribute J45, made for Brent by Daniel Roberts
- 2016 Gretsch Resonator Acoustic
- 1986 Alverez gut string
I guess the reason I’m writing this is that, well, Brent is one of my favourite players to have ever walked this earth, so any excuse to write about him is good with me. Also, to act as a stark reminder that just because a player is famous for using one guitar, it won’t be their only one. The great thing about being a musician is all the gear we get to play with, all the time, and that applies to the players who achieve legend status as much as it does to a humble player like me.
I’d like to thank Brent and Julie Mason for indulging me, once again (they have been doing this for years now and I’m eternally grateful), and providing me with the info that completed this piece.
We asked Haley Powers, a guitar teacher and blogger from Nashville, about her experiences in the world of guitar, gear and finding your way in the male-dominated world of the music industry...
Haley says as part of her introduction to her lessons page on Facebook - "Haley Powers Music is specially designed to help women feel great about their guitar playing so that they can confidently share their music with others."
"Before I start talking about my perspective on being a female in the world of gear and electric guitar, I want to first say this is my completely biased perspective of what I have experienced. It’s definitely not every female’s opinion or experience, my personal story. So let me take you back to when I was a very beginner at electric in Jr. High (picture me- very skinny, converse high tops, and braces. Very cool obviously.)!
At my first electric group lesson, when my Dad dropped me off, I didn’t really think about the fact that there were all guys in my lesson. I had a lot of guy friends and we all listened to classic rock and loved guitar, so making friends wasn’t really an issue. Playing with all guys wasn’t weird or something I really thought about and I was always included. The guys thought it was great that I was right along with them jamming to Zeppelin and Jimi Hendrix! My sister and I had also recently become obsessed with School of Rock and Spinal Tap so this was the world I lived in.
It wasn’t until about Junior year of High School that I even considered that the electric guitar world was possibly difficult for a female. That year I had just started playing at church with my Dad and most of the guys were actually in his other bands. There was a keyboard player, however, who was not a good friend and seemed to think it was weird that I played the guitar. Not only that, but I had one of those pink paisley Strats that he relentlessly teased me about it being a Hello Kitty guitar (yikes!). Playing in this kind of setting I had really tried to put on my professional shoes and something about these comments started seeping into my little high school brain despite my dad telling me that was dumb and not to worry about it. So a few years later just to avoid any sort of embarrassment, I sold that guitar to get my now ’62 Reissue Teal Stratocaster (which to be fair was a great choice!). Honestly, I hadn’t really looked back at that guitar until I saw Brad Paisley perform before I graduated high school. And guess what - he had a pink paisley Tele just like I had (but way nicer)! That experience taught me no matter what kind of stereotype or prejudice may be out there, whether that be being a girl in the world of electric guitar, an older adult being around younger cooler people, someone who doesn’t fit the current look that’s in etc., owning who you are and being thankful for the things that make you unique is your biggest strength. Someone could always make fun of you or poke holes in your validity, but if you know deep down that you like who you are, those comments can easily roll off you.
So no, I’m not one of those forward-thinking people who kept their first guitar for the memories, but I did learn a major lesson that has spurred me on throughout my life. Because I’m in a bit of a unique position, I wanted to give a few tips if you are wondering how best to support the female musicians you know. Many of the little things that have happened to me that may have seemed sexist I think we're out of genuinely really not knowing how something was coming across. As we all know, when you are doing something near and dear to your heart, little jokes or hurtful things can feel stung a bit more than they are usually intended!
1) Finding What You’re Looking For?
This is the classic area I have heard female musicians be a little dumbfounded about. The other day, in fact, my friend was telling me about a situation at a music store where the employee could not let go of the fact that she was intentionally looking at electric strings and was not in fact lost in her search for acoustic strings. Personally, most of my experiences looking at gear or guitars are 98% positive and there’s maybe the 2% out there who will explain about a product I asked about only making eye contact with my bass playing husband! Everyone has room to grow and learn and there are a ton of new things I learn about gear on a regular basis. It’s almost like the feeling of being micromanaged in a job when your boss is hovering over you and even though you know what you are doing! In this scenario, treating everyone looking at gear the same is definitely the way to go and if you want to earn extra points, saying something like “You sound awesome” or something can bring out the best!
2) Come jam
As we know, there are not as many females who play guitar backing for people in bands. I’ve thought a lot about why this may be and part of me wonders if it has to do with social norms. When you are younger this isn’t as much of an issue, but if you are married, inviting someone over of the opposite sex to hang and play music with you is a little weird. That’s why you should always marry a bass player so they can work as a nice buffer and still jam along. Kidding (but really, it’s the best!). I have heard being a “good hang” is one of the biggest factors to getting touring gigs. As people get older, friend groups can become a bit more separate with guys and girls. Music is such a great connector though that mixing it up as your next jam and inviting both genders to play (not just have a female singer!) can be really fun and a good way to include everyone. Also making sure everyone gets a chance to solo!
3) Gear chats!
Helping someone see why something is so special to you and getting them excited about it is a skill I think everyone has. When it comes to gear, some of the girls I’ve taught have started by seeing their bf’s pedal board or gear, but haven’t been invited into the experience themselves. I’m the type of person who gets really excited about things and can’t help but want other people to jump on board with that too (I’m pretty sure there have been zero interesting TED talks/ Podcasts/ cool licks I have learned about and not shared with my husband!). When my students have started playing electric, I love talking to them about pedals and seeing them light up when they see all the possibilities and sounds they have heard on a song they love and being able to so easily recreate it. Assuming they will definitely be interested in pedals and love them as much as I do is usually a self-fulfilling prophecy! I think more women would be interested in electric guitar and pedals if that was expected of them. Something that’s always baffled me too is guitar doesn’t rely on physical strength like football or something, so it really can be for everyone!
I hope a few of these tips were helpful for you if you are a guy! I know most all the guys I know are inclusive, fun to jam with, and really excited to start seeing more females playing electric guitar. There will obviously always be some people who will say offensive things or try to make something feel invalid out of insecurity (especially online!), but my sister always says, “Don’t feed the trolls!” meaning we don’t need to engage with those types of comments or people. Focusing on the people who need you, thinking the best of people, and doing what you love will always make you happiest!"
Since early on, Brian has been a major fan of country music, and the one person synonymous with country music and Nashville is one of the most renowned studio musicians in history, Brent Mason. Brent’s style, touch and phrasing are unparalleled, where each note is played exactly how and when it should be with complete precision. Recording so often with many different artists, Brent wanted his dirt tones to be highly tweakable to allow his guitar to fit perfectly in the style and character of each individual song he works on. Brian originally created the Hotwired v1, which was meant to the THE pedal for chickin' pickin'. Fast forward a few years and the country music industry has changed, so the tools had to change to keep up to date. After discussing what Brent wanted, the Hot Wired v2 was born.
Our favorite part of the Hotwired v2 is its ability to adapt to just about any genre of music (even some degrees of metal!). The clean blend on the overdrive side allows the player to specifically tailor the precise amount of overdrive they want blended with their natural tone, so it’s similar to running a dirty and clean stereo amp setup! The distortion side is also very versatile, and allows you to cover loads of classic rock, country, and even harder rock tones.
Volume: This knob controls the overall level of the overdrive side of the Hotwired v2. Counterclockwise will give less overall output (fully counterclockwise will have no output), where turning it clockwise will allow you to reach unity in correlation with the overdrive knob, as well as providing a boost to the front end of your amp to push it into natural overdrive.
Overdrive: This control dictates the overall amount of clipping that is happening on your signal. It can go from the lightest, edge of breakup tone to a very saturated overdrive tone and all levels in between. Counterclockwise will yield less gain, which is great for adding just a bit of punch to lead lines and fattening up your attack. Turning the knob clockwise will up the saturation, but still retaining the overall characteristic of your guitar’s natural tone.
Blend: This knob controls how much of your clean signal is blended with the overdrive signal from the Hotwired. Fully counterclockwise will result in only your clean tone passing through with no effect, and turning the knob clockwise will begin to introduce your overdrive tone mixed in with your clean tone. Fully clockwise will yield only your tone passed through the overdrive side of the Hot Wired. This knob allows you to have complete control over your tone with the right blend of clean sparkle and gritty crunch to suit any situation. The effects are most noticeable with the overdrive knob turned up, but the key is finding the sweet spot on the overdrive knob in conjunction with the blend to get the deepest, most three-dimensional overdrive tone that Brent has used as his characteristic tone for years on end on countless records.
Tone: This knob controls the overall high-end frequencies that are present in your overdrive tone. Fully counterclockwise on the knob will give a much mellower, darker tone which is great for jazz and smoky blues. Turning the tone knob clockwise will add in high-end content which provides a sparkle and depth to your notes, allowing you to cut through the mix at just the right amount of high end. The tone knob works in conjunction with the switch to provide loads of tone shaping options. We suggest setting your gain level and the fatness on the switch position, and then starting at Noon add or remove the highs from your tone.
Normal/Fat/Fatter switch: This switch allows the player to fine-tune their overdrive tone in conjunction with the tone knob. On the normal setting, there is no effect on your tone, it’s just the base signal from the overdrive knob and wherever your tone knob is set. The Fat setting adds an low-mid punch that works exceptionally well paired with brighter guitars to fatten up your tone. On the Fatter setting, it’s designed to make your tone sound MASSIVE. The lows and low-mids are the most pronounced in this setting, creating a much warmer and thicker overdrive tone.
Channel 2 (Distortion):
Level: Just like with the overdrive side, this level controls the overall output of the distortion side of the Hot Wired v2. Being a distortion, there’s plenty of gain on tap to give a great lead boost with the gain on tap, and unity is directly correlated with where the distortion knob is set. If the distortion is set lower, then you will have to compensate by raising the level. As the distortion goes up, you can back down the level to reach unity.
Tone: The tone controls works in the same fashion that the overdrive side does. Counterclockwise will result in a darker distortion tone (great for single coils), where turning it clockwise will give more brightness to your signal for darker guitars. We suggest starting the tone control at Noon and adjusting to taste based the tone you’re looking for and what guitar you’re using.
Distortion: This knob controls the overall crunch and amount of distortion that is happening on your signal. The gain range goes from slight breakup to full on rock glory and all things in between. It’s based on a Plexi-ish tone, but with a much more neutral tonal profile and less aggressive clipping. The distortion tone is based directly on where the tone knob and normal/fat/fatter switch is positioned. It can go from a light crunch to a fat wall of searing tone.
Normal/Fat/Fatter switch: Just like the overdrive side, the distortion side has a 3-way switch to adjust the low and low-mid presence of your distortion tone. Normal will have no effect, Fat will increase the “oomph” of your tone and fill out your sound more, and Fattest will give a great wall of fat sustain.
- 5” x 4.5” x 1.5″ in size (114.3mm x 114.3mm x 38.1mm) – height excludes knobs and switches
- Power draw: 17mA – The Hot Wired v2 can be run on an internal 9v battery, or a Boss-style negative center tip barrel connector. The Hot Wired v2 can be run at up to 18v, doing so will increase the headroom of the overdrive and distortion.
- Completely true-bypass, Handbuilt in the U.S.A.
- Built to the exact specifications of world renowned session artist Brent Mason.
- There have been 2 versions of the Hot Wired, with v1 having several different graphic iterations before settling in on the current closest graphic layout. The v2 is the most up to date version.
You can read more about the Hot Wired v2 or purchase factory direct HERE