Recently I was at the Anaheim Convention Center in the back of a suite on the 2nd level, which Paul Reed Smith Guitars occupies, during our industry trade event, the North American Music Merchants Show (or Winter NAMM 2017 for those in the know). Southern California was uncharacteristically cool and wet, the same as the uncharacteristically warm weather in Southern Indiana I flew in from just days before. I was back behind the curtained-off section where I typically meet with my sales rep and catch up with the folks at PRS that I’ve become friendly with over the years joined by about 30 other PRS Signature Dealers waiting for John Mayer to talk to us about his new signature amplifier the J-MOD 100 that he designed with Paul Reed Smith and PRS amp guru Doug Sewell.
John and Paul were behind a squared-off curtained area just feet away. Last minute talking points, amplifier knob tweaking and a little guitar riffage were audible to all in attendance. There was a lot of security and what must have been John’s personal cover: a big older, ex-cop looking guy that looked nice enough until he had to do his job not to be, standing, clearly looking in charge. The space filled up pretty quickly, my colleagues and I stood behind the last of 5 or 6 rows of folding chairs so I was right there; not even a 15ft guitar cable’s length away from where Paul and John were going to tell us the story of the new amplifier that already had the PRS Guitar Owners Worldwide Facebook group buzzing.
A couple of guys I recognized from the factory schlepped the new head and cab to the front and hooked it up while Paul whipped out a toothbrush from an inside pocket for a quick brush before addressing the assembled group. Now ready, Paul asked if we can start a little early and, of course, we were all in agreement. If you’ve ever gotten to see Paul at an event or get a chance to, you already know or will quickly learn he doesn’t want his presentation to be captured for posterity on YouTube or live-streamed. I get it. If I could keep my life from being recorded and broadcast to the world un-edited without any control or input, I would too. I think what he finds annoying is when you speak publicly it’s hard to make a connection with a sea of illuminated faces staring cross-eyed at the screens of their phones and tablets.
The whole point of this event was to make a connection, to tell us the story behind not only an amplifier but a tool that John, Paul, Doug and everyone else involved at PRS painstakingly worked on in order to make another kind of connection. I’m referring to the connection that’s made between the listener, the performer and the inspiration that drives the creative process. That’s what everyone in that room was there for in one way or another. After Paul got everyone to agree to self-police ourselves regarding video of this gathering, he opened with a story. Customer service called him to say that someone claiming to be John Mayer was on the phone and wanted to speak to him. John had to take a picture of himself holding a piece of paper saying “I’m Really John Mayer” to get through to Paul. When that connection was finally made, a nearly daily correspondence started one with John later revealing Paul ended up knowing exactly when he woke up in the morning.
When Paul introduced John Mayer, John approached the front of the room unsmiling and, for a just a moment, I worried that this could potentially be an un-cool event with someone that didn’t really want to be there. Paul thanked him for being generous with his time and let him know that this group of dealers was an important part of PRS Guitars and really critical to the success of the company. Then, he told us that John was going to play guitar but first asked if he would tell everyone about the inspiration for the amp and what was happening during his career at the time.
When John Mayer began to speak his face just lit up and he was a total gentleman. He was a great public speaker, engaging, relaxed, funny in a casual, familiar way and spoke in the language of tone-geeks. As a shopper and end user he let us know he goes online, does research, gets on forums just like everybody else and let us know he knew dealers in the room as a customer. He talked about how he just got one of the Ibanez Steve Vai JEM Passion and Warfare commemorative edition guitars with the swirly paint job, and how he manages his G.A.S. just like the rest of us but let’s face it: he’s a High-to-Low shopper. He made a point to say he’s done with “unicorns”: one-of-a-kind, unattainable pieces of equipment that are the sole source of legendary guitar tone and performance. He and Paul felt that there had to be a way to produce a new amplifier that’s not 6 figures and John wasn’t interested in doing a spec-sexy design, a bunch of cool specifications thrown together that on paper should be awesome. This was the premise upon which his relationship with Paul Reed Smith was founded and informed the journey that led to the creation of his signature amplifier.
What ended up becoming the J-MOD 100 had to work for what John was doing at the time: the Dead and Company tour. He talked about Jerry Garcia’s tone, the use of the Super Eagle he was touring with and how both hi-fidelity and great tone were major components of the Grateful Dead experience. John, Paul, and Doug A-B’d prototypes with another amp and when it was clear John was reluctant to mention exactly which one, Paul spoke up and said, “It’s ok! I don’t care if you tell ‘em. The Dumble.” So, using this legendary amplifier for reference, they explored and, in their collective opinion, expanded upon and went beyond what they thought could be achieved. Yet, if it was going to be John’s main amp, it had to work for his other gigs, The John Mayer Trio, his bigger band. This amplifier had to have a fast response, the squawk, and that punchy, percussive feel. Up till now John was demoing the amp with the PRS Super Eagle he used on tour with The Dead and Co. Paul told him, “Put down that guitar. It’s ok John, Get your other guitar and plug in.” So, out comes Mayer’s drop-scarred, bare wood showing through the finish, road worn 3-tone sunburst Fender Stratocaster. That’s when he really starts to put it his new J-MOD 100 through its paces. .
I was turned on to John Mayer back in 2001 by another guitar player I respected at the time so after his Grammy win and pop-star success I was amused when years later guitar magazines felt the need to call attention to the fact that hey, this pop-star can actually really play the guitar! He came to my attention as a “guitar player’s guitar player.” I think it can be safely said John contributes, helps to define and reinforce the role of great guitar tone in the historical context of popular music. I’ve never seen him perform live but I’ve watched the DVD of his Trio with Steve Jordan and Pino Palladino and I especially loved his cover of Jimi’s “Wait Until Tomorrow.” I guess what I’m getting at is that I’ve been fortunate to be in a room with many great guitar players and I’m here to tell you from my experience being up close with John Mayer: the guy is an absolute badass on the guitar, displaying great taste and feel in the candid, intimate setting I saw him play in. If you get a chance, jump at the opportunity to check out the J-Mod 100. You won’t be disappointed.