More on Pedalboards (or as my friends would say, that moron and his pedalboards!)

 Posted by Paul Schille at 11:28 pm  Gear
May 142012
 

So for those of you who’ve followed this site from the beginning, you already know about my compulsive fascination with all things pedalboards. It seems that no sooner do I have one finished and working perfectly, I either start in on another one or revamp my existing setup. For the last two years we have been touring and doing a lot of bigger shows and I put together a board that would give me all the sounds I needed for any show that might come along. I also put together a smaller fly-board as we were having to fly to enough dates that I got tired of tearing apart my big board every time we traveled. As I begin to wind down the touring (I am old after all!) I thought it was time to simplify and put together one reasonably-sized board that I could actually fit in my car and carry around, and would cover most everything I have coming up this summer. I blame this craziness on John Bohlinger’s latest article in Premiere Guitar about how he was simplifying this summer too. It’s seems a lot of people are heading in this direction as I’ve seen several great new pedalboards lately and I figured, hey, why not check them out here?

Touring Board

New Board

So I’ve ditched a few things that were on my big board; the Morpheus Drop Tune, a Micro POG, the new Visual Sound Dual Tap Delay (an AMAZING sounding and functioning delay if you have the room), and a couple of others. I’ve added the new Wampler Ego Compressor (best sounding compressor I’ve ever used, period!), a Vox Time Machine delay, and an Xotic EP Booster. Still tons of variety but I can lift it now without giving myself a hernia! While I’ll have to relearn a few songs that we did in drop tuning with the Morpheus, I’m amazed at how little I seem to be missing from the bigger setup.

Another new board that I saw recently is from one of my favorite guitarists, Pete Thorn. In case you don’t know who that is, Pete plays with Chris Cornell, Don Henley, is currently touring with Melissa Etheridge, and is known for his killer tone. He also does a series a fantastic gear reviews that we feature here on TGM from time to time (great excuse to go back through some of our old articles!). He wanted an alternative to his large wet/dry/wet rig, and what he’s come up with is really, really nice! A great selection of pedals including a new Carl Martin AC-Tone prototype that I can’t wait to get my hands on (September release, $269 list), as well as the Musicom Lab EFX MKIII+ switcher which is one of the great new compact switching systems out there. Being the self-professed gear nerd that he is, Pete put together a pretty lengthy video of the new board and how everything on it works. You can check that out here:

 

Chris' Small Board

And the Big Board!

Another friend of mine, Chris Ward also runs two (or more) different boards depending on the gig, and I thought I’d show a couple of them here as well. Chris plays in a variety of bands in the Eugene, Oregon area including Amy Clawson & Coltrane and is well known for both his killer chops and amazing tone. He also did the recent review on the new Aguilar HALO overdrive pedal for us here at TGM. Chris uses the Voodoo Lab switching system in his big setup, but still swaps pedals back and forth between boards when changing boards which I decided I was just way too lazy to do.

It all goes to show that there are tons of ways to build your dream rig, and I believe in trying all of them before I die! Hmmm, I wonder if I could fit that Musicom Lab switcher on my new, smaller board…..

 

 

 

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How to run live backing tracks for your band with Ableton

 Posted by Ray Neyens at 3:20 pm  Gear, How To's, Videos
May 112012
 


I’ve recently had a number of fellow musicians approach me asking about how my band runs backing tracks for our live performances. I know that the use of backing tracks is a hotly debated topic in some circles of musicians, but we’ll leave that debate to another time. These days it seems to be more and more a fact of life for a lot of musicians that gig on a regular basis.

So, if you do need to use backing tracks the video above can provide an overview on one way in which to achieve success in a live environment. Our setup involves the use of a MacBook. We use the older white version as they’re cheap to find on Craigslist and are pretty durable (don’t ask about the time we were in Montana and our singer drove over the laptop with an SUV – no it didn’t survive and we ended up doing the show sans tracks that night).

 

For software we use Ableton Live to run the tracks. We either trigger the tracks directly from the laptop using the arrow and enter keys or we sometimes use the Novation Launchpad which has 64 small trigger pads. This works well for randomly firing off songs. We label the 64 buttons as 1 through 64 and then label all the songs with a corresponding number and assign the buttons to the proper track in Ableton. I didn’t cover this part in the video but it’s a simple midi learn function in Ableton. If needed I can probably do a follow up video on how this is done, but trust me it’s pretty quick and easy.

 

The cost of this kind of solution is not exactly cheap, but it’s really no more than buying a decent guitar, keyboard or other instrument. The MacBook was about $500 used on Craigslist (they can be found even cheaper these days). Ableton Live will also run on a Windows laptop, but my personal preference is to use a Mac. The full version of Ableton Live is $499, but you can get by with Ableton Intro for $99 if you’re ok with only using a stereo output (mono tracks on one side, click on the other). If you think you want a trigger input device the Novation Launchpad can be had for $127.50, or you could trigger from a keyboard, an old Trigger Finger or any other midi trigger you might have around.

Again, the use of backing tracks might not be the right path for every band (nor should it be). But if you need to use them then this is one method that I’ve found has been reliable in all kinds of venues from clubs, fairs, festivals, concerts, theater gigs and many more. The only time if failed us was when it got run over by a full size SUV and I really can’t blame it for not being up for the gig after such a traumatic event.

 

 

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Do You Need a Compressor Pedal?

 Posted by Paul Schille at 6:48 pm  Free, Gear
May 012012
 

Do I need a compressor pedal? I’ve asked myself this very questions many, many times over the years, and until fairly recently the answer was always an emphatic “No.” While I’ve tried many compressors over the years, I play fairly percussively and always felt that they took away some of the natural dynamics of my playing (which of course is exactly what they’re designed to do, right?). A few years ago I started playing modern country music and it seemed that every country guitarist I saw was using a compressor on their pedalboard, sometimes even more than one pedal!

Now I’m no ace chickin’ picker, but I figured if I was going to play country I needed to find a compressor that worked for me. After trying more than a few pedals I happened onto the Barber Tone Press pedal, and the beauty of that pedal is that in addition to the regular compressor controls of Sustain, Attack, Tone, etc., it offered up a Blend knob that allowed me to add in just enough of my original, uncompressed signal that I didn’t lose all of my dynamics. Pretty cool, but I find that I still don’t turn it on all that often.

In my ongoing quest for the perfect compressor pedal I came across a great demo on YouTube of compressor pedals and how they work that I thought I’d pass along here. It’s by a guy named Just Nick for Rock’n'Roll Vintage and goes a long way towards demystifying compression, how it works, and most importantly, how to use it effectively. Great video, and make sure to check out his beautiful Nash T-63 Tele!

Being a huge Keith Urban fan and recently seeing his pedalboard and the THREE compressors he has on there, I’m going to try the Wampler Ego Compressor. It also has a Blend knob like the Barber, but has more tone shaping. If anyone out there has any thoughts on the Wampler, please drop me a line and let me know what you think. In the meantime, here is a great video of the Wampler in action.

So that’s it for compressors for now. Please feel free to share your thoughts on compression in the forum and we’ll see you there!

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Talk of the Day – New Uberschall and Ecstasy Pedals from Bogner!

 Posted by Paul Schille at 3:05 pm  Gear
Mar 212012
 

Just announced today at Musikmesse in Frankfurt Germany, Bogner‘s new line of pedals. The Uberschall is like…..an Uberschall, while the Red Ecstasy features hotter tone and the Blue Ecstasy is crunchier/bluesier. There is rampant speculation on pricing flying around the web today, but since it’s quite apparent no one knows at this point, we won’t add to the frenzy here. Needless to say, these will be worth checking out once they are available. Check back here for more info as it becomes available!

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NAMM Find #1 – Pete Schmidt Guitar Straps

 Posted by Paul Schille at 5:56 pm  Gear, NAMM
Jan 302012
 

Pete Schmidt Straps

I don’t know about the rest of you, but even with all of the guitar straps available today, it still seems like it’s hard to find great straps! Maybe I’m too picky, but to me your guitar strap says a lot about your personality. I’ve gotten great straps from Jeri Designs and Red Monkey, and I picked up a really nice, simple strap from Gruhn’s in Nashville by Long Hollow Leather. I’ve even started making straps from new and vintage belts that have turned out pretty well.

Black Iguana w/ Black Stitching

One of the big problems with the great custom straps though is their high cost. Straps from Moody, El Dorado, and Anthology are really nice, but set you back the price of at least a couple nice effects pedals! That’s why we were happy to find Pete Schmidt Straps at NAMM this year. You always find great stuff on the bottom floor of the convention center where most of the smaller guys have booths, and this year was no exception. Pete’s straps are some of the highest quality we’ve seen and the prices are super competitive compared to straps of the same quality. I picked up a Black Iguana strap with creme stitching and at $95 list price it’s fantastic! I’m 6’5″ so it’s really nice that they come in long lengths as well. Pete lives in Peru and contracts with local leather craftsmen to make these custom straps which helps keep the costs reasonable. Plus they come in the cool, round boxes you can see in the picture.

Pete and Andy are great to work with and can talk straps all day, so check out Pete Schmidt Straps and don’t hesitate to give them a call if you have any questions.

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Raising the Bar… Introducing Fret-King Black Label

 Posted by Paul Schille at 1:53 pm  Gear, NAMM
Jan 162012
 

Vintage Icon Tele, '56 RI LP Custom, Mesa Lonestar Special

With all of the articles and press releases coming out featuring all the amazing new gear debuting at this week’s NAMM show in Anaheim, there was a release that warranted a second look as many of you may not be familiar with Trevor Wilkinson’s line of guitars. I have been fortunate enough to work with Trevor and Dennis Drumm at JHS over the last year, and this new Fret-King Black Label line of guitars is well worth a closer look.The goal with this line was to combine boutique design, custom-shop quality, and pro playability, at a price that is affordable to all players.

I have been using the Wilkinson Vintage Icon Tele for the past year and it has become one of my go-to guitars for the biggest shows we play. It’s hard to believe the extremely reasonable price-point while playing this guitar, as it more than holds it’s own next to some of the iconic guitars available today.

Here is the press release in it’s entirety:

Raising the bar… Introducing Fret-King Black Label

Worldwide trade distributor John Hornby Skewes & Co. Ltd and leading musical instrument designer Trev Wilkinson are delighted to announce the ground-breaking new Fret-King Black Label range of electric guitars and basses.

Country Squire De-Luxe

Black Label features 12 different instruments that combine tradition, boutique design, custom shop quality, pro playability and comfortable individuality. The range will receive its worldwide unveiling at the 2012 NAMM show, held between January 19th and 22nd in Anaheim, California.

The Black Label design brief was to prove that it is possible to create spectacular guitars that are totally acceptable as a real journeyman player’s working tool, fit for the highest profile player on the biggest arena stage in the world – and yet affordable to all.

Black Label takes a fresh view of how to bring real custom shop high-end features, the benefits they bring, and the advantages you get from instruments designed to be professional
working tools.

Super-Hybrid

Part of the Black Label design brief was to actually listen to pro players, and to work with them to create instruments that reflected their ideal guitar. The result of this collaboration between Trev Wilkinson and hugely experienced players like Jerry Donahue, Dave ‘Bucket’ Colwell, Gordon Giltrap, and Geoff Whitehorn – all players who have definitely paid their dues, reflect a huge variety of styles, and who, as well as being great players, know a thing or two about guitars – is a collection of artist-inspired guitars featuring attributes that all players will find useable, useful, and, above all, musical.

There are also standards to be recognised, passed and improved upon. The single cut Black Label Eclat, with peerless classic looks, and a tonal palette of such sophistication it could be three other guitars as well. The Country Squire is a magical fusion of the familiar with the contemporary. The Elise has a body style with a heritage that spans all musical styles, while the Corona, a moniker associated with high-end UK-built double-cut Fret-Kings for over two decades, builds on the roots of this icon. Meanwhile, the Super-Hybrid is radical, acoustic electric hybrid is so useable, and the Perception is a name synonymous with basses for real bass players.

Perception 4-String Bass

Dennis Drumm, JHS’s Managing Director, said: “Fret-King Black Label is taking Trev Wilkinson’s affordable boutique guitars to a new level. We’ve worked with a group of amazing artists to produce a line of guitars and basses with flair and creative innovations that give you an incredible, tactile and emotional guitar playing experience.

“Part of the design brief was to prove the point that it’s possible to create guitars that really ‘raise the bar’ – while still being affordable to any player. We love a challenge – see these guitars and you’ll be amazed! Unique and distinctive, memorable and reliable, 101% playable. Black Label represents tomorrow’s classics today.”

And Black Label has already made waves with esteemed musicians and journalists. Dave Burrluck, Gear Reviews Editor at Guitarist magazine, said: “You’d be foolish not to audition the Fret-King Black Label range – the bar has been raised!”

For more information, visit the Fret-King website, and view an introduction to Black Label with Trev Wilkinson here: www.youtube.com/watch?v=rcMficw1R0Q&feature=player_embedded

JHS will be at Hall E 1212 at NAMM 2012, so make sure to stop by and see Black Label, as well as the entire ranges of Fret-King, Vintage, Santos Martinez and Encore guitars.

You can find the entire line of Wilkinson Guitars here:

John Hornby Skewes & Co. Ltd.: www.jhs.co.uk

Fret-King: www.fret-king.com

Fret-King Black Label: www.fret-king.com/black_label.htm

Graham Oliver Vintage signature guitar: www.jhs.co.uk/vintageelectric.html#go

Paul Brett Vintage signature guitars: www.jhs.co.uk/paulbrett.html

Vintage ReIssued: www.jhs.co.uk/vintageelectric.html

Vintage ICON: www.jhs.co.uk/vintageiconguitars.html

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New Aguilar HALO Overdrive Pedal to Debut at NAMM

 Posted by Paul Schille at 5:21 pm  Gear, NAMM
Jan 132012
 

So we’ve had a few people ask us why we don’t have more bass-related articles on here (since Ray is a bass player and all), so I came across something that was pretty interesting and somewhat bass-related. We have a good friend down in Eugene, OR named Chris Ward who plays guitar with Amy Clawson & Coltrane, and he just sent me an interesting audio clip that I thought you all might be interested in.

Apparently Alex Aguilar, who is the former president and design engineer at Aguilar Amplification, has started a new company called Eagle Lair Audio, and their  initial focus will be on cutting edge products geared toward guitarists. (See, there’s the bass player angle, although he’s seen the light and come over to the 6-string side!).

HALO Overdrive

The first product being launched next week at NAMM is the HALO (Harmonic Amp-Like Overdrive) pedal. The goal of the HALO is to provide a high quality, no compromise effects pedal delivering harmonically rich distortion characteristics that feel, sound and react to picking nuances like the best tube amplifier designs. The result is a pedal that is sonically equivalent (and, in many cases superior) to tube saturation in the best guitar amps, while also producing tones that previously were not possible within solid state circuit topology. List price for the HALO is $399.

So as it turns out, our friend Chris down in Eugene actually had use of a prototype of this pedal last year and recorded a short audio clip of the various sounds. Here is the clip and what Chris had to say about the pedal:

Tele-AguilarHALO-ProReverb

“This is my Tele into the Aguilar prototype pedal into my ProReverb at a low, clean volume. If I remember right the mic is a 57 straight into ProTools. I am adjusting the guitar volume knob to get different amounts of overdrive. Good sound and very responsive for a pedal

It is the same Alex Aguilar that makes the bass amps, but as I understand it, he has sold that company and is no longer involved. I gather that he has been working on this prototype pedal for about three years now. I guess the electronic circuit is a completely different way of generating overdrive compared to anything that has been done before.  He is going for a tube amp like responsiveness with the ultimate goal of building a solid state amp with this circuit as the preamp.

Somehow he got in touch with a collective of players here in Eugene who passed the pedal around and gave feedback on the design. I gather that he has addressed some concerns and changed the design a bit since we had the prototype.

McKenzie River Music had some first run pedals in for sale and I think they have an order in for more. He is building them by hand right now. (apparently it takes him two days to build each pedal.)

I should add that this pedal is also extremely versatile. With the tone knob, the bass, contour, and presence knobs, the three way clipping shape switch and the saturation switch, a very wide range of tones can be dialed in.

In the clip that I recorded, I had spent some time dialing in the pedal to try to see how closely I could match the recorded tone of my Metro Amps 50watt Plexi.“

Ray and I will definitely be checking out this pedal at NAMM and will let you know what we think after we have a chance to play through it. Very special thanks to Chris Ward for the great demo clip and info on this cool new pedal!

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CrossWire Backstage With: Colt Ford

 Posted by Paul Schille at 5:27 pm  Gear, Life on the Road
Jan 122012
 

Ray and I have been fortunate enough to work with a lot of national acts over the last couple of years, and I always try and take a lot of photographs backstage (mainly because I’m old and don’t want to forget all the cool stuff we did!). Some shows I’m more successful than others, but we have met some really interesting and helpful band members and techs and been given access to all kinds of cool things. I thought I would start a new TGM series called “CrossWire Backstage With:” and post backstage pictures from some of these shows for you to enjoy.

I thought I’d start with our most recent shows as we did the Northwest leg of the Colt Ford tour. If you’re not familiar with Colt Ford, he wrote Jason Aldean’s #1 hit, Dirt Road Anthem, and is known for creating “Hick Hop,” a blend of hard rockin’ country and hip hop. They were great to hang out with, and his band were really great guys as well.

Hope you enjoy the pics!

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First Review: Mesa Boogie Royal Atlantic

 Posted by Paul Schille at 6:32 pm  Gear, Reviews
Dec 302011
 

Mesa Boogie RA-100

I’ve been a huge fan of Mesa Boogie amplifiers going back to…..well, let’s just say it’s been a loooong time! So when Tim McKee at Boogie asked if I’d like to take their new Royal Atlantic for a spin and review it here on The Gigging Musician, how could I refuse! It’s only fair to admit that I’ve been using Boogies since the 80′s and have used many of their amps over the years since. My current rig consists of a Lone Star Special head with 2, 2×12 Lone Star Cabinets, and my backup rig is an original Mark IIb head that I got from Steve Miller that’s been modded a few times by Mike Bendinelli down at Boogie. Just so you don’t think I’m too biased, I also have a 65 London, a vintage Princeton Reverb, a VOX AC-15, and a few others, but for live gigging nothing beats the Mesas!

Before we delve into the features on the amp, I’ve got to tell you that the first word that came to mind when I sat down to write this review is BOLD. This amp is BOLD! With the Lone Star, I feel like I can blend in or jump out as needed. It’s so transparent that I can sometimes get lost in the mix, and more than once I’ve actually been asked to turn up by my lead singer as well as a soundman or two. That is definitely not the case with the Royal Atlantic. This amp is chomping at the bit to be cut loose, and I had no problem finding great tones out of it as soon as I plugged it in. The amp (while being decidedly British) is more akin to a big, American V-8 muscle car, while the Lone Star is more like that racy, European job. One of the biggest tests for any new piece of gear is what my bandmates think of it, and with the Royal Atlantic they immediately knew something was different and commented very favorably on the variety of tones I was getting from it. That’s a big test to pass as these guys can be brutal when they don’t like something!

The Royal Atlantic is the flagship of the TransAtlantic line and packs 100 watts of EL-34 based power. It is a two-channel, three-mode amp, giving you access to Clean, Lo-Gain, and Hi-Gain modes via the supplied two-button footswitch. The Lo-Gain and Hi-Gain modes share their tone controls, but in a new and much more useful way than they did on say, my old Mark IIb. The tone controls on the RA-100 are much like those on the Mesa Electra-Dyne, using concentric tone pots to actually subtly change the tone stack when switching between the two modes. I have used the amp on a wide variety of settings and have never once wished I had separate tone for the gain modes. That was a pleasant surprise given the battle I always have finding a happy medium on the old MKII between the Clean and Gain channels! The Reverb on this amp is one of the best I’ve ever heard, and via switches on the back, you can have it engaged on all three channels, on just the Lo-Gain and Clean channels, or just on the Clean channel. Very useful for keeping those cleans lush, and those searing solos clear and distinct.

Multi-Soak

Which brings us to probably the most interesting and innovative feature on this amp, which is the Channel Assignable Multi-Soak. This features basically gives you a separate power attenuator for each mode of the amp, giving you the ability the get the sound you want at the volume you need! Located on the rear of the amp, each channel has a 5-position power attenuation switch (-16db, -12db, -8db, -4db & 0db) for Power Ratings ranging from 100 watts all the way down to 3 watts of class A/B power. For those of you who prefer a non-master volume amp, this is an invaluable solution, as you can have this big amp working hard and still be able to use it in the smallest settings. They do warn you that using the higher levels of attenuation will dramatically shorten tube life, but it’s a small price to pay for the amazing versatility it offers. The amp comes with a two-speed fan, and I always keep the fan on high so as to prolong tube life.

So how does it sound? Besides Bold? Suffice it to say I really love this amp. While I got my Lone Star Special mainly for it’s clean sound, the Clean channel on the Royal Atlantic is the best clean I’ve ever heard on a Boogie. No kidding! You can basically set everything at noon, attenuate wherever you want, and this thing sounds fantastic. I’ve tweaked the tone on this channel and no matter where you set it, it performs. I use Les Pauls, Teles, and Strats throughout our shows, and the clean here really lets each guitar’s distinct sound shine through without having to change settings when changing guitars. The tone is big, round and warm, very American sounding. The amp is worth trying for this channel alone!

My Rig at Work

The Gain channel really takes you back to those classic British rock tones all us old(er) guys grew up on. Between the two modes on this channel you can cover everything from sultry blues to over-the-top screaming lead, and everything in between. A huge benefit of the Gain channel is how well it responds to both your picking and use of the the volume knob on your guitar (you all know where that knob is, right???). If you’re the type that rolls back your volume for rhythm and brings it up for leads, this amp is made for you. It’s very quick to respond, giving you back exactly what you put into it. That being said, I tend not to do this (and yes, I know where that knob is on my guitars!), so I have the Lo-Gain mode set for my rhythm sound, and use the Hi-Gain mode for solos. Works perfectly either way. I did find the Gain channel a little harder to dial in, mainly because I tend towards a bit darker, warmer tone and this amp is on the brighter side. I ended up running the Bass at about 4:00 and the Treble between 8:00 and 9:00, and then use the Middle to dial it in for each room. I am running this through a couple of open-back 2×12 Lone Star cabinets and would expect more low end and punch if I were to run it through a big, closed back cab. That being said, it was easy enough to dial in, it just didn’t work as well for me with all the controls at noon.

The RA 100 also has a transparent, series effects loop which handles outboard signal processing and provides a seamless interface for units that don’t always like to live in front of the preamp such as Delay, Chorus, Flange and Pitch Shifting based effects. The Loop Send is derived from a source at the end of the preamp and the return is inserted back into the signal path near the input to the power section. Being more “old school” (as opposed to just “old!”), I run everything in front of the amp and honestly haven’t used the loop. When there are no patch cords and/or devices connected, the loop is hard bypassed and all associated circuitry is removed from the signal path, which is a nice touch.

Gain Channel

Clean Channel

I was told that some of the other Boogie guys checking out this amp were running the master all the way up and then cranking the attenuators to get the volume they were looking for. While I tried this and it was very cool, I didn’t find it to be the sound I was ultimately looking for. I’ve ended up running the amp in the 100-watt setting (via the handy 50/100 switch on the front panel), and then attenuating each channel two clicks, or at -8db. Keep in mind that the ear’s perceived difference in volume between a cranked AC-15 and an AC-30 is only 3db, and you can see just how versatile this feature is! I took a couple pictures of my front panel settings, and while they turned out horribly, it at least gives you a starting point for what worked for me.

So what would I change? There’s really very little about this amp that doesn’t work for me. I would probably like the Gain channel to have a bit more low end at neutral settings, but again, that’s what those knobs are there for so that’s not a big deal. The one thing I would LOVE to see on this amp (as well as on just about any amp) would be a variable Solo Boost feature like I have on my Lone Star Special. I’ve gotten so used to having that, that it has become an indispensable feature for me. With a variable solo boost on this amp you would have six, count ‘em, six different foot-switchable settings, and tone for days!

My verdict is that the Mesa Royal Atlantic RA-100 is an amp that you definitely want to check out before making your next amp purchase. We are so lucky these days to have so many great amps out there to choose from, and the RA-100 is right up there at the top of the stack. I’ve been using the amp for about 4 months now and will follow up with another long-term review next year after I’ve got a few more miles on it. Very special thanks to Tim, Mike, Jim and everyone at Mesa for bringing us such a versatile beauty. And speaking of beauty, I’ll leave you with a picture of an amazing, custom-ordered RA-100 that was recently delivered to Geo at The Guitar Sanctuary. I don’t know about you all, but this thing ROCKS!!!

RA-100 in Champagne Tolex

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From Premier Guitar – Gear Nannies: The Life of a Guitar Tech – Part 2

 Posted by Paul Schille at 8:58 pm  Gear, How To's, Life on the Road
Nov 222011
 

In Premier Guitar’s followup article on guitar techs, the focus turns to gear and some of the tricks and tips that these seasoned professionals use to keep their employers (and their gear) happy and functional. All of the guitar techs I’ve met over the last couple of years have been total gear nerds and have been more than happy to talk with us about how they do their job and some of the crazy things they experience on a daily basis. These guys have seen it all, so have a look and see if there isn’t a new trick here that you might find helpful. Enjoy!

10 Tech Tips from Touring Pros

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Jeff Beck Week Continued

 Posted by Paul Schille at 6:00 am  Gear, Life on the Road, Videos
Nov 052011
 

To round out the week of Jeff Beck adoration (by me), I thought I’d share this interview with his longtime guitar tech Steve Prior. As is usually the case, the best gear info always seems to come from the tech! One of the interesting tidbits here is the huge neck profile on the first run of Jeff Beck signature Strats. It turns out that Beck didn’t like that large neck profile either and had Fender make him a bunch of necks from which he picked his favorite.

And if anyone was able to get a better shot of Beck’s pedalboard than I did last week, I’d love if you could share it with all of us here. I took a bunch of pics from the front of the stage, but even from there it was impossible to tell what all was on there.

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From Premier Guitar – Gear Nannies: The Life of a Guitar Tech

 Posted by Paul Schille at 8:05 pm  Gear, How To's, Life on the Road
Nov 022011
 

Blake Shelton Tech Area

From the big boys who couldn’t live without them, to the rest of us who can only imagine how cool it would be to have one, I doubt if there’s a guitar player alive who at some point hasn’t thought about either having or being a guitar tech. And now Premier Guitar is giving us a glimpse of life behind the scenes with Gear Nannies: The Life of a Guitar Tech.

Dierks Bentley Tech Area

Ray and I have been fortunate enough to do a lot of opening gigs over the past couple of years, and the first guy I look for when I get to a show is the guitar tech for the headliner. As a group, these guys have proven to be the nicest, most helpful people you could ever have the good fortune to meet. From Jon who techs for Eddie Perez in Dwight Yoakam’s band, to Frank who techs for all the guitarist in Kenny Rogers band, to Rob from Gloriana, to the guys with Blake Shelton, Dierks Bentley and Lynyrd Skynyrd, they have all gone out of their way to make us feel comfortable working with their acts, and have shared some great insights into how they do their job on a daily basis.

Kenny Rogers' Guitars

I’ve been loaned those silver, reflective blankets to cover my guitars on a roasting hot stage (a must-have if you’re doing outdoor shows I quickly learned!), sat at the side of the stage with the tech for some truly awesome performances, built up quite a guitar pick collection, and even gotten to play some beautiful guitars. As a guitar player, don’t ever pass up the opportunity to talk with these guys. They are total gear nerds like the rest of us, and love to talk about their craft. A special thanks to Premier Guitar for this article, enjoy!

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Instrument Cable Rundown – Guest Submission by Lee Hodgson

 Posted by Paul Schille at 12:07 pm  Gear, Reviews
Apr 302011
 

Today we have a guest submission on instrument cables from Lee Hodgson. Lee teaches at London’s Guitar Institute (part of the Institute of Contemporary Music Performance), has written for Guitar Techniques magazine, been an official demonstrator for Vox amps, and is a Fret-King guitar endorsee. He has put together a very thorough comparison of a wide variety of cables, and though we may differ in our preferences (he disses one of my favorite cables!), the bottom line is that the cable you use DOES make a significant difference and it’s worth trying as many as you can to find what works best for you. Thanks for the great article Lee!

Guitar Leads Do Sound Different…

By Lee Hodgson

Introduction

Are there really audible differences between guitar leads? And if so, is there a ‘best sounding’ one? Well, they all sound different for sure, so I believe it’s a case of finding what’s best for you. After all, not everyone might want a totally transparent sounding lead. (An electric guitar is not exactly a piece of hi-fi…) Blues players, for example, may want a warmer tone, whereas a funk guitarist might want sparkle, get the idea? On a larger scale, we basically choose between, let’s say, a Fender Strat over a Gibson Les Paul (or vice versa); one has more warmth yet the other has more brightness and cut. Of course an amplifier has tone controls, so does a lead’s characteristics count? I believe so. It’s not just about treble, middle and bass; there are other more subtle factors at work – which scientific studies could explain. All we musicians care about is a musically satisfying result, wouldn’t you say? My main point is that I really can hear how some leads impede or alter the sound in some way or another. Curiously, I can also sense when a lead is the ‘right’ way round: it’s not about tone, it’s rather more to do with cohesiveness and the frequencies all arriving synchronously. Whatever, all I ultimately want is a balanced, uncongested, cohesive and generally wholesome sound. I only want gear that lets me get on with the playing of music.

Test Guitar: Fret-King Corona & Super S with Wilkinson pickups (various pickup settings used).

Test Amps: Mesa/Boogie MkIII Simulclass (EV12L), Cornell Voyager 20 (6V6 tubes, Celestion Gold Alnico loudspeaker). Also a Vox ToneLab ST (modeller).

I USED AN ESSENTIALLY CLEAN SOUND THROUGHOUT. Using parallel thinking, I’m one of those who want even their ‘dirty’ sound to be essentially clean – articulate is probably a better word – when using overdrive. I believe that clarity is invariably perceived as being a positive quality. Some producers think in terms of ‘expensive’ sounds…

Playing Style(s) used: hybrid picking mostly, plus some fingerpicking – the sound of flesh makes Jeff Beck sound good, wouldn’t you agree? I played single note lines (including soulful bends), double-stops, triads and chord strums. I can state categorically that playing multiple notes together or closely in succession, sustaining that is, reveals just how a lead accurately or inaccurately passes the component sound(s). Some leads make your chords sound disjointed and imbalanced, almost as if it’s two guitars fighting each other, whereas certain other leads definitely produce a singular, coherent sound. OK, what follows is my professional opinion of various guitar leads.

My favourite guitar cable is without a doubt, Van Den Hul Integration Hybrid (from Lava Cable). It’s just the best! It actually does seem to improve sustain. It’s quite expensive but not ridiculously so. I went for a 10-foot length.

Lava Soar.

I bought a 20-foot one of these and it’s fine. I use it for general gigging. It’s a ‘high-end’ cable but very reasonably priced.

Cordial.

The CGK 122N is definitely one of my favourite guitar cables! It seems to add something – which might imply that it’s not neutral sounding…

  • Fabulously clear sound (especially on double stops).
  • Sounds musically integrated and has a balanced tone; it’s a wholesome sound that makes a guitar sound wonderful by itself yet, it’s also offers a sound that gels with accompaniment noticeably better than when using other leads. It makes you think: “this is what my guitar should sound like!”
  • It ‘feels’ great! I’d say it’s best suited for rock/blues/overdrive sounds.

I own several Cordial leads: the CGK175, which is slightly different physically (it is more flexible so is more suited to stage use) but sounds every bit as good as the CGK 122 N, plus I have the slightly cheaper CIK122, which is ever so slightly edgier and more vibrant sounding than the rest.

Sommer Cable.

The Grindycop Beast seems to have gained a great reputation amongst discerning players. It’s main feature is its “quickness” (transient response). I bought one and found it to be, as Sommer themselves put it, ‘analytical’…

Evidence Audio.

Dave Gilmour uses the ‘Lyric HG’, as do many other top-ranking players, but I’m left unimpressed. This twin-core (solid) cable is clear enough and well balanced but all I can say is, playing loud through a VOX AC15, a Cordial cable just delivered something special. Evidence Audio might well say that their cables are totally neutral sounding but I don’t really care, I enjoyed playing through another cable more.

Elixir.

Sweet, clean and fairly open sounding. The cable measures a little resistance, which worries me very slightly.

Horizon Siverflex.

The Horizon Silverflex cable is very good but not quite as cohesive and balanced sounding as Cordial leads. It has a great sounding treble response, which makes high-pitched lead work very clear, but I think the bass end is ever so slightly disjointed.

George L’s.

I’ve heard that these are highly regarded but they’re not for me. Despite having great clarity and transparency, they have a slightly cold, clinical sound in my opinion. However, I’d recommend that you try them out with your own guitar…

  • Extremely clear, brilliant sound that works well with all kinds of sounds and playing styles.
  • Good integration and balanced tone: it’s a wholesome sound.
  • Excellent transient attack! Which makes it sound immediate as opposed to blurred.

Planet Waves (D’Addario).

I bought a 20-footer (the more expensive twisted-pair version) and had been using it quite happily until I discovered Cordial… By comparison, the PW lead sounded cluttered and uncohesive, especially on double stops (playing D & F# together on the 5th & 4th strings sounded much nicer through the Cordial lead; it sounded more focussed and the chord was noticeably more vibrant!). Planet Waves’ advertising claims that its cable is “acoustically transparent”, devoid of any filtering effects, yet it does, to my ears, sound a little thicker than other leads – which is probably why endorsee Eric Clapton likes them! I should add, however, that I once played a master-built Fender Tele at a gig and the Planet Waves lead did do it justice. You see, it’s a marriage…

  • Fairly clear sound for single-note lines but not so great for double stops or chords.
  • Flattering when you play hard but loses some detail (sounds a little furry) when using softer dynamics.
  • Might suit a rock/blues lead guitarist who wants a marginally thicker, fatter tone. (It doesn’t actually boost anything, it’s just not ultimately as brilliant or detailed sounding as certain others.)

Ki-Sound (Rotosound).

I paid £4.00 for a 10-footer and I really can’t fault it!

  • Lovely clear sound for any playing style and note formation.
  • Balanced tone: gives a wholesome, integrated sound.
  • A cosy sound. Highly recommended!

Active Lead.

I used to be an endorsee. The Active Lead is kind of like a DI-box-as-a-lead if you know what I mean. It’s perfect, therefore, if you want to quickly plug into a mixing desk or hi-fi etc that doesn’t have a dedicated guitar input (the Active Lead has a mega-high impedance, which is good for guitars).

Check this out: I once travelled by air so I couldn’t take my main rig. All I took was my (back-up) guitar, a Squier Silver Strat, and my Active Lead. I plugged into another guitarist’s little tranny Fender Deluxe (mic’d up)… …and I received many favourable comments from guitarists from the other bands at the festival. I can’t help liking my Active Lead! It serves a purpose.

  • Particularly clear sound, with enhanced high-end – it sparkles!
  • Balanced tone: gives a wholesome, integrated sound. Designed to eliminate an undesirable peak that’s found in most electric guitars’ pickup response.
  • Suffers from a little added hiss. Also, in order to avoid induced hum, you must keep the integral battery box away from transformers etc.

Ripcord (MI).

I paid £82.00 for a 20-footer several years ago and loved it for a while. But then I fell out of love with it and so I sold it! It definitely has a ‘sound’ though…

  • Not neutral sounding – imparts fatness and mid-range drive, a “juicy” sound!
  • Suffers from a kind of crackling/rustling noise when you shake it. (So don’t!)
  • Ripcord also sell expensive speaker and mains leads…

Digressing for a moment, but still considering the lengths people will go for great tone, Eddie Van Halen lowered the voltage supply to his Marshall amp and the sound, he says, went “brown”! And Eric Johnson believes, rather obsessively, in all manner of things that affect tone… Mind you, I’ve heard him play live and I can vouch that his sound was absolutely phenomenal!

Winding down now, I do recall once trying an upmarket Monster lead – they do all kinds of dedicated, stylised guitar/bass leads – and I seem to remember that it sounded neutral. Ultimately though, I preferred my “fruitier” sounding Ripcord, which I favoured at the time.

If you want esoterica, then check out Russ Andrews product brochure, which offers guitar leads that cost up to £600!!!

Finally and in conclusion, I have bought many guitar leads over the years (and plenty more besides those mentioned here, which varied between acceptable and unacceptable) and I can most definitely hear – I’d rather say “feel” – when something is right or wrong, subjectively speaking, that is. It’s all about finding that elusive “perfect combination” isn’t it?

Have fun!

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ROCKIN’ YOUR STAGE SOUND – Excerpt – Live Sound Checklist

 Posted by Ray Neyens at 5:00 am  Free, Gear, How To's
Apr 192011
 

[EDITORS NOTE: This is another post by Guest Writer Rob Gainey. Rob and his publisher, Hal Leonard, have been gracious enough to allow posting of some excerpts of his recent book "Rockin' Your Stage Sound". If you enjoy this, or any, of his articles please consider supporting his efforts by purchasing his book...it just may help Rock Your Stage Sound. - Ray]

Think about all the aspects of your tone on its way to the PA—your cords, effects, amp, speakers, the mic. Everything counts! Don’t be afraid to admit when you get in over your head and need some help, but don’t just let someone fix it; fix the problem with them and you will have earned the money you paid them to teach you. Try many different combinations with your setup. Most discoveries were accidents waiting to happen, but in a good way. Practicing at home and rehearsals are the places to do this, not during showtime! Never forget that it all begins with your tone—it has to be at its best! This is the first and most important step in taking control of your stage sound.
Here is a checklist of points that were made during the chapter. It is a good idea to look these over before every rehearsal and get into the habit of doing this for shows as well.

1. Always Use Fresh Strings
2. Listen in a Quiet Room
3. Eliminate Buzzes and Noises
4. Intonate Your Instrument
5. Check All Batteries and Keep Spares
6. Use a Quality Guitar Strap and Fastener
7. Secure Your Instrument Cable
8. Adjust Your Action Properly
9. Adjust Your Pickups Properly
10. Keep Strong Magnets Away from Pickups
11. Eliminate Squeaks and Rattles
12. Use Fresh Drum Heads
13. Tune Drum Heads Evenly
14. Allow Room for Microphones
15. Play with Dynamics
16. Use a Pickup on Acoustic Instruments
17. Use a Mute Switch to Prevent Problems
18. Use a Stage Amp for a Personal Monitor
19. Use a Clip-on Mic When You Can
20. Carefully Check All Cables
21. Carry Backup Power Supplies
22. Keep Spare Sound Cards and Discs
23. Keep Your Gear in Working Condition
24. Never Cup the Ball of the Mic
25. Never Drop the Mic
26. Never Expose the Mic Directly to the Mains or Monitors
27. Balance Your Stage Levels with the Monitors
28. Use Your Own Mic
29. Keep Wireless Systems in the Line of Sight
30. Learn What Sounds Good on Your Voice
31. Keep Your Lyrics Handy
32. Listen to Your Amp Without Effects
33. Use Fresh Tubes
34. Buy and Use a Volt-Ohm Meter
35. Check for Microphonics in Your Rig
36. Try Your Effects One at a Time to Find Problems
37. Use Only the Effects You Really Need
38. Don’t Wear Earplugs—Turn Down
39. Place Your Effects in the Correct Order
40. Use Loop Switching to Create Unusual Effects

[Editor's Note: Do you have anything to add to this list? What is on your checklist for making sure you have a great gig? Let us know in the comments.]

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ROCKIN’ YOUR STAGE SOUND – Excerpt 2 – Effects Overview (pt 2 )

 Posted by Rob Gainey at 5:00 am  Gear, How To's
Apr 152011
 

[EDITORS NOTE: This is another post by Guest Writer Rob Gainey. Rob and his publisher, Hal Leonard, have been gracious enough to allow posting of some excerpts of his recent book "Rockin' Your Stage Sound". If you enjoy this, or any, of his articles please consider supporting his efforts by purchasing his book...it just may help Rock Your Stage Sound. - Ray]

Flangers/Choruses/Phasers
These units are all similar in that they mix a processed signal with the original unprocessed signal to produce a particular sweeping or swirling effect. Flangers and choruses both change the speed of a delayed signal to produce a swishy or sloshy sound, depending on their settings. Phasers shift the phase of a signal by using a filter to sweep the frequency range. They all sound different when you hear them one after the other, but they are remarkably similar. Extreme settings on a flanger or chorus will produce a warbling effect known as vibrato. While phasers have Speed and Depth controls, flangers and choruses can also have Sweep in their settings.
An ordinary delay unit can be used to produce a flange or chorus effect if it has a modulation control, which automatically varies the speed of the delay. Sweep is the equivalent of delay time, Speed is the equivalent of modulation, and Depth is the equivalent of the feedback or repeat control of a delay unit. With no modulation and longer delay times of 40-60 ms, this is called a doubler, because it sounds like two people playing the same thing ever so slightly out of time.

Delay
Delay is an effect in which you can hear the individual repeats of a signal. Often called “echo,” this is one of the most popular effects in the history of audio. There are many types of delay units, from old tube Echoplexes to pristine-sounding digital delays, but they all perform a similar function: to repeat a given length of your input signal at least once, often more. With each succession or repeat, the volume decreases; at least for normal delay usage. Most delay units have a control for length, another for feedback (the number of repeats), and a mix control that allows you to balance the delayed signal with the original signal. Delay is best used before any reverb, as this is what occurs in the real world and sounds most natural to us.

Reverb
Often confused with delay, a reverb unit produces a large number of “reflections” by means of a digital algorithm. No discrete “echoes” can be heard; instead it sounds like you’re playing in a cave. The evolution of the reverb effect went from using a microphone and speaker in a tiled room to a long box with a “plate” in it or a small box with “springs” to the now famous digital reverbs with complex space modeling, backward reverbs, and “gated reverbs” that build and end abruptly.
The operation of these units will vary considerably, but there are three main parameters on most digital reverbs: Room, Density, and Decay. Smaller rooms produce shorter, tighter reverbs, Plates produce medium-length reverbs, and Halls produce longer reverbs. Each program uses a different algorithm to produce a particular tone for each reverb. Density controls the amount of reflections produced by each program. Decay determines how long the total reverb time is from the initial sound until the final reflection has decayed. While there are often a few more parameters, each unit has a different set of features, sometimes even for different programs.
Reverbs should always be last in the chain, as they usually sound most natural after everything else. The tails they create would sound quite unusual before other units like harmonizers, choruses, and delays, but if you’re out to discover that “unique tone,” this may be the one rule you’d want to break, and my leading choice for a strange effect.

Line Drivers
A line driver really isn’t an “effect”; it simply amplifies a signal that has been weakened by multiple effects units in series to a level that will drive a long cord to an amp without a significant loss of gain. This unit will rarely be switched in or out of the signal path; it is usually left in the whole time. It doesn’t provide “distortion” as we know it—its main purpose is to cleanly amplify a signal without changing the quality, just the level.
These units are best used very last in your signal chain, even after any reverb. If you only have a few effects, you may not need one at all. If you have six or seven units, you may need one. It really depends on how much gain your amp has. If you have plenty of gain left over after all is said and done, you don’t need one. If your gain is cranked all the way up and you could use some more level, then you definitely need one.
An entire library could be devoted to just effects, but that’s just not practical for the purposes of this book. There are quite a few other effects—some of them one-of-a-kind specialty units that nothing else can replicate, but in the end, they will typically fall into one of the four categories we have discussed here. As long as they are sequenced correctly, you should be able to make what you have work with few problems. Just keep in mind that people come to hear music, not effects.

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Yamaha Release iPad App For LS9 Mixers

 Posted by Ray Neyens at 6:34 pm  Gear, News, Videos
Apr 142011
 

Yamaha’s new StageMix iPad app for it’s LS9 mixers finally hit the Apple iPad App store yesterday. The app was previously available for Yamaha’s higher end M7CL mixers. This new app brings mobility to the mix engineer. With it’s “Sends on Faders” ability you could have the LS9 at front of house and have an iPad on stage for making adjustments to monitor mixes (or vice versa, LS9 on stage & iPad at FOH).

My band is thrilled by this new release as we use the LS9 for our in ear monitor mixer. The mixer lives next to our drummer which can make access to it a little challenging for the rest of us in some venues. With the new iPad app we can set up an iPad near the front of the stage for the rest of the band to use for tweaking their own mixes.

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ROCKIN’ YOUR STAGE SOUND – Excerpt 2 – Effects Overview (pt 1)

 Posted by Rob Gainey at 2:39 pm  Gear, How To's
Apr 142011
 

[EDITORS NOTE: This is another post by Guest Writer Rob Gainey. Rob and his publisher, Hal Leonard, have been gracious enough to allow posting of some excerpts of his recent book "Rockin' Your Stage Sound". If you enjoy this, or any, of his articles please consider supporting his efforts by purchasing his book...it just may help Rock Your Stage Sound. - Ray]

Compressors
Compressors and gates are actually the same electronics used in different ways. As opposed to completely opening and closing, compressors ride your signal level. When your signal reaches a certain strength (Threshold) it begins to turn the signal down at a specific rate (Attack) and by a certain amount (Ratio), and turns it back up once you have gone below the threshold (Release). It would seem like this would be the perfect effect; however, it comes at a price: noise. Extreme ratios and very low thresholds will essentially turn down every note you play, yet turn up the noise when you aren’t playing. Compressors can also remove all the life and dynamics from your playing as well. These effects aren’t meant to replace your ability to control your instrument, but they help if you’re in the range. A rule of thumb to consider when using them is, for every 1 dB of compression in your signal chain, you will add 1 dB of noise. Light compression and lower ratios should be your first choice for a natural sound.

EQs
When properly used, these are incredibly handy devices that can change not only your tone, but your level as well. There seem to be two schools of thought regarding their use: one group of users simply cut out frequencies for the proverbial “smiley face” EQ setting, and another group of users just push everything up (though not quite equally), then leave it on pretty much the whole time. Often the amp needs adjusting to make either of these approaches work. I question both philosophies. Wouldn’t it be easier to set your amp to the right rhythm tone in the first place, then use the EQ for a lead tone or gain boost? It could also be used to balance the tone of a second guitar; i.e., one sound for the Strat and an EQ for the Les Paul. You shouldn’t need an EQ to make your amp sound right if you choose the right amp.If you’re sitting in on other people’s gear, an EQ is almost essential. Instead of tearing up their settings to get your sound, simply use your EQ to compensate for their settings. I seriously recommend this for any bass player or guitarist, especially for an acoustic instrument.

Gain and Distortion Pedals
These are probably the most misused devices of all the effects. While they can make a marginal amp sound better, they can also make a great amp reek! There is no substitute for having a great amp and getting great sounds from it. If you can get a great sound from your amp without these units, effects can make them sound even better when used reasonably. And like any processor, they can make you sound really bad when pushed to their limits. They should enhance your tone, not become your tone! Very few of them have adequate tone control over the drive they create, making them a liability at higher settings. Using them to go from a clean sound to a saturated lead tone is risky at best; if you need a two-channel amp, then get one! Don’t try to use a footpedal as a substitute; use it to enhance a great amp sound.

Harmonizers and Octave Pedals
While nothing beats a well-played harmony, it’s impossible if there’s not another like instrument in your band. Many high-end harmonizers claim to be able to follow the intervals correctly in key, but a song rarely stays in one key, and pitch shifters aren’t really capable of playing through changes or following movements correctly. They do provide some harmony effects, and used occasionally they can sound very interesting. If you balance them correctly, even the off notes don’t sound so bad when they are blended behind the dominant pitch. The only pitch intervals that sound right on most of these units are an octave above and below, or the unison, which essentially is a doubler. As long as you are aware of the capabilities and inadequacies of harmonizers, you won’t be misled to believe the many outrageous claims made by their manufacturers. Cool effect, but rarely true harmony.

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What’s Your Favorite Overdrive Pedal? I Have a New One!

 Posted by Paul Schille at 6:43 pm  Gear, Reviews
Apr 132011
 

So this is a post that is bound to stir up some controversy as there is no right answer and there are so many overdrive pedals available today that’s there’s almost a different one for every guitarist out there. In the constant search for that perfect tone that we all hear in our head, I’ve tried a lot of the pedals out there today and I usually have 2 or 3 different ones on my board to allow for a variety of tones over the course of the gig. In the collection currently are an EH Little Muff (vintage), Univox Super Fuzz (vintage), Ibanez TS-9 Tube Screamer (early 80′s), ProCo Rat (original big-box), MXR Micro Amp (80′s) and MXR Distortion+ (late 70′s). Then several of the more modern units like the Fulltone Fulldrive 2 Mosfet, Voodoo Lab Sparkle Drive, Xotic BB Boster, Hermida Zendrive, Boss Blues Driver, Fulltone Fat Boost, and a couple more I can’t recall right now.

Jetter Jet Drive

So is that too many? For sure if you’re a minimalist and get your tone all from the amp, and no if you’re like my friend Billy who makes my collection look anemic. But I recently heard about a pedal that is getting rave reviews, so when one popped up on Craigslist at a good price I couldn’t resist. And man, am I happy I called! The new overdrive is the Jetter Jet Drive pedal. If you haven’t heard of these guys yet, check out their site at www.jettergear.com. And if you get a chance, definitely find one of these pedals and give it a try. This is basically two pedals in one box, and they’ve done a great job of making the two sides work seamlessly with each other. I’ve tried other dual pedals that have settings that just don’t work with each other, but it has been impossible to find any setting on either channel that doesn’t sound great alone or combined. What you have with this pedal and a clean amp is basically four “channels,” taking you effortlessly from clean to mild to crunch to solo.

The Jet Drive has two two channels, Blue and Green, and each offers it’s own unique flavor. The Blue channel is a bit more aggressive in nature while the Green channel is more buttery. Either channel can provide everything from clean boosting to crunchy grind, and even at maximum gain settings each channel provides harmonically rich, moderate gain lead tones that never get flabby or overly compressed. But it’s when you combine the two channels that this little pedal really shines! Adding the perfect volume boost for solo work, notes really sing, and your Tele still sounds like a Tele and your Les Paul still sounds like a Les Paul. The tone remains very transparent, the low-end stays tight and focused, and you will not hear any harshness or spikiness on the top.

The tone controls are a bit different here as well, as they are tuned to the frequencies most often used by guitars. Going from Lean to Rich, you can dial in very usable high end as needed in both channels. I’ve found settings between 1 and 3 o’clock work best for me. This pedal will be going on my travel board, as it should give me a wide variety of sounds with whatever backline I find at the venue. I was going to shoot a short video of the pedal in action but came across an amazing demo by one of my favorite guitarist, Peter Thorn, so thought I would share that with you here. Both the pedal I have and the one Peter demos are Version 2 of the pedal and have about 25% more gain than the original version. I talked with Brad at Jetter and he said that any serial number that starts with “0810…” or higher is a V2.

So have a look at the demo and let me know what you think!

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New Wilkinson Vintage Series Guitars

 Posted by Paul Schille at 8:22 pm  Gear, NAMM
Apr 052011
 

Vintage Reissued

One of the finds of the show this year at NAMM was the Vintage line of guitars from Trevor Wilkinson. Ray and I have always found some of the coolest things downstairs at NAMM and this year was no exception. Vintage Guitars is part of the JHS/Trevor Wilkinson/Fret-King family and would be considered their budget line. But what a budget line it is! The whole idea behind the Vintage line is to bring top-quality craftsmanship at a reasonable price point. This is something that all the big players talk about, but making it happen is quite another thing, and in this respect, the Vintage line really delivers. The guitars are available as the Vintage Reissued (new), and Vintage Icon (aged) with prices ranging between $300 and $600! Along with the usual Strat and Tele models are a killer Les Paul version as well as SGs, a Flying V and a really cool LP Special I still have my eye on.

The show guitar!

The guitar that immediately caught my eye at the show though was a rosewood fingerboard, very distressed, ash blonde Tele model called the V62MRAB. I played it unplugged at the show, and even in that environment you could tell that this guitar was special. It really rang and nailed that vintage vibe I love. I always take Teles on the road when we have to fly to gigs, and I immediately thought this would be a great road guitar. So I filed all the information away and figured I would look into getting one at some point in the future.

Well a week or so after getting home from the show I found that of all the great guitars we had seen, this particular guitar was still the one I couldn’t get out of my mind. But I really wanted the exact one I had played at the show and figured there probably wasn’t much chance of tracking that one down. I dug out the Vintage information and gave Dennis Drumm there a call, and sure enough, because of all the snow in the Northeast, they hadn’t even unpacked the guitars yet. I was in luck! So we worked out a great deal for the guitar (thanks Dennis and Trevor!) and it was on it’s way!

My Vintage Icon V62 MRAB

Great, aged hardware!

There’s nothing quite like opening that package when a new guitar shows up, and on first inspection it was definitely the one I had played at the show! So straight to my favorite luthier it went for setup. I’m pretty picky about how my guitars play, and this guy just knows how to get the best out of every guitar. So he recut the nut, did some fret work, a new shim, truss rod adjustment, intonation, the works, and the thing plays great! The stock Wilkinson pickups have a great, spanky Tele tone, but since my current gig requires humbuckers most of the time, in went some new pickups. Since I was too lazy to do any routing, I went with a Seymour Duncan Little’59 in the bridge and an Alnico II Pro in the neck. The Little ’59 gets really close to the Wolfetone Marshallhead in my other humbucker Tele, and the Alnico II Pro has a great, warm Tele tone. The middle position is the real winner here though as it get a very acoustic-y sound which is great for clean work. I’ve played this guitar at every gig we’ve done since it arrived and I’m loving it! I use some really nice Les Paul Reissues and Custom Shop Teles, and it just goes to show that price doesn’t tell the whole story as you can pick up this exact guitar at Amazon right now for $459.

We’ll post some video from our shows this summer so you can check out the tone. And if you happen to make it out to one of our shows, make sure you come back and say hi and check this guitar out. You’ll be ordering one off Amazon on your phone before you leave the venue!

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Spring Sale on Clayton Custom Guitar Picks

 Posted by Paul Schille at 1:30 pm  Gear
Apr 012011
 

Wall of Clayton Custom Picks

TGM Picks

If you’ve always wanted to have custom picks of your very own, now’s the time to finally get them! Clayton Custom Guitar Picks is having their Spring Break Sale which offers 15% off any custom pick order. Ray and I ordered a batch of their picks for The Gigging Musician and we left several hundred of them scattered around NAMM. Clayton offers a wide variety of picks including their own well-known Acetal material. We opted for their Duraplex Tortex-like material and loved them. Clayton has a really easy-to-use tool to let you build and proof your custom pick right on the site. It really couldn’t be any easier!

Picks come in batches of 100 and pricing for custom picks starts at only $24.99. To get the 15% discount, just enter SPRING11 during checkout. The sale only lasts through April 5th so don’t miss out!

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