It seems like a long time ago I started building what is now my pedal board. I started with a single pedal (Digitech Bad Monkey) and continued building. My first actual effect was a Digitech multi-effect processor. I was never satisfied with it. I've bough and replaced so many pedals that it is hard to remember what my actual first board looked like. I do remember that I ran a Boss DD-3 Delay, Boss Metal Zone, Fender Analog tuner (not a pedal but mounted to be board), Behringer Hellbabe Wah, and a JamMan Looper. I don't think there is a single piece of the gear in my possession any more. Even the board that I used to use has moved on.
So what am I using? Well, my board is homemade. My collection had grown and I needed a board to hold everything. At one time I was running 20+ pedals. There were a few duplicates. Most were modded/unmodded options, but basically everything I owned was on the board. I liked having everything available at once. This was a home rig I put together when I wasn't playing anywhere. In the last year or so, I've seen a lot of that gear go and a lot of new stuff come in. So my board now is: Ernie Ball Volume, Boss TU-2 Tuner, EHX Soul Food, EHX Glove, EHX East River Drive, MXR Superbadass Distortion, EHX Metal Muff, Boss GE-7, Outlaw Effects 5 O'Clock Fuzz, Boss TR-2, Boss GE-7 (again), and a DD-20 Gigadelay. Not by any means complete, but it's a work in progress.
The last time I did a post on my board was years ago. You can see it here. The board has changed a lot, but do still use the delay and tuner for that board, because they just have to work and they do. As for everything else, ether my tastes have changed or I found something that has suited me better.
Friday, July 31, 2015
Wednesday, July 29, 2015
The Ugly Truth About Vox VXII Amps
When these amp were announced I was skeptical. Vox has a long history of digital modeling amps. While most of their offerings respectable, They are sometimes less than outstanding. It would be extremely noteworthy if an amp could faithfully replicate a dozen different amps. There would be no need to own all those other amps. Yet, the amp that can effortlessly change from one voice to another has not been invented. So when I spotted one of these amp at my local music store, it was exciting to get my hands on one. This amp has claims to do a lot. Does it live up to the hype? The truth is a little less than pretty.
It's Small
Yes, these are little combo amps. I own a Valvetronix 30 Combo and it dwarfs this little VX. Even when they bother have 30 watts.
It's Super Light (because it's made of plastic)
Yes, the combo is made of plastic. How does this make it sound? Well, I was surprised how well it did. The Plastic didn't hurt the sound, in fact I think the thin plastic frame may have allowed it to be bright and more transparent.
It Has Trouble With The Low End
Yes, this is a little amp and it has trouble with bass. I know that little amps are kind of notoriously bad with the low end, especially inexpensive small amps. Vox had this in mind so they ported the cab and put a special speaker designed to handle it. It may be punching above its $150 price tag, but to a discerning ear, the low end get "flabby" when pushed.
They are limited
The biggest surprise is that the effects are not editable. You ether have them or you don't. Reverb is ether on or off. The same is for all of the effect. This is a little underwhelming. Having 11 Amp models and 30 watts of power isn't bad and the effects aren't bad, but if you're going to do it, do it right.
In Conclusion
These amp are impressive. They are small and light and affordable. They do a lot, but they don't do everything. I'd love to see an extension speaker out so you can plug into a cab that can handle the lows, and a way to turn the effects up or down would be nice to. The super light weight design makes it portable, but I wouldn't take it to band practice. It is at home in the bedroom, where it is well suited.
It's Small
Yes, these are little combo amps. I own a Valvetronix 30 Combo and it dwarfs this little VX. Even when they bother have 30 watts.
It's Super Light (because it's made of plastic)
Yes, the combo is made of plastic. How does this make it sound? Well, I was surprised how well it did. The Plastic didn't hurt the sound, in fact I think the thin plastic frame may have allowed it to be bright and more transparent.
It Has Trouble With The Low End
Yes, this is a little amp and it has trouble with bass. I know that little amps are kind of notoriously bad with the low end, especially inexpensive small amps. Vox had this in mind so they ported the cab and put a special speaker designed to handle it. It may be punching above its $150 price tag, but to a discerning ear, the low end get "flabby" when pushed.
They are limited
The biggest surprise is that the effects are not editable. You ether have them or you don't. Reverb is ether on or off. The same is for all of the effect. This is a little underwhelming. Having 11 Amp models and 30 watts of power isn't bad and the effects aren't bad, but if you're going to do it, do it right.
In Conclusion
These amp are impressive. They are small and light and affordable. They do a lot, but they don't do everything. I'd love to see an extension speaker out so you can plug into a cab that can handle the lows, and a way to turn the effects up or down would be nice to. The super light weight design makes it portable, but I wouldn't take it to band practice. It is at home in the bedroom, where it is well suited.
Monday, July 27, 2015
Visual Sounds Changes Its Name To TrueTone
Not too long ago it was brought to my attention that Visual Sound, the makers of the One Spot power supply and Jekylle and Hyde Pedal, have changed their name to True Tone. Premier Guitar posted a interview with founder, Bob Weil. He had this to say:
“The name of the company was derived from the first product I invented, Visual Volume; the volume pedal with a 10 LED scale to indicate volume level. That was the product that launched Visual Sound at the beginning of 1995. While Visual Volume was the cornerstone of the company back then, it became a secondary product over the past 20-years. Now, we are best known for our effects pedals, including Jekyll & Hyde, Route 66 and H2O. In addition, our 1 SPOT power supplies and accessories have become the industry standard. Our company motto has always been Real Tone for Real People, which underscores our approach to making reliable, high-quality products, at a fair price. With this in mind, we feel that our new name, Truetone, clearly states our vision in one word.”
This comes right before the roll out of Version three of the line of pedals. It looks like they are revamping every pedal. The Jekyll and Hyde looks closer to the VS-XO pedal we saw come out recently. Exciting things are coming from this company. Whatever they are call...
“The name of the company was derived from the first product I invented, Visual Volume; the volume pedal with a 10 LED scale to indicate volume level. That was the product that launched Visual Sound at the beginning of 1995. While Visual Volume was the cornerstone of the company back then, it became a secondary product over the past 20-years. Now, we are best known for our effects pedals, including Jekyll & Hyde, Route 66 and H2O. In addition, our 1 SPOT power supplies and accessories have become the industry standard. Our company motto has always been Real Tone for Real People, which underscores our approach to making reliable, high-quality products, at a fair price. With this in mind, we feel that our new name, Truetone, clearly states our vision in one word.”
This comes right before the roll out of Version three of the line of pedals. It looks like they are revamping every pedal. The Jekyll and Hyde looks closer to the VS-XO pedal we saw come out recently. Exciting things are coming from this company. Whatever they are call...
Friday, July 24, 2015
ModTone Vintage Wah Vs. Dunlop Original Cry Baby
So if you are a fan of the Wah then you probably know all about the dunlop wahs. They range from the simple Original that will cost you $70 to the rack-mounted unit setting you back 600 bucks. They have all sorts of signature wahs and ones that make you sound like Jimi Hindrix, but what about the good old original.
I like to kick it old school. I am not a fan of modular this or signature that, so when I look at pedals I like analog and true by-pass. A wah can "funk" up you sound really well, but when its off I want it to stop funking around with my tone. Fans of the original Dunlop wah have often complained about the lack of true by-pass. There are lots of places to find kits and direction on how the mod your original wah, but why buy something that you have to mod. Price? well lets see...
The Modtone. I like Modtone, I'm just going to lay that out there. They make good pedals, of which I own three. Chorus, Volume, and Wah. The Modtone wah is almost identical to the dunlop. Save for one thing, the LED. The LED is one of the major complaints about the Dunlop Wah. You don't know if it is on or off unless you play through it. This can be kind of impractical in a live situation. When it comes to features, the Modtone Wah wins.
Lets break it down and see which pedal is better:
Features: Modtone
The LED and True-bypass are wonderful additions to the classic wah effect.
Tone: Modtone
This tends to be somewhat objective, but I'm going to give it to Modtone, The sweep is more vocal right out of the box. In a live setting it sound musical and full. The Dunlop seems to get very thin with the toe down
Sweep: Modtone
(The Dunlop wah almost jumps to one side or the other. This doesn't produce a good sweeping wah sound. The Modtone gives you a pronounced wah, almost like someone saying "wah" huh, go figure.)
Price Tag
Years ago when I bought my Modtone it was the same price as the Orignal Cry Baby, Both Pedals have gone up in price and now the Modtone is nearly $90 where as the Dunlop is right at $80
Conclusion:
As you can see, the Modtone takes the cake for the exception of price. Modtone makes up for that difference and then some. Keeping the vintage sound and then adding great features is a smart move. I have to give it to Modtone. But what about the Cry Baby Mini...?
I like to kick it old school. I am not a fan of modular this or signature that, so when I look at pedals I like analog and true by-pass. A wah can "funk" up you sound really well, but when its off I want it to stop funking around with my tone. Fans of the original Dunlop wah have often complained about the lack of true by-pass. There are lots of places to find kits and direction on how the mod your original wah, but why buy something that you have to mod. Price? well lets see...
The Modtone. I like Modtone, I'm just going to lay that out there. They make good pedals, of which I own three. Chorus, Volume, and Wah. The Modtone wah is almost identical to the dunlop. Save for one thing, the LED. The LED is one of the major complaints about the Dunlop Wah. You don't know if it is on or off unless you play through it. This can be kind of impractical in a live situation. When it comes to features, the Modtone Wah wins.
Lets break it down and see which pedal is better:
Features: Modtone
The LED and True-bypass are wonderful additions to the classic wah effect.
Tone: Modtone
This tends to be somewhat objective, but I'm going to give it to Modtone, The sweep is more vocal right out of the box. In a live setting it sound musical and full. The Dunlop seems to get very thin with the toe down
Sweep: Modtone
(The Dunlop wah almost jumps to one side or the other. This doesn't produce a good sweeping wah sound. The Modtone gives you a pronounced wah, almost like someone saying "wah" huh, go figure.)
Price Tag
Years ago when I bought my Modtone it was the same price as the Orignal Cry Baby, Both Pedals have gone up in price and now the Modtone is nearly $90 where as the Dunlop is right at $80
Conclusion:
As you can see, the Modtone takes the cake for the exception of price. Modtone makes up for that difference and then some. Keeping the vintage sound and then adding great features is a smart move. I have to give it to Modtone. But what about the Cry Baby Mini...?
The Ugly Truth About The Ibanez RGKP6 Kaoss Electric Guitar
If you were alive and going to small shows ten years ago, you might have noticed that once in a while there would be a band with a strange little device that made even stranger sounds. Most people would just shrug and thing that was odd. A gear-nut, such as my self, would then go online and find out what made that sound. The device is a Kaoss pad. It is made by Korg and get gained a lot of traction in Screamo/Metal scene (as well as others). Now they can be heard in much of todays pop music and EDM. This device has tons of filters and sounds built in and can be manipulated with a track pad. This makes it extremely intuitive, with as many variants as there are swipes of the finger. In the right hands, they can become a very expressive tool. It was only time that someone stuck one of these things on to a guitar. Thanks Oba... I mean, Ibanez.
The Guitar Makes Me Sad
These guitars are in the RG series, which means they are the second to last rung of the Ibanez ladder. They aren't anything to look at. They have one single coil sized humbucker in the bridge position. As far as traditional controls, it have a single volume knob. If this was all it has, I'd call it a California style set up, but it has a build it headphone amp. That's neat, but the controls are in a very awkward spot (at the back of the body) and includes some fizzy distortion built in. The body of the guitar is nothing to look at. It's listed as "Mahogany" but I have my doubts. The finish look like a thin coat of paint on top of bare wood. I like minimal aesthetics as much as the next guy, but this just looks cheap. Maybe some cost cutting due to fact that they are plugging a $150 effect into the body of the guitar.
The Whole Thing Says Gimmick
Don't get me wrong, I love innovation and weird sounds, but this is a little suspect. I don't know if this is an attempt to sell guitar to synth guys or sell synths to guitar guys. In reality most people who seriously want a Kaoss pad have the full sized Kaoss III. Guitar player have an abundance of choices when it comes to making weird sounds that don't involve buying a completely new guitar (that looks and probably feels like a cheap starter guitar). The Kaoss mini is a very interesting piece of gear on its own. It has a huge library of sounds, drum machine, built-in microphone, and real-time touch pad control. The question we have to ask out selves is, "Does a neat device warrant the purchase of a sub-par guitar?
I Kinda Want One
I'm not going to lie. At first thought I dismissed this thing faster than Fez after he has already said "good day.". But then I saw something. A video, that I almost dismissed just like the guitar. It was Rob Champman of You Tube fame, and they were review a Ibanez guitar. This is not something I'd normal watch. I'm not interested in Ibanez guitars. Not that they're all bed, but they aren't my cup of tea. The video description guaranteed that I'd want one if I watched the video till the end. Sure enough, I enjoy the video so much that I too want one. It seems more like an expensive toy than anything else. Something that guitarist break out when friends are over and they want to muck about. Think about when the last time a piece of gear made you laugh. That why this guitar exists.
The Guitar Makes Me Sad
These guitars are in the RG series, which means they are the second to last rung of the Ibanez ladder. They aren't anything to look at. They have one single coil sized humbucker in the bridge position. As far as traditional controls, it have a single volume knob. If this was all it has, I'd call it a California style set up, but it has a build it headphone amp. That's neat, but the controls are in a very awkward spot (at the back of the body) and includes some fizzy distortion built in. The body of the guitar is nothing to look at. It's listed as "Mahogany" but I have my doubts. The finish look like a thin coat of paint on top of bare wood. I like minimal aesthetics as much as the next guy, but this just looks cheap. Maybe some cost cutting due to fact that they are plugging a $150 effect into the body of the guitar.
The Whole Thing Says Gimmick
Don't get me wrong, I love innovation and weird sounds, but this is a little suspect. I don't know if this is an attempt to sell guitar to synth guys or sell synths to guitar guys. In reality most people who seriously want a Kaoss pad have the full sized Kaoss III. Guitar player have an abundance of choices when it comes to making weird sounds that don't involve buying a completely new guitar (that looks and probably feels like a cheap starter guitar). The Kaoss mini is a very interesting piece of gear on its own. It has a huge library of sounds, drum machine, built-in microphone, and real-time touch pad control. The question we have to ask out selves is, "Does a neat device warrant the purchase of a sub-par guitar?
I Kinda Want One
I'm not going to lie. At first thought I dismissed this thing faster than Fez after he has already said "good day.". But then I saw something. A video, that I almost dismissed just like the guitar. It was Rob Champman of You Tube fame, and they were review a Ibanez guitar. This is not something I'd normal watch. I'm not interested in Ibanez guitars. Not that they're all bed, but they aren't my cup of tea. The video description guaranteed that I'd want one if I watched the video till the end. Sure enough, I enjoy the video so much that I too want one. It seems more like an expensive toy than anything else. Something that guitarist break out when friends are over and they want to muck about. Think about when the last time a piece of gear made you laugh. That why this guitar exists.
Wednesday, July 22, 2015
The Most Important Rule For Getting Better At ANY Instrument
I teach music and several instrument. I am asked all the time, "What will help me get better at ____". You can fill that blank in with anything you want and my answer will be the same. My guitar student ask me how they can get better at switching between chords. My drum students ask how to help they right/left independence. This is my best tip/hint/trick whatever, and I'm giving it to you for free on the internet. I am a guitarist of nearly 20 years and I use this in my practice (when I'm doing it right).
Practice.
That's it. Practice makes you better, but it makes you better at what and how you practice. If you practice sloppy, you'll play sloppy. If you practice clean and perfect, then you'll play clean and perfect. Practice makes perfect, but only at what you practice. Slow down and get it right. Speed comes with time. Also, the more consistent your practice, the faster you progress. So how do you get better? Practice. How do you get better faster? Practice consistently. Instead of playing for 2 hours once a week, try to play everyday for 15/30 minute.
There you have it. That's my most valuable tip/trick/hint I can get. There is not magic bullet. It comes with work. but you can make the most of you practice by following these rule. Get out there, practice, and be AWESOME!
Practice.
That's it. Practice makes you better, but it makes you better at what and how you practice. If you practice sloppy, you'll play sloppy. If you practice clean and perfect, then you'll play clean and perfect. Practice makes perfect, but only at what you practice. Slow down and get it right. Speed comes with time. Also, the more consistent your practice, the faster you progress. So how do you get better? Practice. How do you get better faster? Practice consistently. Instead of playing for 2 hours once a week, try to play everyday for 15/30 minute.
There you have it. That's my most valuable tip/trick/hint I can get. There is not magic bullet. It comes with work. but you can make the most of you practice by following these rule. Get out there, practice, and be AWESOME!
Tuesday, July 21, 2015
The Ugly Truth About The Fender Super Champ X2
For the most part I'm a typical guitarist and tone-snob. I like my amps tubey and my effect true-bypass (even though that might be the best thing for your tone). I don't like digital effects or multi-effects processors. I'm also kind of a Fender fanboy. So when my "session" amp was changed from a Fender Blues Jr. to a Champ X2 I was worried. I had worked with that Blues Jr. for some time and I like how my set-up was set-up. Not knowing any of the features I dialed in a clean tone and adjust the Eq so that it was balanced. It is small and has build-in effects. I feared the worst.
It's Small
15 watts, 10" speaker, petit enclosure it was not looking good. I was afraid it would sound small and boxy. I bypassed my pedal board to hear the amp clean. It was surprisingly dark and moody. Not at all thin. I balanced my Eq and adjusted the volume and that was it. What I didn't know about this little combo was that it is all tube. Pre-amp and power are driven by tubes. 15 watts was plenty to act as my monitor with a full band. The 10" speaker kept the lows nice and tight. I did switch from my EHX OD Glove to a Tube Screamer for my dirt. The Glove has a lot more low end which I might have been ok with if I worked with a bit more to find a sweet spot, but the TS was able to rock and roll without much fuss. This amp might not fill up an entire room, but for this application it was good fit
It Has On-Board Effects
This is one of my pet peeves. I know why amp makers keep putting out amp with effects built in. A beginner is going to buy an amp with 10 knobs over one that has three. Its an easy and cheap way to add features to amps. It also allows player with little or no effects to experiment with different sounds. On-Board effect are all bad (in theory), but ever amp I've played with DSP up till now has been underwhelming in the highest order. When I adjusted the amp, I noticed that the effect were turned all the way down and I left it there. Yes. I have bias. I don't want digital effect on my amp. but this amp didn't suffer from any of the symptoms of having DSP. In fact I forgot all together that it even had them. Which in my mind is a complement. Disclaimer: The effect on this amp might be very useful or even beneficiary, I just have had a chance to run though them.
My Conclusion
This a great little amp. It's all tube, It has some really good clean sounds, and it is pretty flexible. If you traded you DSP for a reverb tank and ran it into a 12" speaker then It would be great amp, period. As it is, Its most comfortable in the bedroom or as a live monitor. The biggest downside is that this amp disappears in the mix if you aren't right in front. I was rather close to my amp, and all amps have a cone shaped "optimal listening area", but this amp seems to be a bit smaller. Of course it is a trade off. Compact, lightweight amps are great when your are traveling or tight for space, but they come with some drawbacks. Fender seems to have made a lot of good decisions when designing this amp.
It's Small
15 watts, 10" speaker, petit enclosure it was not looking good. I was afraid it would sound small and boxy. I bypassed my pedal board to hear the amp clean. It was surprisingly dark and moody. Not at all thin. I balanced my Eq and adjusted the volume and that was it. What I didn't know about this little combo was that it is all tube. Pre-amp and power are driven by tubes. 15 watts was plenty to act as my monitor with a full band. The 10" speaker kept the lows nice and tight. I did switch from my EHX OD Glove to a Tube Screamer for my dirt. The Glove has a lot more low end which I might have been ok with if I worked with a bit more to find a sweet spot, but the TS was able to rock and roll without much fuss. This amp might not fill up an entire room, but for this application it was good fit
It Has On-Board Effects
This is one of my pet peeves. I know why amp makers keep putting out amp with effects built in. A beginner is going to buy an amp with 10 knobs over one that has three. Its an easy and cheap way to add features to amps. It also allows player with little or no effects to experiment with different sounds. On-Board effect are all bad (in theory), but ever amp I've played with DSP up till now has been underwhelming in the highest order. When I adjusted the amp, I noticed that the effect were turned all the way down and I left it there. Yes. I have bias. I don't want digital effect on my amp. but this amp didn't suffer from any of the symptoms of having DSP. In fact I forgot all together that it even had them. Which in my mind is a complement. Disclaimer: The effect on this amp might be very useful or even beneficiary, I just have had a chance to run though them.
My Conclusion
This a great little amp. It's all tube, It has some really good clean sounds, and it is pretty flexible. If you traded you DSP for a reverb tank and ran it into a 12" speaker then It would be great amp, period. As it is, Its most comfortable in the bedroom or as a live monitor. The biggest downside is that this amp disappears in the mix if you aren't right in front. I was rather close to my amp, and all amps have a cone shaped "optimal listening area", but this amp seems to be a bit smaller. Of course it is a trade off. Compact, lightweight amps are great when your are traveling or tight for space, but they come with some drawbacks. Fender seems to have made a lot of good decisions when designing this amp.
Friday, July 17, 2015
The Ugly Truth About Roland Jazz Chorus 40
For those of you uninformed, Roland announced they they are making a new model of the Jazz Chorus Stereo Guitar Amplifier. Just like no one asked for. This Amp is a blast from the past that has seen usage from big names. Chiefly among the more famous users of the Jazz Chorus series were the police. (although it is more likely they use the stereo chorus effect unit rather than the amp) Still there are users and fans of the amps. These amps peaked back when the keytar was still considered a legitimate instrument, so why are they bringing out more of them?
They Are Solid State.
Ask anybody who has played more than a few guitar amps and they will tell you, tube amps have great tone. Not all tube amps sound awesome. Not all solid state amps sound bad. I have a little Vox combo that sounds awesome and it uses a solid state power section. I'm not a huge fan of the Night Train series of amps by Vox and they are all tube. Of course this is all subjective, but hey. Solid State amps can sound great. By all accounts, the Jazz Chorus amps have great clean tones. They all, historically, have terrible overdrive and distortion channels. Do the new Jazz Chorus combos have bad drive channels? I don't know, I did see a video put out by Roland that didn't exactly thrill my when they demonstrated the overdrive.
It Doesn't Play Well With Others
So here some more hearsay, Pedals don't have the same effect when running into the front of this amp. Some amps are better through the effects loop, but dirt usally goes in front to push the pre-amp. It has a stereo input. To quote Roland, "In addition to a normal mono input, the JC-40 features a true stereo input that allows players using stereo effects devices to achieve wide, inspiring sound without having to carry around two separate amps. The rich JC clean tone is a perfect palette for external stereo pedals like delays, reverbs, and various modulation effects. It’s also ideal for advanced gear that employs amp modeling, multi-effects, and/or synth capabilities, such as the GT-100, GP-10, and ME-80 from BOSS, and GR-55 guitar synth from Roland." Notice any missing from that list of effects? Dirt. Yes Stereo effects are great, but this amp is in need of some "D".
Roland Says That They've Fix All Of These Things
Roland might be the company that never left the 1980's. They still produce the DS-1 for crying out loud. That thing sell just because it is almost mandatory that a beginner buy one with their first electric. Roland is obviously very proud of their new Jazz Chorus, and if great clean tones and rugged dependability of solid state power appeal to you, then you might want to check out the JC-40 By Roland. They are built this amp around what Jazz musician seek in an amplifier, but they have made it dynamically diverse enough to serve many purposes.
They Are Solid State.
Ask anybody who has played more than a few guitar amps and they will tell you, tube amps have great tone. Not all tube amps sound awesome. Not all solid state amps sound bad. I have a little Vox combo that sounds awesome and it uses a solid state power section. I'm not a huge fan of the Night Train series of amps by Vox and they are all tube. Of course this is all subjective, but hey. Solid State amps can sound great. By all accounts, the Jazz Chorus amps have great clean tones. They all, historically, have terrible overdrive and distortion channels. Do the new Jazz Chorus combos have bad drive channels? I don't know, I did see a video put out by Roland that didn't exactly thrill my when they demonstrated the overdrive.
It Doesn't Play Well With Others
So here some more hearsay, Pedals don't have the same effect when running into the front of this amp. Some amps are better through the effects loop, but dirt usally goes in front to push the pre-amp. It has a stereo input. To quote Roland, "In addition to a normal mono input, the JC-40 features a true stereo input that allows players using stereo effects devices to achieve wide, inspiring sound without having to carry around two separate amps. The rich JC clean tone is a perfect palette for external stereo pedals like delays, reverbs, and various modulation effects. It’s also ideal for advanced gear that employs amp modeling, multi-effects, and/or synth capabilities, such as the GT-100, GP-10, and ME-80 from BOSS, and GR-55 guitar synth from Roland." Notice any missing from that list of effects? Dirt. Yes Stereo effects are great, but this amp is in need of some "D".
Roland Says That They've Fix All Of These Things
Roland might be the company that never left the 1980's. They still produce the DS-1 for crying out loud. That thing sell just because it is almost mandatory that a beginner buy one with their first electric. Roland is obviously very proud of their new Jazz Chorus, and if great clean tones and rugged dependability of solid state power appeal to you, then you might want to check out the JC-40 By Roland. They are built this amp around what Jazz musician seek in an amplifier, but they have made it dynamically diverse enough to serve many purposes.
Wednesday, July 15, 2015
The Ugly Truth About The Boss RV-6
Boss has a new Reverb pedal coming in 2015. Anounced just before NAMM, Boss let us get our first looks are their RV-6 Reveb pedal, and I have to admit that is it the most exciting reverb pedal I've seen recently.
The Ugly truth is that Boss is playing catch up. They aren't innovating any more. The closest they have come recently was with their Tera Echo, but that has only met with limit success. I am a fan of making weird sounds, but the Tera just didn't wow me. The New DD-500 delay will incorporate some of it's features so it might be going the way of the dodo. This reverb unit with add some features and flexibility that may have seem as overkill when the RV-5 was developed. But the focus on ambient sounds have pushed reverb users to ask more from the reverbs than their traditional uses. Not exactly competing with the likes of the Strymon Big Sky, the RV-6 is an replacement of the current unit. Boss may be struggling to stay relevant in a rapidly evolving market place. Boss have been known to produce quality products, but they aren't quick to update. This reverb unit makes so much sense. The fact that Boss will keep the price the same is actually really cool. Giving players new gear at the old price is a smart move. What else do you expect from a company that has been in the pedal business for decades.
The video of it in action on Boss site is my favorite. The 100% wet signal in really interesting, and temping.
The Ugly truth is that Boss is playing catch up. They aren't innovating any more. The closest they have come recently was with their Tera Echo, but that has only met with limit success. I am a fan of making weird sounds, but the Tera just didn't wow me. The New DD-500 delay will incorporate some of it's features so it might be going the way of the dodo. This reverb unit with add some features and flexibility that may have seem as overkill when the RV-5 was developed. But the focus on ambient sounds have pushed reverb users to ask more from the reverbs than their traditional uses. Not exactly competing with the likes of the Strymon Big Sky, the RV-6 is an replacement of the current unit. Boss may be struggling to stay relevant in a rapidly evolving market place. Boss have been known to produce quality products, but they aren't quick to update. This reverb unit makes so much sense. The fact that Boss will keep the price the same is actually really cool. Giving players new gear at the old price is a smart move. What else do you expect from a company that has been in the pedal business for decades.
The video of it in action on Boss site is my favorite. The 100% wet signal in really interesting, and temping.
Monday, July 13, 2015
Ugly Truth About The New Boss DD-500 Delay Pedal
Let me just say that when I saw the new delay play from Boss. I was excited. It has been years since I've seen something from Boss that I actually got excited about. In the last couple of years we've seen some special edition Blues Drives and Distortions. We even got a remake of the old analog delay. Somewhat recently Boss unveiled their Tera Echo. My local music store clerk was pretty excited about that one, but I didn't exactly go to pieces over it. I wan't to like these pedals, but they just came off as overpriced and over-hyped. But The DD-500 is something that I can honestly say that I'm excited to get my hands on.
I've used the DD-20 delay for years and loved it. The features are great and the operation is simple. The twin pedal design has had limit success. Boss has offered many effect in the twin format. Most are forgettable. The OD-20 is a completely lack luster overdrive pedal, Space Echo and Slicer are not far behind. The Loop Station and Giga-Delay are the most recognizable and prolific of the twin series. But even those have started to look a little dated. It's been a considerable time since Boss pedal were held as trendy pedals. The design and look of their pedals have remained the same since the conception with little exception. That is until now.
The DD-500 is a direct departure from Boss' standard line of effects. Completely redesigning their pedal from the enclosure up. The addition of metal switches seems strange on a boss pedal, but good kind of strange. It is the the kind of strange when you realize that you like the way a Ford Torus looks. The market has changed for delays recently. I went to buy a good delay about 5 years ago. My choices were pretty limited. There was the Line6 DL-4 and Boss DD-20. Now we have a head spinning decision when shopping for delay. TC Electronic, Visual Sound, Strymon, and Empress making top notch delays. The new Boss Pedal is trying to compete with these pedals. They have packed this pedal with features and options. It looks great, it sounds great and it's not outrageously expensive. It fits in Boss' current line of delays. The DD-20 is sitting at $200 and the DD-500 is set to debut at $300. While they compete with the top of the line Delay pedals, they sit near the bottom price wise.
The feature stack up and leave the previous models in the dust. It borrows from nearly every outstanding delay in the boss catalog. Vintage and Tape modes are pretty standard, but the Tera Echo also makes a contribution. The addition of the Tap/Control switch is a welcome addition. This switch is actually programmable. For a full list of features check out Boss' page. I have to say that I really want test drive one of these pedals and see just how this pedal stacks up against everything else out there is the market. Boss has made a departure from their norm, which is shocking.
Will there be more?
What pedal would you like to see get this treatment from Boss?
Leave a comment!
I've used the DD-20 delay for years and loved it. The features are great and the operation is simple. The twin pedal design has had limit success. Boss has offered many effect in the twin format. Most are forgettable. The OD-20 is a completely lack luster overdrive pedal, Space Echo and Slicer are not far behind. The Loop Station and Giga-Delay are the most recognizable and prolific of the twin series. But even those have started to look a little dated. It's been a considerable time since Boss pedal were held as trendy pedals. The design and look of their pedals have remained the same since the conception with little exception. That is until now.
The DD-500 is a direct departure from Boss' standard line of effects. Completely redesigning their pedal from the enclosure up. The addition of metal switches seems strange on a boss pedal, but good kind of strange. It is the the kind of strange when you realize that you like the way a Ford Torus looks. The market has changed for delays recently. I went to buy a good delay about 5 years ago. My choices were pretty limited. There was the Line6 DL-4 and Boss DD-20. Now we have a head spinning decision when shopping for delay. TC Electronic, Visual Sound, Strymon, and Empress making top notch delays. The new Boss Pedal is trying to compete with these pedals. They have packed this pedal with features and options. It looks great, it sounds great and it's not outrageously expensive. It fits in Boss' current line of delays. The DD-20 is sitting at $200 and the DD-500 is set to debut at $300. While they compete with the top of the line Delay pedals, they sit near the bottom price wise.
The feature stack up and leave the previous models in the dust. It borrows from nearly every outstanding delay in the boss catalog. Vintage and Tape modes are pretty standard, but the Tera Echo also makes a contribution. The addition of the Tap/Control switch is a welcome addition. This switch is actually programmable. For a full list of features check out Boss' page. I have to say that I really want test drive one of these pedals and see just how this pedal stacks up against everything else out there is the market. Boss has made a departure from their norm, which is shocking.
Will there be more?
What pedal would you like to see get this treatment from Boss?
Leave a comment!
Friday, July 10, 2015
The Ugly Truth About TC Electronic Bodyrez Acoustic Pickup Enhancer
So TC Electronic brought this thing the Summer NAMM and I honestly have to say that I'm geeking out about it. It looks like a great solution for an acoustic player. The video (that we all expect to see from TC Electronc now) explains, and hypes, this tiny pedal. Like their ditto pedal, there are more features than you would expect from a pedal with one knob. There is a feedback filter, phase inverter, and mute function. In a pedal with ONE knob. Not only that, but the eagle eyed among us may have noticed that there appears to be a micro usb port. So this pedal might be a part of the Toneprint series, or at least give us more options with connectivity.
Thursday, July 9, 2015
Summer NAMM 2015
NAMM!
So I was caught a little unaware, but I started noticing companies showing off new gear, it hit me. Summer NAMM is upon us. So far we know that Boss and TC Electronic have new pedals. The Boss DD-500 Delay looks amazing. The TC Electronic BodyRez is impressive. Those are just the teasers that have slipped out before the main show have even began. I can wait to see the rest of the exciting gear that is sure to debut this year.
Take a look at Boss' new gear here
Here is TC Electronics new pedal
So I was caught a little unaware, but I started noticing companies showing off new gear, it hit me. Summer NAMM is upon us. So far we know that Boss and TC Electronic have new pedals. The Boss DD-500 Delay looks amazing. The TC Electronic BodyRez is impressive. Those are just the teasers that have slipped out before the main show have even began. I can wait to see the rest of the exciting gear that is sure to debut this year.
Take a look at Boss' new gear here
Here is TC Electronics new pedal
Wednesday, July 8, 2015
The Ugly Truth About The Guitar Magazine That You Read
Disclaimer: Most of what I say is speculation. I'm sure that in some cases I am wrong, but I believe that more often than not this is the case.
If you are like me, I really like to read about the gear that might be coming out, or something that I haven't heard of. I love learning about a new maker because they might have new or different ideas about something that I care about (music). I am always scanning the guitar magazine sites and following numerous bloggers and writers on Twitter. I do this to keep up with what is happening in the world of music gear. I also visit the bigger retailers websites to see what they've posted lately. If you are like me though, there was a time before all this media and we actually had to pick up a physical magazine to learn about what was coming down the pike. There was no NAMM show videos 5 minutes after it opens. There were articles and reviews about the gear that you could only dream about. Over the years some things started to become apparent to me about these "reviews".
1. They Are Not Critical.
These reviews are great for letting you know what is out there. However, they do not give you the full story, and in many cases, they don't even tell you how the thing sounds. They might discuss features and design, but leave out how they sound. To be fair, saying that a pedal sounds good or bad is nearly worthless. Reviews are for the most part subjective. There are those how hate certain pedals and others that love the same pedal. How can this be? Because good sound is subjective (for the most part). When reading a review in a magazine you might find that it reads like a dressed up version of the user manual rather than a guitar player talking about a pedal he liked or didn't like.
2. It's Really Hard To Be Objective
So I really like to write about all this stuff that I write about. I spend a fair amount of time doing it, and, other than watching my metrics, I get very little benefit. (Yes I monetize but seriously, I get excited when I make a penny a day.) I did, however, write a post about a certain maker of effects and was able to talk my way into getting a couple pedals to give a hands-on review. It was really exciting. But as I wrote the reviews I almost felt pressured to be more favorable to the makers because they had been nice enough to send my something for free. I'm sure that getting free stuff probably doesn't effect professional writers as much, but if you are writing for a publication that depends on advertising dollars to stay afloat and you are tasked to write about their stuff, there might be other pressures to write a nice shiny review.
3. They Are Dying
As you might have noticed, it is becoming harder to find guitar magazine as your local news stands. Most smaller displays completely ignore guitar magazines, and larger stands will only have the most major names. Bass players and Drummers are pretty much out of luck unless they go to larger book stores. That means you almost have to have a subscription to keep up with your favorite zine. That, or have the internet. Most physical magazines have everything online plus additional media like video, podcast, and sound clips. Plus the sites operate at a fraction of the cost of a physical magazine. Ask any player under the age of 30 what magazine they are subscribed to and all you'll get is a dirty look. I don't think that our favorite magazines are going to disappear completely, but their physical forms are going the way of the buffalo.
If you are like me, I really like to read about the gear that might be coming out, or something that I haven't heard of. I love learning about a new maker because they might have new or different ideas about something that I care about (music). I am always scanning the guitar magazine sites and following numerous bloggers and writers on Twitter. I do this to keep up with what is happening in the world of music gear. I also visit the bigger retailers websites to see what they've posted lately. If you are like me though, there was a time before all this media and we actually had to pick up a physical magazine to learn about what was coming down the pike. There was no NAMM show videos 5 minutes after it opens. There were articles and reviews about the gear that you could only dream about. Over the years some things started to become apparent to me about these "reviews".
1. They Are Not Critical.
These reviews are great for letting you know what is out there. However, they do not give you the full story, and in many cases, they don't even tell you how the thing sounds. They might discuss features and design, but leave out how they sound. To be fair, saying that a pedal sounds good or bad is nearly worthless. Reviews are for the most part subjective. There are those how hate certain pedals and others that love the same pedal. How can this be? Because good sound is subjective (for the most part). When reading a review in a magazine you might find that it reads like a dressed up version of the user manual rather than a guitar player talking about a pedal he liked or didn't like.
2. It's Really Hard To Be Objective
So I really like to write about all this stuff that I write about. I spend a fair amount of time doing it, and, other than watching my metrics, I get very little benefit. (Yes I monetize but seriously, I get excited when I make a penny a day.) I did, however, write a post about a certain maker of effects and was able to talk my way into getting a couple pedals to give a hands-on review. It was really exciting. But as I wrote the reviews I almost felt pressured to be more favorable to the makers because they had been nice enough to send my something for free. I'm sure that getting free stuff probably doesn't effect professional writers as much, but if you are writing for a publication that depends on advertising dollars to stay afloat and you are tasked to write about their stuff, there might be other pressures to write a nice shiny review.
3. They Are Dying
As you might have noticed, it is becoming harder to find guitar magazine as your local news stands. Most smaller displays completely ignore guitar magazines, and larger stands will only have the most major names. Bass players and Drummers are pretty much out of luck unless they go to larger book stores. That means you almost have to have a subscription to keep up with your favorite zine. That, or have the internet. Most physical magazines have everything online plus additional media like video, podcast, and sound clips. Plus the sites operate at a fraction of the cost of a physical magazine. Ask any player under the age of 30 what magazine they are subscribed to and all you'll get is a dirty look. I don't think that our favorite magazines are going to disappear completely, but their physical forms are going the way of the buffalo.
Tuesday, July 7, 2015
The Ugly Truth About TC Electonic's Dark Matter Distortion
If there is anything in the world that gets my attention, it is guitar gear that's cheap. I'll rummage through a whole heap of junk to get to a great pedal that is reasonably priced. There are tonnes of great options in the $150-200 range, but lets get real, I got about $50 to spare, so I'm looking a lot lower than a car payment when shopping for pedals. That being said, I came across TC Electronic's Dark Matter Distortion for $50 and did a double take. Normally priced north of a hundred US bones, the Dark Matter is one of only 2 distortion boxes made by the highly praised effects company. These people put out quality stuff, but they are more known for their Hall of Fame reverb and Dito Loopers, than their dirt.
If you watch their promotion video about the Dark Matter Distortion, then you notice that they came how uncompressed the pedal sounds. This was great news because the only real complaint that I had about my current distortion pedal is that it tended to get rather compressed when the gain was turned up. If you've read about my adventures with back-orders, you know that I originally ordered this pedal online. It never came, but I was able to find it at a local music store. I ran through a clean fender amp and used a double humbucker equipped guitar. Setting the EQ flat on the amp, I started the pedal off with low gain. These sounds are nice. Compared to the Rottweiler, this pedal can actually clean up quite a bit. It's not going to be a very "clean" boost, but if you want to punch up a lead with more volume and a bit of dirt, this could do it.
Where this pedal comes alive is when the gain is past noon. It wants to rock. I found myself messing around with heavy metal riffs and chunking along like I knew what I was doing. The clipping is smooth and natural sounding. It doesn't get hissy when pushed. The pedals "noise" level is very low. Open chords ring out rather nicely, and the voicing option is really nice. It takes this great sounding distortion and gives it a little more flexibility. I did start to notice that there was something missing from this equation though.
Even though this pedal is a steal at $50, (if it is still at that price) there is a trend right now that a lot of guitarist, including myself, are really enjoying. Pedals are being designed with transparency in mind. More and more guitarist are relying on their guitars and amp for the majority of their tone, and when they turn a pedal on they want that sound to still be the bones of their tone. Many pedals tend to hijack the sound. Chief among these are one that alter the sound the most, like Distortions. Active EQs and lots of saturation will take over most any guitar, but there are some pedals being designed with Blend knobs that mix in clean signal to the effect. This is a bit of electronic wizardry, and it is wonderful.
In conclusion, I like this pedal. It is worth the $50. If you are looking for a great distortion for minimal investment, then look no further. For what you'd spend on a Boss DS-1 you can pick up a better sounding and more flexible pedal. If you have a distortion that you are satisfied with, but looking to expand you sound, then maybe this one isn't for you. It does do nice things, but it's probably not different enough from your current rig for you to go running out and buy one. It's got, but not exactly "standout".
If you watch their promotion video about the Dark Matter Distortion, then you notice that they came how uncompressed the pedal sounds. This was great news because the only real complaint that I had about my current distortion pedal is that it tended to get rather compressed when the gain was turned up. If you've read about my adventures with back-orders, you know that I originally ordered this pedal online. It never came, but I was able to find it at a local music store. I ran through a clean fender amp and used a double humbucker equipped guitar. Setting the EQ flat on the amp, I started the pedal off with low gain. These sounds are nice. Compared to the Rottweiler, this pedal can actually clean up quite a bit. It's not going to be a very "clean" boost, but if you want to punch up a lead with more volume and a bit of dirt, this could do it.
Where this pedal comes alive is when the gain is past noon. It wants to rock. I found myself messing around with heavy metal riffs and chunking along like I knew what I was doing. The clipping is smooth and natural sounding. It doesn't get hissy when pushed. The pedals "noise" level is very low. Open chords ring out rather nicely, and the voicing option is really nice. It takes this great sounding distortion and gives it a little more flexibility. I did start to notice that there was something missing from this equation though.
Even though this pedal is a steal at $50, (if it is still at that price) there is a trend right now that a lot of guitarist, including myself, are really enjoying. Pedals are being designed with transparency in mind. More and more guitarist are relying on their guitars and amp for the majority of their tone, and when they turn a pedal on they want that sound to still be the bones of their tone. Many pedals tend to hijack the sound. Chief among these are one that alter the sound the most, like Distortions. Active EQs and lots of saturation will take over most any guitar, but there are some pedals being designed with Blend knobs that mix in clean signal to the effect. This is a bit of electronic wizardry, and it is wonderful.
In conclusion, I like this pedal. It is worth the $50. If you are looking for a great distortion for minimal investment, then look no further. For what you'd spend on a Boss DS-1 you can pick up a better sounding and more flexible pedal. If you have a distortion that you are satisfied with, but looking to expand you sound, then maybe this one isn't for you. It does do nice things, but it's probably not different enough from your current rig for you to go running out and buy one. It's got, but not exactly "standout".
Friday, July 3, 2015
Should Effect Pedals Have Jacks On Top Or Sides?
Recently I purchased a pedal with jacks on top. This posed a question. Why would you put jacks on the top of you pedals. Don't you know that you are supposed to place them on the sides. (the way God intended) But if you imagine that all you pedals have jacks on top then thing start to make sense.
This might seem like a silly question. When looking at most of the effect on the market you just assume that the jacks are located on the sides of the pedals and that the input is on the right and output is on the left. However, there are many builders that challenge the mainstay and position their inputs on the top of the pedals. This comes with some added benefits. Ever wanted to place your pedals directly side by side instead of spacing them out for patches? Ever notice that pros run large racks with pullout drawers that house their effects. Top jack help rout everything. you can also use shorter patch cables and cram more pedals on to smaller pedal boards. But Side jacks are the norm. Mixing side and top jacks can present challenges when arranging pedal on a board. especially when you are working with pre-measured patch cables. Short of reboxing most of your pedals, or going to boutique builders for your pedals that will conform to your standards.
Wednesday, July 1, 2015
The Ugly Truth About Playing Multiple Instruments
If you read any of my other posts, you probably know that I am a guitarist. Yes, I do play guitar and it is my main instrument, but if you are bad at context clues, let my let you in on a secrete: I play multiple instruments. I couldn't imagine not playing more than one instrument now, but there was a time that I did good just playing my six-string. Being able to throw-down on other instrument is great. I can rock out on other instruments and that's cool, but everything isn't as awesome as it may seem.
Each Instrument Add More Practice Time.
Yes, I have a favorite instrument. obviously I play the guitar much more than the other instrument that I play. Although, if you don't use it, you lose it. So I have to keep up the other instruments that I want to continue to play. I currently have five instrument that I feel comfortable playing. Other instruments I am familiar with but not to the point were I could join other musicians with it. The first instrument that I added after the guitar was the drums. My friend asked if I wanted to join his band. I said, "Yes, I play guitar". He said, "Great, you can be our drummer." and that was how I learned how to play the drums. This started a passion for learning instrument that has yet to stop. I've since added Bass, Ukulele and Banjo to the list of instrument I am competent in. Each one of the instruments adds hours a practice to my routine. Being able to play these instruments is great, but it comes with work.
You Can Become The Back-up For Everyone.
I'm not going to lie, I like being the guy that people call. It's like when Commissioner Gordon picks up the Bat-Phone. Except it's a cell phone and I don't get to punch crime in the face with a "Ka-POW!". Close enough though... It started out innocent enough. I wanted to help. I noticed that the bass player would be out occasionally so I offered to fill it. After all, I was lost in the mix playing acoustic behind two pianos. Bass seemed like a more significant addition. Being the guy that can fill in made me feel important. Even if I didn't play as well as the guys I filled in for.
You Probably Won't Be As Good As Someone Who Focuses On One Instrument
I know many people who play several instruments on an expert level. I'm not saying that you can't be good at more than one instrument, but there is a point where one instrument will be will win out and the others suffers. I could, rather easily rank my ability on the instrument that I play. In a since it's like riding a bike. I'll never forget how to play G, C, and D on the guitar, but how to play a D flat minor on banjo? It sort of like the conversation about having more than one child (which I do). Can you spend the same amount of time with both of them? The same amount of attention? (well this took a weird turn) The true is that it's hard to keep all those plate spinning, but sure is rewarding.
Each Instrument Add More Practice Time.
Yes, I have a favorite instrument. obviously I play the guitar much more than the other instrument that I play. Although, if you don't use it, you lose it. So I have to keep up the other instruments that I want to continue to play. I currently have five instrument that I feel comfortable playing. Other instruments I am familiar with but not to the point were I could join other musicians with it. The first instrument that I added after the guitar was the drums. My friend asked if I wanted to join his band. I said, "Yes, I play guitar". He said, "Great, you can be our drummer." and that was how I learned how to play the drums. This started a passion for learning instrument that has yet to stop. I've since added Bass, Ukulele and Banjo to the list of instrument I am competent in. Each one of the instruments adds hours a practice to my routine. Being able to play these instruments is great, but it comes with work.
You Can Become The Back-up For Everyone.
I'm not going to lie, I like being the guy that people call. It's like when Commissioner Gordon picks up the Bat-Phone. Except it's a cell phone and I don't get to punch crime in the face with a "Ka-POW!". Close enough though... It started out innocent enough. I wanted to help. I noticed that the bass player would be out occasionally so I offered to fill it. After all, I was lost in the mix playing acoustic behind two pianos. Bass seemed like a more significant addition. Being the guy that can fill in made me feel important. Even if I didn't play as well as the guys I filled in for.
You Probably Won't Be As Good As Someone Who Focuses On One Instrument
I know many people who play several instruments on an expert level. I'm not saying that you can't be good at more than one instrument, but there is a point where one instrument will be will win out and the others suffers. I could, rather easily rank my ability on the instrument that I play. In a since it's like riding a bike. I'll never forget how to play G, C, and D on the guitar, but how to play a D flat minor on banjo? It sort of like the conversation about having more than one child (which I do). Can you spend the same amount of time with both of them? The same amount of attention? (well this took a weird turn) The true is that it's hard to keep all those plate spinning, but sure is rewarding.
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