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Archive for the ‘buying gear’ Category

Red Bear Trading Style B Heavy Pick

v_pick_medium_rounded1

As many may know, after 35+ years of playing, I switched from my favorite picks, medium Dunlop Tortex, to Red Bear picks. Since then, my playing has really taken on a different dimension. I feel a lot more confident with my playing as these thick, natural feeling picks have made me much more accurate, and really bring out the tone of my guitars. It’s truly amazing!

But over the past weekend, my friend Adam Hernandez of Saint Guitar Company, called me up and told me about his friend Vinni Smith, creator of the V-Pick, another high-end pick. In our conversation, he shared that he had told Vinni about my site, and told him to contact me to see if I’d review his picks.

I had heard of V-Picks from people on the various forums I either lurk or participate in, and I was very curious about them, and wondered how they’d compare to my beloved Red Bears. So I beat Vinni to the punch, and contact him, at which point he said he’d send me a few to check out.

I finally got them yesterday. I guess Vinni’s idea of “sending a few” is much different than mine. I was thinking he’d send maybe three or four; instead, he sent me pretty much the spectrum of the picks he makes! What a guy!

Anyway, I was too tired to test them out last night, so I decided to try a few out at a church service I did this morning. I also took my Red Bears to do a head-to-head comparison. Just as expected, these picks had the same effect on me that the Red Bears have. When you’re playing effortlessly, and the strings chime like they’ve never chimed before, it evokes a visceral, almost primitive feeling that takes you to another dimension. That’s what playing with a great pick does for me, at least.

So considering how V-Picks also evoke the same type of emotions in me as my Red Bears, how do I rate them? Well, of course, I have to give them a 5 Tone Bones score. But if you were ask me which are better, I’m going to be completely non-committal and say that it really boils down to personal preference. To me, they both kick ass! But let me take some time to share some of my insights on how they stack up against each other:

Feel

With respect to feel in my hand, both Red Bear and V-Picks feel great. But the big difference for me is that the Red Bears feel – for lack of a better word – natural. They really do feel like natural tortoise shell. Please don’t read this as a negative with respect to a V-Pick. It also feels great. It’s just different.

Tone

For this test, I chose a similarly sized and pointed V-Pick to compare against a Red Bear Style B Heavy pick. With strumming, both picks produced gorgeous, warm and ringing tone. But I could detect a bit more highs out of the V-Pick, which made the tone sound just a tad bit more lively, while a strum with the Red Bear was much more balanced. Both tones were fantastic, though, so no clear winner in this department. However, I did also test out a couple of the really pointy V-Picks that Vinni sent to me, and whoa! These sounded awesome for picking individual strings. They also produced a very bright, almost jangly tone during strumming. Since I didn’t have anything equivalent with a Red Bear, I couldn’t make a comparison, though I imagine the response would be similar.

But here’s a very interesting thing that I found myself inadvertently doing during my little gig this morning. Depending upon the song, I’d use a different pick to elicit different sounds from my acoustic. When I wanted a really bright sound, I’d use the V-Picks pointy. When I wanted a warm, rich strum, I’d use the Red Bear. Something in the middle, I’d use a rounded V-Pick. I don’t know how practical that is with a full band, but it sure worked for me working solo, where it was just me and my acoustic.

And the winner is…

Neither or Both. Er… There is no winner. For me what it boils down to is personal preference. Both picks are awesome-sounding. And based upon my experience this morning, I’m going to start buying both kinds because of the different shades of tones I can get out each. I’ve read some lively discussions comparing these, but frankly, most of the people who contributed to these discussions had played only one kind of either. I’ve had the fortune to play a few styles of both, which explains while I’m very non-committal about declaring a clear winner; because from my point of view, there simply isn’t one with respect to feel and tone.

So I’m going to endorse both picks because they’re both great. But if you’re after advice on which to choose, then choose one based on how it feels. I love the feel of the Red Bear, maybe a tad bit better than the V-Pick. But that doesn’t necessarily make it a better pick, which is why I recommend you play both kinds and make a decision on what feels best for you. I will add that Red Bear doesn’t have a super pointy pick, so if you’re after something like that, then V-Picks is what you’re looking for!

Notice I didn’t mention anything about price. If it boiled down to that, then V-Picks wins hands-down. Most V-Picks cost $4.00, while Red Bears cost $20.00. But be aware that Red Bear picks are rough-cut, then hand shaped, so there’s lot of labor that goes into them, plus you’re dealing with a polymer made from a natural source. On the other hand, V-Picks are molded, then buffed, so the labor is a lot less.

CORRECTION: (2/11/09 )Vinni contacted me about how he makes his picks. Actually only a few are molded, the rest are cut and hand ground. So my bad…

Personally, price of the picks is one topic on this blog where I’ll say that is less important a factor in the decision-making process, which kind of goes against the grain of what GuitarGear.org is all about. The reason I’m de-emphasizing price is because on the grand scale of things, once you’ve spent a few grand on guitars and amps, whether you spend $4 or $20 on a pick is pretty inconsequential. So the decision should rest on how the pick feels and sounds to you.

Finally…

The one thing that V-Picks does have over Red Bear picks, is that because the picks are made from acrylic, Vinni can offer a much greater range of thicknesses with his picks. For instance, he can go all the way down to .5mm. I have one of these and while it flexes like my Dunlop Tortex, it still beats the shit out of it. On the other hand, because of the material, Red Bear picks start at 1.0 mm. But I do have to say that I don’t know for sure if there is a lower limit. It could be there is, but perhaps there’s just not demand for picks thinner than a millimeter. Be that as it may, with either V-Picks are Red Bear, you have a variety of styles to choose from.

Another thing you might consider is durability. V-Picks are acrylic, and that is a VERY hard material. It’s tough to scratch, and from what I could tell, these picks will not wear down very quickly. Red Bear picks on the other hand, do wear down, and as they are made from a natural material, need some special care. You occasionally have to rebuff them. But frankly, it’s something I’d expect from a more expensive pick made from natural material. But if you don’t want to fuss with that kind of stuff, then V-Picks is the answer.

As a special treat, I found a video of Vinni Smith giving a lesson on YouTube. This dude is a BAD-ASS guitar player! Rock on, Vinni!

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Blues Jack 112 - Studio

Blues Jack 112 - Studio

Recognize the cabinet? It looks an aweful lot like a Reason Amps cabinet, doesn’t it? That’s because the one of the founders of Reason Amp, Anthony Bonadio, also owns a cabinet making company called Stage Craft Gear, a not very widely known cabinet maker – at least among consumers. They’ve actually made their start as an OEM cabinet supplier for a lot of amp companies through their parent company, Rhyme Musical Enclosures LLC. But as an OEM, they don’t get their logo on the cabs, and believe me, there are some heavy hitters who use their stuff.

In any case, they’re launching a brand new site at http://www.stagecraftgear.com – very soon – like today or the next! I’ve seen the look of the new site, and it totally kicks the shit out of the old one! Their designers did a great job!

Get a Free Cabinet!!!

I don’t have all the details around this, but Anthony did tell me about a cabinet giveaway that they’re having. You’ll have to go to the site and sign up. I only saw some sub-pages when I went to the site that have the new look, and the home page hadn’t been updated yet – I imagine the giveaway ad will be there.

Okay, let’s get down to business…

Yeah, it’s great that Stage Craft Gear has a new site, and even better that they’re giving one away (I hope I’m the lucky winner 🙂 ), but that’s just airy-fairy stuff, in my opinion. What’s really important about Stage Craft Gear is the fact that they make the cabs for Reason Amps. It’s amazing how you read a lot about amps, but IMO, there’s just not enough attention paid to the cabinet. It’s the resonance chamber for the speaker, for chrissake! And it can make or break an amps’s sound!

My personal experience with the SM25 112 Combo is that it’s sound is “open.” It’s not a tight-sounding amp at all, which is a really good thing when you’re on stage, and a lot of that has to do with the cabinet. It’s tall, and not very deep, but it projects a gorgeous, bright tone that really complements the big sound that comes out of the standard Eminence Governor that’s installed in the cab. The Governor works AWESOME in that cabinet. On the other hand, I used a Governor in a deeper, heftier cabinet (made by another manufacturer), and it sounded like shit! Way too tight, and high-mid to high-freq tones were really subdued.

The point to this is that my experience with a single Stage Craft cabinet leads me to believe that these guys make very special cabinets. It’s no surprise that several boutique amp manufacturers use them. They kick ass!

Ensuing Cab Review

I’m going to be reviewing a cabinet from Stage Craft really soon. Check back here. If my previous experience is any indicator, this cab promises to be very special. Stay tuned!

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5 Tone Bones - Gear has stellar performance, value, and quality. This is definitely top of the class, best of breed, and it's a no-brainer to add this to your gear lineup!

Saint Guitar Company Goldtop Benchmark

Saint Guitar Company Goldtop Benchmark

Saint Guitars Goldtop Benchmark

Summary: I never ceased to be amazed at the guitars Adam Hernandez builds. Here is yet another incredible tone machine but with classic looks and even better sounds.

Pros: This guitar oozes both visual and tonal bliss. The rosewood neck, mahogany body, and maple top combine to create thick but bright resonance that just stirs the inspiration juices.

Cons: None. None at all.

Price: $5000

Specs:

  • Mahogany Body
  • Maple Top
  • Brazilian Rosewood Neck
  • Rosewood Fretboard
  • Seymour Duncan SH-TB-PG1b Pearly Gates Humbucker (Neck)
  • Seymour Duncan SH-14 Custom 5 Humbucker (Bridge)
  • 25-1/4″ Scale
  • Wide, C-shape neck
  • Dual-action truss rod
  • Wide/Pyramid fret wire
  • Blind Dovetail neck joint
  • Gotoh bridge and tuners
  • Volume and Tone Control
  • Cleverly placed pickup switch

Tone Bone Rating: 5.0 – There is literally nothing not to like on this guitar. It truly rocks the house!

Like a lot of folks, I love vintage and vintage-style gear. There’s a certain, je ne sais quoi, perhaps mojo (I know, it’s an overused term) about vintage gear that seems to harken back to the “good ol’ days” when things were handmade and sturdy. But when that style is expressed in a modern way, at least for me, something stirs in my soul, and I’m totally inspired. It has been this way with every Saint guitar I’ve had the priviledge to play, and that continues with the Goldtop Benchmark.

The Goldtop's Bridge

The Goldtop's Bridge

When I did my first Saint Guitars review of the Faded Blue Jeans model, I couldn’t believe how perfect the guitar was. The walnut body and neck, combined with the quilted maple top produced a bright and resonant tone that just begged to be explored to eek out all the possible tonal variations. With the Goldtop, the experience is still the same, but with that absolutely gorgeous finish, I’m experiencing a bliss that’s coming from both visual and aural sources.

Fit and Finish

The Goldtop's Body and Neck

The Goldtop's Body and Neck

I’ve come to realize that there are some things in life that you can’t avoid describing with the heavy use of grandiose phrases, and the Goldtop definitely falls within this category with respect to how it looks. It’s perfect in every way. The creamy gold finish that almost looks white under light is a wonder to behold, but that’s just part of the equation. The gloss-finished mahogany body and open-pore rosewood neck add a certain sensuousness to the look of the guitar. I love that Adam had the foresight to keep the rosewood in as natural and organic state as possible. It feels absolutely wonderful when you grip the neck.

If I were to come up with a metaphor for how this guitar looks, it’s like admiring a beautiful woman that’s nicely dressed, but doesn’t need any makeup or other adornments to enhance her beauty. She’s self-aware and confident in how she looks, but doesn’t come across as aloof or unapproachable. In other words, this is a woman that has a purely natural and organic magnetism, and someone to whom I’d want to be close. That’s the response I have to this guitar.

Playability

I love the feel of natural grain, which is probably why I love my Strat so much with its maple neck. Again, for me there’s a certain sensousness in feeling the wood’s grain in my hand, and the Goldtop doesn’t disappoint in this department. When I first held the guitar, I was surprised and a little worried about the neck profile, which is wide by design, but add to that the C-shape, and I didn’t know if my relatively short fingers could reach all the frets, especially in the upper registers to hit the 6th string. But to my very pleasant surprise, I could get to those notes with ease.

As with all Saint’s that I’ve played, the Goldtop has a fast neck. The frets are just how I like them: Not too deep, but really lending themselves to a nice vibrato when you dig in a bit. And moving up and down the fretboard is a pure joy. The fret spacing is just right. As a guitar player himself, Adam really took great pains to get this part of the guitar right. For me, as I’ve said in the past, I’m not a really great improv guy, but I do play chords up and down the fretboard, and being able to move and nail the chords is very important. It’s as if precision was built into this guitar!

Adding to the playability is the arrangement of the neck and body. It’s very Les Paul-like, and that’s a good thing, which means that the higher frets are very easy to reach when the guitar hangs naturally from the straps. With my Strat, to get to the high frets, I have to physically shift the guitar to the left a couple of inches. Of course, part of that has to do with my gut 🙂 and it’s not really a problem, but I don’t have to shift the Goldtop at all.

How It Sounds

This is one of the best pickup combinations I’ve ever heard. The Pearly Gates in the neck has a nice, sweet, and smooth vintage tone. I liken it to a sip of a 25 year old Scotch. It’s warm and sweet and totally comforting. The Custom 5 is bright, but with a nice, taut low-end. When you turn up the gain on this pickup, you get the expected bright bridge tone, but because of the solid bottom-end, there is absolutely no “tinniness.” It’s just brighter sounding. This is a trait I’ve become accostomed to with all Saint Guitars. They’re the only guitars I’ve ever played that at least to me, have a usable bridge pickup. Combine the two in the middle switch position, and it’s pure heavenly tone. I could keep the guitar in this setting for practically everything I play, unless I wanted to get a super-smooth tone (neck), or need a bright tone to cut through the mix for a lead (bridge).

To me, the mark of a truly great guitar is balance in the dynamic response; more pointedly, that when you play high notes, the guitars volume doesn’t suddenly dive down. I don’t know how many guitars I’ve played that when I get above the 12th fret, the first three strings’ volumes literally sink, forcing you to really dig in with your pick to make them sound louder. That makes for a much more difficult playing approach, and is one thing that bugs me about my PRS SE II Soapbar. With that guitar, the first three strings are quite a bit lower in volume than string four through six. I’ve learned to compensate with my volume knob which thankfully is in a good position for on-the-fly tweaking. But with the Goldtop, and all the Saint’s I’ve played, this is not a problem. The dynamic response is balanced through all strings. It’s a testament to the resonance of the guitar. It picks up all the frequencies!

One thing I’ve learned about testing guitars is that the really important tonal properties are exposed when you play the guitar clean. I’ve played a lot of guitars that sound great when they distort, but just sound weak and hollow when you play them clean. Remember the beautiful woman I described above? This is her speaking voice: It’s rich and sensuous, and something you can listen to and never tire of it. Here’s a clip to prove the point:

I used an Aracom Amps Custom 45R that was re-tubed with 6L6’s from the stock KT-66 tubes, and Jeff kindly installed a Jensen Alnico speaker, replacing the Governor that I was testing with it. Both served to really open up the tone quite a bit with much more midrange – it started out very low-end focused.

What was amazing about this clip was that I wrote it earlier in the day, then recorded it 15 minutes before I had to leave to take my son to his lacrosse game, and just saved the audio file. When I finally sat down to listen to it, I couldn’t believe what I was hearing. Mind you, the clip is not EQ’d or mastered in any way. That’s the natural sound of the guitar out of the Custom 45R. I added just a touch of reverb on the amp, but other than that, it’s just the guitar, and the tone is – at least to me – amazing! It almost gives off a chorus effect. I thought it was due to the reverb at first, but when I came home, I played the song without any effects, and that chorusy tone was still there! I was blown away!

Overall Impressions

I didn’t think you could improve upon perfection, but the Goldtop is now my standard of perfection. As I wrote in a previous article, I’ve been in a bit of rut with writing music as of late, but with the Goldtop, I’m getting inspired again. It’s a marvelous guitar!

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Ran across these demos on YouTube, and thought I’d share them here. This first one is from VOX at the NAMM show, and sound quality stinks, but the dude’s explanation of the differences between the two different voices (British or American):

This next clip comes from someone apparently in Japan, where the pedal was recently released. The sound quality is much better, and he inserted little conversation bubbles to show his settings. Picture quality isn’t that great but the quality of the sound makes up for it. Plus, it’s kind of amazing that this dude has such clever and articulate feet that he can make all the adjustments with his toes! HA! He’s not bad at guitar either! Check it out!

Especially after viewing the second clip (despite Mr. Clever Toes), this is definitely my next pedal – at least until after I try it out for myself. 🙂

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5 Tone Bones - Gear has stellar performance, value, and quality. This is definitely top of the class, best of breed, and it's a no-brainer to add this to your gear lineup!

Hardwire RV-7 Stereo Reverb

Hardwire RV-7 Stereo Reverb

Summary: With seven (7) licensed Lexicon reverb models, this is one bad-ass reverb pedal, and a great value proposition given the relatively inexpensive price of $149.99 for a true bypass pedal. With the Hardwire series, Digitech has really hit a home run!

Pros: Just about the best-sounding spring and plate reverbs I’ve ever heard in a digital reverb. Capable of subtle reverb, to thick, rich and wet surf.

Cons: None. I dig this pedal!

Price: $149.99 street

Features (from Digitech):

  • Reverb Types
    • Room – Fast decaying reverb; great for a touch of ambience
    • Plate – Renowned studio reverb heard on classic recordings
    • Reverse – Reverb in reverse; gradually crescendos to full volume
    • Modulated – Lush, modulating, reverb ideal for chords
    • Gated – Unique reverb with abrupt decay; good for percussive playing
    • Hall – Large, encompassing reverb with warm decay
    • Spring – Classic “surf” reverb; great for Rockabilly too!
  • Tails On/Off Switch – When on, reverb tails are not cut off in bypass
  • True Bypass circuitry preserves your tone in bypass
  • Constant high-voltage operation for tonal quality and noise reduction
  • HardWire Pedals include the following stage accessories
    • Stomplock™ knob guards lock your tone in place and prevent tampering or accidental knob adjustments onstage
    • Green gaffer tape helps you locate the pedal in adverse stage lighting
    • Custom-cut Velcro® pads attach and lock your pedals to your pedalboard

Tone Bone Rating: 5.0 – I did a review of this awhile back, but I finally bought one, and I am oh so pleased with how it sounds!

Yeah, yeah, say what you will about Digitech being known for “consumer” grade pedals, and I’m as much of a boutique pedal snob as the next guy, but there’s no denying the quality workmanship that has gone into the Digitech Hardwire series of pedals. And yes, I know, I reviewed this pedal before, but that review was based upon a test at my local Guitar Center, while competing against the flailing of a wanker sitting next to me, trying to look cool and and trying to play metal licks and failing horribly. Okay, enough of the ranting… Y’all know how I feel about wankers… (search GG for “wankers”).

And say what you will about a digital effect box, but the fact the RV-7 has seven licensed Lexicon reverb voices inside give this pedal LOTS of credibility in my book. As I mentioned in my previous review, I’ve used a Lexicon rackmount for vocals at my Church, and have absolutely loved the reverb effects it contains. Though digital, Lexicon has figured it out, so it’s no surprise that they’re pretty much the standard for digital reverb.

In any case, despite the conditions I had to play within during my initial test, the RV-7 blew me away. Honestly, at the time, I didn’t think Digitech was capable of making a truly great-sounding pedal. Make no mistake, I’ve had Digitech pedals in the past, and they’re all quite functional, but I would never give them a “best in class” rating. They tend to offer great value for the money you pay – which isn’t much for their standard stuff; at least until I discovered the Hardwire series – especially the RV-7!

Since I reviewed the RV-7, I’ve tried several, and even came close to buying an EH Holy Grail. It too is a great sounding reverb, but there was something about its room reverb model which just didn’t do it for me. It’s a great pedal though, but I still liked the RV-7 better.

Recently, I had the chance to go to the local music shop near my work (B Street Music in San Mateo, CA) to perform an A/B test between the Holy Grail and the RV-7. Head-to-head the pedals were pretty close in performance, but the RV-7 beat the Holy Grail with the types of reverb voices it offered, plus the room reverb model on the RV-7 was superb! While the Holy Grail just edged out the RV-7 with the spring reverb, I found I could dial in a great sounding spring reverb with the RV-7 just the same, so that, combined with the awesome room reverb was what sold me. But let’s get into some specifics…

Fit and Finish

All the Hardwire pedals are solidly built with a cool, flat metallic finish. These pedals are very well-built, and surprisingly heavy – definitely gig-worthy. The RV-7 has a purplish, flat metallic finish on the body with a flat silver switch plate that has a nice rubber pad with the Hardwire logo. The pedal featurs a cool, light-blue LED indicator light. The RV-7 has four control knobs: Level, Liveliness, Delay, and a Voice selector knob. The first three knobs are not smooth sweep knobs. They have – for lack of a better term – micro-notches that really add to the whole industrial vibe that the Hardwire pedals have going on. When you look at the pedal, what’s not to like? 🙂 Of course, how it sounds is where it’s at, isn’t it?

Controls

Level – Controls the Wet/Dry amount. Fully clockwise is 100% wet.
Liveliness – This is actually hi-cut filter to add or reduce the amount of high-end freqs that come through
Delay – Controls how long the reverb effect decays after striking a note or chord
Voice Selector – pretty self-explanatory

How It Sounds

In a word, AWESOME! I used it in my weekly acoustic gig this evening, and was thanking the heavens for such a great pedal. My guitar maintained its clarity, no matter how much I upped the level knob. It must have a slight pre-delay built in; whatever, the fact that I could clearly hear the notes and chords I was playing and not having them washed out by the effect was truly an inspiring experience. Add to the fact that it is true bypass, so when it’s off, it’s really off, is yet another reason to love this pedal; no hum, no buzz.

To be fair, I have no idea what to do with the reverse reverb other than to add some interesting effect with single notes in a song. But other than that, I’m really digging this pedal!

Sound Samples

Here are some sound samples I quickly created… Please excuse the recording quality. I just recorded in an open room with no filtering. BTW, I used a Strat with a prototype Aracom RoxBox 18 Watt Amp with a Jensen 1 X10 speaker. In almost every case, all the dials were at 12 o’clock, except for the Hall and Spring, where I set Level and Decay to about 2pm. I prefer a more subtle reverb effect, but as you’ll hear, the RV-7 is crystal clear, and produces a very nice reverb effect.

Room

Plate

Reverse

Modulated

Gated

Hall

Spring

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Orange Amps Dual Terror

Orange Amps Dual Terror

I’ve always associated Orange Amps with metal until I actually played a Tiny Terror. What a great amp! It’s got nice, bright EL-84 tone, and for $550 new, it’s a great little amp! Hmmm…. looks like I should do a review of it… 🙂

But Orange is taking the amp a step further and has just announced the Dual Terror, which is a 30 Watt, dual channel amp that is switchable down to 15 and 7 Watts! Oooo… From the announcement I read, it looks like this will be a real versatile amp! Can’t wait to test one out. FYI, here’s a copy of the press release I just got from Orange….

Orange Amplification launches ‘Dual Terror’

British amplifier manufacturer, Orange Amps launched the Tiny Terror amp in 2006 and has already sold over 30,000 units, making it one of the most in-demand amps in the world. The concept of the Tiny Terror was simple: squeeze every drop of Orange’s unique signature tone into a lunch-box sized amp to create 15 watts of unmistakable Orange Class A Tone weighing only a few kilos – and at a price every guitarist can afford.

Orange can now announce the next generation of the Tiny Terror concept – the ‘Dual Terror’: a twin channel, 30-watt head, switchable from 30 to 15 or 7 watts giving more choice and options shrunk into a size that belies its power!

The 30 watt Class A dual channel amp incorporates the unique Tiny Terror channel and a new ‘Fat Channel’ bringing a new ‘fatter’ chunkier sound, whilst keeping the classic Tiny Terror sound.

The power options make this a truly versatile amp, capable of dominating at bigger venues and subtle enough to be perfect for recording, studio work and home playing. Switchable between 30, 15 and 7 watts and switchable between 4 and 2 output valves, the combinations of options provide for unmatched levels of performance and flexibility.

The Dual Terror OS-DT30-H is built to the usual Orange high quality standards, using top quality components and its roadworthy rugged construction (supplied with padded gig bag ) is everything you’d expect from an Orange amp. The proven ‘Orange Terror’ concept of combining portability, versatility and delivering most importantly a great sound, is all here.

The original Tiny Terror has legions of fans, with users including Gary Moore, Mark Knopfler, Steve Jones, Eddie Van Halen, Andy Dunlop, Kaiser Chiefs and Eddie Kramer. The new Dual Terror will have even wider appeal to professional users and enthusiasts alike.

For further information contact:
USA info@orangeusa.com or outside USA info@omec.com

home


Tel ; +44 208 905 2828
Fax ; +44 208 905 2868

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Big Bad Wah by VOX and Joe Satriani

Big Bad Wah by VOX and Joe Satriani

Ever since I tried out the VOX Satchurator a few months ago, I’ve been waiting for the this wah pedal to arrive. If it is anything close to the quality of sound that the Satchurator produces, I know that this is going to be a great pedal. The pedal features two modes: Mode 1 is classic VOX wah; while Mode 2 features the ability to variably adjust the gain and voicing profiles of the wah to dial in a variety of tonal possibilities.

One thing I take note of when evaluating pedals is if I can reproduce the manufacturer’s or endorser’s claims about a particular feature. For instance, when Satch touted the “More” switch on the Satchurator, during my tests, I was expecting more volume when my amp was clean, and more balls when my tubes were saturated. The pedal definitely lived up to that claim.

With the Big Bad Wah, VOX states, “Designed to Joe Satriani’s custom specs is the design of the pedal pot itself, delivering a smooth, musical tone throughout the entire sweep of the pedal.” This is huge, because I’ve found in my evaluations of different kinds of wah pedals that when you back off the pedal, your output becomes a bit muddy, so you end up never fully backing off because the wah will just suck your tone. Or seemingly to protect against this, manufacturers will narrow the sweep range, so the wah becomes much less dramatic. I found this to be the case with Morley Steve Vai Bad Horsie, which was very musical throughout its sweep range, but overall, didn’t have that dramatic of a sweep as compared to others I tried. So I ended up just getting a Dunlop Cry Baby, and despite its shortcomings, I’ve come to love it.

But I’ve always loved Satch’s wah tone, not because I want to necessarily sound like him, but because it’s just a killer tone, and highly expressive. And as with the Satchurator, Joe was involved in every aspect of the design process, so the Big Bad Wah promises to be of the exacting standards for which Professor Satchifunkilus is known. Once the Big Bad Wah is available in stores, which should be soon, considering the announcement of its release was made at NAMM, you can be assured I’ll be running down to the local shop to try one out!

Some online retailers like Sweetwater, are doing pre-orders for $219. That’s not a bad price to pay, especially for a signature pedal. And I dig the fact that Joe really wanted all his signature pedals to be affordable and within the reach of a wide range of people. In any case, all this combined makes for me taking a serious look at the Big Bad Wah

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Fender Roadworn Strat

Fender Roadworn Strat

Ever since Fender announced the new Roadworn Series of guitars, I’ve been lurking the gear forums and googling for information about them and trying to get a feel for what people think about them. It’s still early in the game, but not surprisingly, opinions are fairly evenly split. Lots of people like them, lots of people don’t. I’m part of the latter crowd.

From my point of view, if I was going to play a beat-up-looking, “roadworn” guitar that’s broken in, I’d rather have done the breaking in myself, or have had it done by someone else – like my first electric guitar that my little brother gave me. It was an Ibanez Strat copy and it looked like a piece of shit! The paint was cracked and flaking in areas, the electronics were completely screwed up due to the jury-rigged wiring jobs my brother did on it. But when I had it working, that little bad boy could sing! Even my brother inherited from one his band mates. In other words, this guitar has a history, and it plays and feels like it has a history.

My problem with the Fender Roadworn series is that these are brand new guitars that are made to look like they have a history, but they’re fresh off a friggin’ production line! They have no history! Oh yeah, I can hear a Fender rep saying, “We ‘wore out’ some of the most common areas where guitars get worn, and added some other cosmetic blemishes to produce a guitar that looks and feels like its been played for 20 years.’” What a crock of shit! Sorry, not buying the rationale, nor the guitars. Besides, to me, it’s how the guitar sounds and plays whether it’s new or used that counts.

I suppose if you have to have a replica of a famous guitarists axe, hey! More power to you! But in the end, you’re the one playing it, and you ain’t gonna sound like the guitarist whom which the guitar was modeled.

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Red Bear Trading Style B Heavy Pick

Red Bear Trading Style B Heavy Pick

Red Bear Trading Style B Heavy Pick

Summary: Thick, meaty hand-made pick from Red Bear Trading. You might think a pick doesn’t really matter until you play one of these picks. They’re totally awesome!

Pros: Thick and tactile, this heavy pick gives you instance response as soon as you strike a string. Chords seem to ring out better. Don’t be fooled by the thickness – the beveling makes this pick glide across the strings!

Cons: None

Price: $20

Okay, I admit it, I am now a true believer in hand-made picks! I wrote a review about Red Bear picks a few weeks ago. In the article I asked, “Does a pick really make that much of a difference?” After nearly a month playing with a Style B Medium, and now a Style B Heavy, I can undeniably say that it makes all the difference in the world! In this short span of time, I’ve become a better player, and while I attribute that to quite a bit of practice, I have to attribute a lot of my recent improvements in both tone and attack to the pick I’ve been using. I don’t say this lightly: These picks have totally changed my life with respect to my guitar playing!

When you first hold one of these picks, your first reaction is: Damn! This thing is thick! And while its smooth texture kind of sticks to your skin, it absolutely glides over your strings. And because of its thickness, it produces sound much faster than conventional nylon picks that need to be before they make a sound. The sound the picks produce is also much more crisp.

For instance, playing my Ovation acoustic/electric, I’ve never heard it ring the way it rings – and it’s because of the pick. I’ve had that guitar for over 15 years now, and it quite frankly has never sounded this good! It always sounded awesome to me because of its thick tone. But when I strum it with one of these picks, it now has a gorgeous chime! F-in’ A!

At first blush, you might think that paying $20 for a pick is just way too much. But how much would you pay for good tone? We guitarists spend literally thousands on guitars and amps and racks and pedals and other accessories every year! But most of us tend to play them with inferior plectrums, never knowing what we’re missing by making a relatively small investment compared to the vast sums we spend on other gear. Sure, our standard picks are cheap, and it’s okay to lose them, but there is absolutely NOTHING that compares to the tone you can produce with a hand-made pick. And once you play with a great pick, you’ll never go back to the cheapo picks again.

To be honest and fair, Red Bear is not the only one who makes handmade picks. But Dave is the only plectrum maker who uses TortisTM, a polymer made from animal protein that looks and feels EXACTLY like tortoise shell. Dave has mastered cutting and shaping of the material, something no one else who has tried to work with it has been able to do.

What’s so special about this material? If you speak with people who have played with tortoise shell picks, they’ll tell you about how good it feels to play with one. But by the same token, to play with tortoise shell means that a sea turtle had to be sacrificed to create the pick. On the other hand, Tortis feels like real tortoise shell. In fact, when Dave first sent out his first prototypes, people told him he was full of shit when he said the picks weren’t tortoise shell! That’s how natural these feel!

As I mentioned in the previous article, Dweezil Zappa swears by these! And for good reason. The sound they produce, and how they make your playing much more precise is an absolute inspiration! For more info, and to order them, go to Red Bear Trading!

If you live in the SF Bay Area, and especially near Palo Alto, you can also get them at Gryphon Stringed Instruments.

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saint_msgr_brown

Imagine, if you will, that guitar to the left, in a glossy, goldtop finish. That will be the guitar that Adam Hernandez of Saint Guitars will be building for me. It was by no means an easy decision to make. As a tester for Saint Guitars, and ostensibly a rep for Saint Guitars (I’ve been careful about keeping that separate from this site – though news about it will be out within the next few weeks), I love every single guitar I’ve gotten my hands on. I dig Adam’s approach to guitar-building, and of course, I simply love his designs.

But despite the relationship, I was a little wary of actually purchasing one. Why? There are lots of factors, which I’m going to share here. But first, the juicy back story…

As some of you may know, I’m a huge fan of G & L Guitars, especially the Comanche line. Yngwie Malmsteen calls the Strat a perfect guitar, but I believe the Comanche improves on it even further, especially with its Z-coil pickups that still offer that gorgeous single-coil feel, but with much more output.

For the last few months, I had been saving my pennies to purchase a Comanche from my local G & L dealer. I’ve been skrimping and scraping every extra buck I could because I just had to have one. It’s an incredible guitar that just speaks to my soul. And about a month ago, I had enough to get my beloved guitar. Then Adam contacted me via e-mail a few days before I was all set to buy the guitar and said he wanted to construct a guitar for me based upon this “dream” goldtop I had described to him a month before that when he asked me what I think would be my dream guitar.

Now you might think I just up and dropped all my plans to get a Comanche. I didn’t. I’ve been very drawn to the Comanche for a long time, but as I’ve shared, I also love Saint guitars. In fact, though I received the e-mail early in the morning, I sat on it for the whole day, and didn’t reply until late that night. In short, I was seriously conflicted, and for several good reasons, which is why I’m sharing this experience. And perhaps by sharing this experience, I can shed some light on helping you make your own choice in whether or not to go with a custom-made boutique guitar.

Most people who come to GuitarGear.org have a serious and virtually incurable case of GAS. Several have custom guitars – a few even have a few Saint guitars to their name. So there is no doubt that what you ultimately get is high-quality, and tailored to your specific tonal requirements. But the conflict in my mind was something entirely different than cost, quality, build, tone, etc.. I know what Saint Guitars sound like, and they’re some of the most gorgeous-sound guitars I’ve ever played; cost would be an issue, but if I made the decision, I’d make it happen; rather, it was dealing with the “known” versus the “unknown.”

So, to boutique or not to boutique? That is the question I posed as the title of this article. If it wasn’t cost or quality or tone that was the issue, what do I mean by the “known” versus the “unknown.” I’m going to bullet-point the known issues first:

  • First off, the Comanche was a known quantity to me. I have played several over the last couple of years, and while each is slightly different – after all you’re dealing with wood which is by no means uniform from instrument to instrument – they’ve all generally fallen within the same range of playability and tone.
  • And because I’ve spent a lot of time playing that model of guitar, I knew how I’d fit it into my stable and what it could do for my tone, and how I’d use it in my compositions and performances.
  • The Z-coil pickup is what I believe to be Leo Fender’s finest achievement. Even though Leo was known for creating the Strat, what a lot of people don’t know is that he didn’t play guitar – at all. He didn’t even tune them until late in life! He was all about the pickup, and he built the Strat around his pickup invention. So there’s a bit of history behind the Comanche.

So what about the “unknowns?”

  • Being that a custom-made is a unique creation, I don’t have a precedent from which to follow. There aren’t any previous guitars made with the EXACT specs my guitar would have. In other words, I don’t have any similar models from which to reference.
  • I suppose there are reasonable facsimiles, and since I’ve had the fortune to test Saint guitars, I know how well they’re made, but the guitar I have in mind isn’t made of walnut, which is Adam’s choice of wood. It’s a solid mahogany body with a maple neck – similar to a Charvelle I played a few days ago – very nice playing guitar.
  • Also, with a custom guitar, what I found was that I really had to think and on top of that do research on tone woods and pickups and hardware. That’s something that I wouldn’t have to do with a Comanche. I’ve just had to play a bunch to find the one that I like. That kind of leads back to the first point that there are no previous guitars with my exact specs from which to reference.

But despite all that, I’m still going to have Adam build me my guitar. The uniqueness certainly plays into it, but I’ve been playing long enough now that I have a good idea of how a guitar sounds with a particular type of tone wood, so tone is not quite as unknown as I might have originally thought. But I think the thing that probably was the scariest thing for me was having to specify the different pieces. In other words, all the effort I’d have to put into getting the guitar created. And even though it’s a bit of a moving target, here are the specs I so far:

Finish: Glossy Goldtop

Body: Double-cut Mahogany
Neck: Maple
Fretboard: Ebony
Headstock: Maple

Hardware: Gotoh wraparound bridge, Gotoh 510 tuners (locking)

Pickups (still kind of deciding): Either Seymour Duncan ’59 in neck, Alnico Pro II bridge or 2 ’59’s or 2 Alnico Pro II’s. Both coil-tapped.

Let me know what you think!

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