For folks who embrace the notion that electric guitar design begins and ends with classics such as the Stratocaster, Telecaster, and Les Paul, materials beyond wire, wood, and metal are sacrilege. Maybe that’s why—in spite of their stability and consistency—guitars made from nontraditional materials like carbon fiber have never really managed to seize the guitar-playing public’s imagination in numbers as large as instruments made from traditional materials.
But with the popularity surge of high-profile prog-metal virtuosos who explore forward-thinking designs like headless guitars and fanned frets—as well as a growing contingent of guitarists who favor mathcore over “Mustang Sally”—the demand for envelope-pushing guitars is also increasing.
Dutchman Aristides Poort is an engineer who bases his instrument designs on Arium—a material made from a mixture of resins and microscopic bubbles that approximates the cell structure and acoustic properties of wood. The company says Arium took 15 years to perfect, and was created with help from scientists at the Delft University of Technology. The first Aristides model—the 010—was designed in collaboration with Adrian Vandenberg of Whitesnake and introduced at Musikmesse 2009. At winter NAMM 2014, Aristides introduced its first 7-string, the 070.
Synthetic Yet Soulful Like its siblings, the handbuilt 070 is crafted from a hard, hollow exoskeleton made from multiple layers of glass fiber and carbon, which is then filled with resonant Arium. The only wood on the guitar is the ebony fretboard. The neck and the body start out in liquid form and are shaped in an aluminum mold that the company says has been engineered with absolute precision. The resulting single piece that incorporates the body and the neck is intended to allow vibration to resonate through the whole guitar without impediment. In the midst of this body-forming process, they also embed a security microchip with a scannable code inside the body—nice!
The hardware on our review model might seem a bit staid in comparison to some of the other details, but it’s still high quality: a Hipshot hard-tail fixed bridge with an Aristides stainless-steel tone block (a Floyd Rose-equipped model is also available,) and a GraphTech Black TUSQ nut. The Seymour Duncan Pegasus bridge and Sentient neck pickups are controlled by a 5-way switch and volume and tone knobs (the former of which is push-pull for outer- and inner-coil tapping options,). You can also order a model with Seymour Duncan Blackout or EMG active pickups.
Looks That Kill Outwardly, the 26.5"-scale 070 is daring and distinct—a look that some will love and some will loathe. Though I’m by no means averse to an outside-the-box visual vibe, I’ll admit I never completely warmed to the “matte anthracite” finish or the sleek, stylized indentations in the guitar’s top. And given how functional the 070 is, I can’t help but wonder if splitting the difference between radical design and tradition wouldn’t make the guitar appealing to a wider audience. That said, plenty of innovative designs (Steinberger comes to mind) made a splash precisely because their look was as bold as their functional departures from tradition. And players who feel there’s a lot of stylistic homogeneity among guitars aimed at heavy players will no doubt find the 070’s distinctive aesthetics refreshing.
One of the biggest advantages to using alternative materials for guitar making is increased stability. So I wasn’t too surprised when the guitar arrived perfectly in tune after a long trans-Atlantic flight from the Netherlands to Premier Guitar headquarters in Iowa, and then back to my place in New York City. How many other guitars could you take out of the shipping crate after trips across two continents, and use them at a gig that night without any adjustments? The intonation was perfect, and the factory setup was great.
The 070’s playability is fantastic, too. The C-shaped neck’s 24 medium-jumbo frets and 12"–16" compound-radius fretboard offer great balance for lower-register chords and soloing in the middle and upper registers. Even with the larger 7-string neck, it wasn’t really any more difficult to play than a 6-string shred axe. The heel-less neck joint is contoured to allow excellent upper-fret access, and deep bends rang true without choking. After vigorous and prolonged bending episodes, the Hipshot Grip-Lock locking tuners held tuning remarkably well.
Surprises Aplenty The 070 has a punchy, lively sonic character. Even unplugged, first-position chords sounded and felt noticeably more full than other electric guitars in my studio. Through an Ampeg SuperJet Reissue, the 070 exhibited a modern, focused sound almost like what you’d expect from active pickups—but with a lot more warmth and soul. With a clean tone, I tried some tapped, Tosin Abasi-inspired contrapuntal figures and was surprised at how notes articulated only with left-hand hammer-ons had such a precise attack and maintained their robustness however long I held them.
Pros: Fantastic factory setup and intonation. Incredible resilience under virtually any conditions. Impeccable craftsmanship.
Cons: Expensive. Aesthetics might be polarizing.
When I used an MI Audio Tube Zone pedal to add some dirt, the first thing I noticed was that the 070’s sustain is unreal. Notes lasted so long—even without any finger vibrato to keep them going—that it almost felt like I was using an EBow. The Aristides website claims Arium facilitates sustain on the low E for “easily 45 seconds.” I tested this and got between 25 and 29 seconds with the dirt box on, and about 20 seconds with a clean sound. Still, that’s a damn long time.
To see how the 070 would handle harmonically complex chords with a lot of gain, I played a second-position Bsus2 chord with the open low B and an F# on the low E. The result sounded three-dimensional and in-your-face—with huge bottom end and a crisp top. Unsurprisingly, I could get sharp, percussive attack perfect for djent rhythms, but I was impressed to find that, by varying pickup and pedal combinations, I could get an almost vintage, PAF vibe for rock or blues tunes.
The Verdict At slightly more than three grand, the Aristides 070 is upscale—though you do get some nice extras, like a leather strap, Schaller strap locks, and a Gator XL hardshell case. But it’s a serious professional axe that seems destined to withstand a lifetime’s worth of the most grueling touring. It’s also a surprisingly versatile guitar—sonically, there aren’t many styles that it can’t cover. Visually, it seems more at home in a metalcore or prog-metal setting, but then again, since when have modern 7-strings been known for tame styling? Most importantly, judged on tones, playability, and stability, it’s a near-flawless instrument with very few peers.
Equipped with noise reduction and noise gate modes, the Integrated Gate has a signal monitoring function that constantly monitors the input signal.
In order to solve the unnaturalness at the time of sound interruption, which was a problem of conventional noise gates, it is equipped with a signal monitoring function that constantly monitors the input signal, such as peaking and attenuation of the input signal, by using a CPU. The optimum output level is controlled while monitoring the waveform. Even with the Integrated Gate connected, the sound quality does not change, and in order to convey the original sound of the guitar or bass to a device connected after this unit, the circuit through which the audio signal passes is completely analog. Free The Tone took extra time to study the sound quality and complete the design. You can feel the fundamental difference from the sound quality of conventional noise reduction and noise gates.
Integrated Gate carries a suggested retail price of $228.00, and is available now through our North American dealers listed at: www.freethetone.com.
A modern take on Fullerton shapes and a blend of Fender and Gibson attributes strikes a sweet middle ground.
A stylish alternative to classic Fender profiles that delivers sonic versatility. Great playability.
Split-coil sounds are a little on the thin side. Be sure to place it on the stand carefully!
Fender Player Plus Meteora HH fender.com
After many decades of sticking with flagship body shapes, Fender spent the last several years getting more playful via their Parallel Universe collection. The Meteora, however, is one of the more significant departures from those vintage profiles. The offset, more-angular profile was created by Fender designer Josh Hurst and first saw light of day as part of the Parallel Universe Collection in 2018. Since then, it has headed in both upscale and affordable directions within the Fender lineup—reaching the heights of master-built Custom Shop quality in the hands of Ron Thorn, and now in this much more egalitarian guise as the Player Plus Meteora HH.
Body profile and humbuckers aside, the Meteora is very much a Fender, with a bolt-on neck, 25.5" scale length, and that iconic headstock profile with spaghetti logo. Even closer examination reveals an impressive array of features that make it an extra-impressive instrument for the price, and a cool alternative to traditional Fender offerings.
The Mexico-built Player Plus Meteora HH comes in three finishes—cosmic jade, Belair blue, or silverburst (as seen on our review sample)—all of which help the guitar cut a dashing figure on stage.The body is made from solid alder, a go-to Fender tonewood since the late ’50s. Lightweight stocks of this timber have been getting harder to come by in bulk, and perhaps as a result the review guitar tips a little toward the heavy side at around 8.4 pounds. Then again, the Meteora’s body is bigger than, say, a Stratocaster, which adds a bit to the weight. Forearm and ribcage contours enhance playing comfort significantly, and the guitar balances surprisingly well on the lap (almost certainly one of Hurst’s design mandates). The sharply sloped lower bout, however, makes it tricky to lean against an amp safely. Keep that in mind before you turn your back on it.
The neck is fashioned from a single piece of maple and 22 medium-jumbo frets are arrayed across the 12" radius fretboard, which measures 1.685" at the synthetic-bone nut (Belair blue and cosmic jade versions feature a pau ferro fretboard). The neck is carved in Fender’s popular “Modern C” profile, which feels great in hand, and the overall ergonomics are aided by a nicely rolled fretboard edge. The single-action truss rod can be adjusted at the headstock, which is home to Fender’s deluxe sealed locking tuners and a modern roller string tree for the first and second strings—all of which means you can use the two-post synchronized tremolo with a little more peace of mind. The return-to-pitch capabilities are impressive.
Though the fresh body profile may be the initial draw for many, the electronics—and the possibilities they enable—will probably seal the deal for a lot of prospective customers. They certainly make the guitar a lot of fun to explore. The relatively new Fireball humbuckers look a lot like smaller Fender Wide Range pickups. Under the covers, though, they are pretty standard PAF-style humbuckers, with adjustable pole pieces in all six positions of each coil, though half of these are inaccessible with the cover on.
And while the name implies that the Fireballs are hot, the specs are similar to medium-wind alnico humbuckers, with the neck reading around 7.24k ohms DC resistance and 4.0 henries inductance, and the bridge measuring 7.68k ohms and 4.5 henries. The pickups are wired through a 3-way toggle switch on the upper horn, with a master volume and dedicated tone controls for each pickup below. The volume knob also functions as a push-button switch to split the coils of both pickups.
Tested through a Friedman Dirty Shirley Mini and 2x12, a tweed Deluxe-style 1x12 combo, and a Neural DSP Quad Cortex into the studio monitors, the Player Plus Meteora HH reveals a fairly traditional and even vintage-leaning sonic range that contrasts with its moon-shot looks. The not-too-hot humbuckers sound clear and open and generate relatively little amp breakup at modest volumes, which I’d say is a good thing, as it enables a wider range of touch sensitivity than high-gain humbuckers usually allow.
This pickup recipe makes the Meteora a world’s-your-oyster kind of performer. With a cranked amp, lead channel, or overdrive (in this case a Tsakalis Six and Wampler Tumnus Deluxe), the Meteora produces sizzling power-chord and rhythm sounds and singing lead tones with ease, with rich, articulate cleans at the ready when I backed the guitar volume down. It’s hard to gauge how much effect the maple neck and alder body have on the humbucker voicings. But expect the Meteora to sound better balanced and crisper compared with the average PAF-equipped instrument. There’s very little mud and the coil-split tones are nice and jangly—although, as with many split humbuckers, they’re a little on the thin side without a booster or compressor engaged. Still, they do the trick, and add another useful arrow to the Meteora HH’s already packed quiver.
Players in love with unconventional looks who enjoy a twist on traditional PAF-style sounds will find a lot to like in the Player Plus Meteora HH. The guitar packs a wide range of clean-to-mean tones, offers easy playability, and is made super versatile by tone controls and coil-splitting options that dramatically expand its tone palette. Dual humbuckers mated to a 25.5" scale is always a cool proposition, and the Meteora’s marriage of Fender and Gibson attributes is a great way to split the difference.
A blind horse wouldn’t be impressed, but this beautiful, double-horned instrument with one-of-a-kind engravings helped make luthier Tony Zemaitis famous.
Though they never reached the commercial success of some of their peers, the Faces have no doubt earned a place as one of the seminal rock ’n’ roll bands of the late ’60s and early ’70s. Combining influences as varied as instrumental funk à la the Meters, traditional folk music, and a heavy dose of rhythm and blues, the Faces brand of rock ’n’ roll can be heard in some way or another in the music of countless bands that followed. After the Faces folded in 1975, all five members went on to continue making great music, but their chemistry together was undeniable.
A huge part of their unique sound and stage presence came from the unusual instruments often employed by bassist Ronnie Lane and guitarist Ron Wood. Anthony Zemaitis was a British born cabinet-maker-turned-luthier. His guitars’ distinctive metal tops, often with elaborately engraved designs provided by Danny O’Brien, can be seen with some of the era’s most legendary guitar players, but it was his connection to the Faces that really put Zemaitis’ instruments on the map.
Engraver Danny O’Brien’s handiwork on the heel plate and control cavity covers are on display in this view of the bass’ back.
The bass pictured here was one of his earliest custom designs for Ronnie Lane. Though all of Tony’s designs are one-of-a-kind, this stands out as a bass guitar truly unlike any other we’ve ever seen. This instrument has a chambered body with a neck-through design and features a 6-screw heel plate purely for cosmetics. The hollow chambers on either side of the neck block were stuffed with cotton to eliminate feedback below a laminate-wood carved top. The distinctive “suit of cards” inlays along the 32"-scale neck would become a signature of Ronnie Lane, but this is perhaps the earliest example of that motif on one of his instruments. Both the headstock and end of the fretboard are delicately carved into a crown-like pattern, perhaps drawing inspiration from mandolins and lutes of the previous century. The controls are two tone dials with on-off switches for each, plus a master volume—with a missing knob—on the upper body. Every piece of metal, from the pickup surrounds, knobs, tailpiece—even the heel plate and control cavity cover—have been intricately engraved by O’Brien. This is as much a work of art as it is a unique instrument with an inspiring tone.
Ronnie Lane is hardly the most famous name associated with the Faces, but it could be argued that the spirit of the band was largely due to his influence. His love of folk and country music even left its mark upon early Rod Stewart solo records on which Lane and his Faces bandmates played a large part. This bass was with him for early Faces performances and could easily have been used on some of these classic recordings, including the albums First Step and Long Player.
This headstock has flourishes fit for a king—possibly of clubs.
There are numerous iconic photos of the band onstage where this bass can be seen, but its value goes well beyond pure memorabilia. Zemaitis instruments hold a special place in the evolution of guitar design, and the masterful engravings of Danny O’Brien are unmistakable. The sad loss of Ronnie Lane to multiple sclerosis in 1997 makes this instrument even more special. The wear and tear he put on the bass and the music he made with it are part of his lasting legacy.
Eventually this bass found its way to a pawn shop in the southern United States, where its second owner purchased it, unaware of its famous history. The bass was played locally from the late 1970s until about three years ago, when that owner passed away, leaving the bass to his cousin. His research over the past few years led him to realize the provenance of the instrument in his possession, and he ultimately confirmed his findings with us at Rumble Seat Music in Nashville, where this legendary instrument is now proudly offered—a perfect example of the kind of rock ’n’ roll artifact we love!